Art is the purest form of the human experience. It’s a reflection of how we grow, connect and see the world.
So what happens when a computer program tries to pass off its “art” as authentic? How deep are corporations willing to dig the hole of bogus media for the sake of frugality? And how can working artists stand against the expanding presence of artificial intelligence?
Local digital artist James Bousema has been questioning and navigating these issues as AI has become the new norm for working artists. “The storm of AI tech is here,” he says.
Bousema, a UNLV graduate with a degree in drawing and painting, has over a decade of professional experience and specializes in creating work influenced by fantasy, mysticism, horror and heavy metal. Now as a full-time freelancer, his client portfolio includes prominent names like the Las Vegas Raiders and Vegas Golden Knights, Magic: The Gathering and Harley-Davidson.
His unique digital drawing techniques give his work a natural feel that’s often mistaken for traditional art, making it highly sought-after—especially in the metal and underground scene. He’s created art for heavy hitting bands like Metallica, Municipal Waste, SpiritWorld and Exodus, to name a few.
“These programs are doing exactly what they were designed to do,” Bousema says, but the issue lies with the increasing prevalence of AI-generated imagery in entertainment and workplaces. The ease of creating instant art at a low cost is already having negative impacts on artists making a living from their craft.
“You’re going to see it everywhere from commercials to movies,” he notes, citing A24’s recent movie Civil War, which used AI art for its posters. Initially, viewers didn’t realize the promos were AI-generated until they noticed discrepancies in details—a sign that it’s becoming harder to distinguish human-made art from artificial creations.
Bousema points out several tells for identifying AI-generated work, such as inconsistencies in hands, fingers and eyes, as well as mismatched reflections and illogical object placements. In the music scene, he’s also observed a surge in AI imagery on album covers, tour posters, and music videos. “Half the flyers I see for shows now are AI with some gritty filters over it,” he says.
Although frustrated with this trend, he understands the predicaments bands face, given the accessibility and affordability of AI art for promotional purposes. This leads to thinning job opportunities and a decline in quality.
“Thankfully, there’s been a lot of pushback in the underground scene,” says Bousema. “There’s an appreciation for realness and authenticity and AI art reeks of the exact opposite of that.”
When asked about the sustainability of these programs, Bousema admits they are here to stay.
“You can’t put the genie back in the lamp because ultimately, profit reigns supreme,” he says.
The lack of legislation around AI images, which can’t be copyrighted, complicates the situation. Artists are forced to sue over the use of their copyrighted work being used to train these programs, but the developing legal landscape remains challenging.
Bousema suggests AI technology should include opt-in and opt-out options for artists to control how their work is used in training these programs. He points out that there is potential for artists to earn residuals from their work this way.
Ultimately, Bousema remains hopeful. He believes that the desire for authenticity and ethical consumption among young people will preserve the appreciation for human-created art.
“I would a million times rather see a sh*tty flyer done by a kid who doesn’t know how to draw,” says Bousema. “Those human imperfections and that use of skills are unique to a person.”
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