Emi Kusano Challenges AI’s Soul in “Advertising Humanity” Release on LG Art Lab
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Emi Kusano has quickly emerged as a standout talent in the burgeoning AI art movement.
After achieving a breakthrough with her Bright Moments collection, “Neural Fad,” last year, the Japanese multidisciplinary artist has collaborated with the likes of Claire Silver and Gucci, sold works at major auction houses like Christie’s, and exhibited at Gateway Miami and Gateway Korea.
Kusano’s 1/1 artwork, “Advertising Humanity,” is now available on LG Art Lab in the United States. In a nostalgic nod to Japan’s 1980s bubble-era ads, the piece uses Times Square billboards and TV screens as a canvas to question AI’s ability to capture human essence. As it broadcasts nationwide, it provocatively asks if AI can ever truly understand what it means to be human.
“I wanted to reflect the current controversial conversations around AI,” explains Kusano. “I imagined if this broadcasted everywhere, it might trigger strong reactions. I was nervous to release it because there’s been a lot of AI backlash recently. While I’m in a creative bubble where people love NFTs and AI, when my tweets go viral, some people attack me, saying things like, ‘You’re not an artist, AI is stealing.’ This made me think deeply about what it means to be human—something important to discuss over the next decade.”
In August, LG Art Lab and Now Media announced a global partnership where Now Media will curate LG Art Lab’s upcoming drops and guide their marketplace’s expansion to Ethereum, bringing digital art to millions of LG Smart TVs. The partnership debuted last month with Amadon’s inaugural drop, “Passive Observer.” You can learn more about LG Art Lab and the partnership in our Ultimate Guide.
We caught up with Emi Kusano to learn more about “Advertising Humanity” and her journey into web3 and AI ahead of her debut release on LG Art Lab.
Matt Medved: How did you get into web3 and start using AI in your artistic process?
Emi Kusano: The first time I used AI in my artwork was actually in my music career. I’m a musician—you’re a musician too, right? I’m the singer of a synth-wave band, and it’s been 10 years since university. I used AI in one of my music videos around 2018. Back then, we didn’t call it AI; it was more machine learning, deep learning. I used a 1980s Tokyo look filter, known as style transfer, and applied it to live-action footage.
That was my first AI experience. I liked the machine-like clumsiness and texture, but it felt more experimental than my own art. After that, I didn’t touch AI until around 2020 when Midjourney and Stable Diffusion started. AI could suddenly generate realistic and detailed images, and I became completely addicted. I was on my phone, prompting every day, fully diving into AI art.
As for web3, my journey began in 2021 with my son. We worked together on an NFT project called “Zombie Zookeeper.” He was actually featured on nft now before me, remember?
Yeah, what an overachiever!
Yeah, when I met you, he had already mass-adopted NFTs in Japan. (laughs) No one knew what NFTs were at the time, but Steve Aoki bought three of his pieces for around 6 ETH, and it went viral. I met a lot of great people through my son’s artwork and even started an anime project with one of his collectors. Eventually, I decided to focus solely on my personal art. I’ve been creating for a long time—photography, music, installations—but I never saw myself as a full-time artist until now. I’m finally able to fully support myself as an artist.
We met at Bright Moments Tokyo where you were the breakout star. How did that impact your career?
Bright Moments Tokyo is where I released my first big collection, also my first AI artwork, called “Neural Fad.” It’s a fictional street snap history of Japanese fashion, created with prompts. I tried to capture distinct styles from the 60s, 70s, and 80s, but it was hard to convey in English, especially for specific fashion tribes like Takenokozoku. So, I had to hack Western culture prompts to represent Japanese culture.
I was prompting every day, constantly generating and uploading to the “Neural Fad” account. When Bright Moments Tokyo was announced, I met Seth Goldstein, who gave me an opportunity even though I was new to AI art. It was a pivotal moment in my career. At that event, I met top AI artists like Mario Klingemann, Claire Silver, and others, which was inspiring. Some people told me AI art wasn’t real art, but meeting these artists changed my perspective.
Claire has been an amazing mentor and invited me to the Christie’s Gucci auction, which was my second live show, just two months after Bright Moments. Bright Moments truly changed my life. “Neural Fad” was nominated for the Lumen Prize this year, so fingers crossed!
What inspired your LG Art Lab drop, “Advertising Humanity?”
The inspiration behind “Advertising Humanity” comes from my deep love for 1980s Japanese TV commercials. I often watch old Japanese programs and ads on YouTube. During that era, Japan was a global leader with companies like Sony at the forefront. I’m obsessed with that pre-internet time when mass media had a strong influence.
In “Advertising Humanity,” there’s a woman, who looks like me, saying something like, “Humanity cannot be monetized.” It’s inspired by late-night Japanese consumer finance commercials, with slogans like “use responsibly” alongside a cheerful woman.
I wanted to reflect the current controversial conversations around AI. I imagined if this broadcasted everywhere, it might trigger strong reactions. I was nervous to release it because there’s been a lot of AI backlash recently. While I’m in a creative bubble where people love NFTs and AI, when my tweets go viral, some people attack me, saying things like, “You’re not an artist, AI is stealing.”
This made me think deeply about what it means to be human—something important to discuss over the next decade.
“The inspiration behind “Advertising Humanity” comes from my deep love for 1980s Japanese TV commercials… I also wanted to reflect the current controversial conversations around AI.”
EMI KUSANO
What excites you about releasing the piece with LG Art Lab?
I’m very excited to be on the screens. Breaking this filter bubble is one of the hardest things in this era. My social content is heavily influenced by algorithms, so sometimes my voice and visuals don’t reach a huge audience, which can lead to backlash or controversy. But this opportunity with LG is really exciting—I’ve never seen my face on a billboard before!
I’m also happy that LG, such a big company, is bullish on digital art. They’ve been incredibly flexible and prioritize the artist’s feelings. In our Zoom calls, they made it clear they want me to be comfortable with my direction, which really encouraged me.
How do you maintain a strong relationship with your collectors?
It’s really hard to be on social media all the time, and making a Discord channel isn’t the answer for everyone. Engaging with everyone can be tough, especially when some collectors are anonymous. But having strategies is key. First, if you’re starting out, look at digital galleries where you’d like to work. Check where your favorite artists are releasing and understand the landscape to set clear goals.
Even if your art is great, if you release in the wrong place, it might not reach the right collectors. It’s sad to see talented artists with many followers release work at random prices without anyone noticing. One of the best things about digital art is you’re not locked into exclusive agreements with galleries, so you can work with multiple platforms.
For AI art, look at galleries like Fellowship and Tender; for coding art, check out Art Blocks. Finding a strong community is crucial. As you start releasing work, remember quality is key. There will be many opportunities, but make sure each piece you release is something you’re proud of.
Lastly, think long term. Even if your art doesn’t sell right away, it might gain value in the future. Keep creating, even during quiet times. You can always tweet or post on Instagram, and if people ask, you can mint it on platforms like Foundation or SuperRare. Just be careful of scams.
“Japanese people tend to be easygoing with new tech—they don’t judge AI as good or bad, it’s just a tool. I think anime and robots have made AI more familiar in the culture.”
EMI KUSANO
What trends do you see in AI art and web3 adoption in Asia?
Every country is different. When I went to Korea, I met people in Future Canvas and the blockchain community who were bullish on digital art. At KIAF, people were more friendly to digital art, but the fair was still very paint-centric. Some people told me my art changed their perspective, but I still felt like an outsider in the traditional art market.
In Japan, people are more optimistic about AI and web3. They’re not as scared of AI compared to the English-speaking online community. Japanese people tend to be easygoing with new tech—they don’t judge AI as good or bad, it’s just a tool. I think anime and robots have made AI more familiar in the culture.
In another collection, “Techno-Animism,” I explore how Japanese people believe in the spirit within objects, so AI’s impact depends on the person using it. I’m also on a cultural council for the Japanese government discussing AI and intellectual property. Japan is bullish on AI, but places like Singapore and South Korea are supporting AI and web3 even more, especially through gaming communities.
What do you think the future of AI art looks like? What trends are you seeing as you navigate the space?
That’s a good question. But first, what’s the reaction to AI in the U.S.?
It really varies. There’s a lot of excitement in the tech community, as well as backlash and misunderstanding at large. As a writer, I use AI every day, not to replace my work, but to automate routine tasks like transcribing interviews. It helps me optimize for the creative work I’m passionate about. However, many people fear being replaced by AI, and many industries will be impacted, like data entry and copywriting. Still, it’s just the natural evolution of technology.
Yeah, I’ve seen that backlash too. Like when Petra’s album cover was attacked by AI haters. People even claimed to steal her style, saying they were the real artist. I’ve also faced criticism for using AI, with people saying I’m not a real artist.
But I’m excited about this moment. Historically, the things that were rejected or challenged became important movements. Photography wasn’t considered art at first, and even Banksy faced criticism. I see myself as part of an important movement. I’ve always identified as a multidisciplinary or digital artist, but lately, I’m embracing being an AI artist. I’ll continue using AI for decades, and eventually, people won’t label us as AI artists anymore.
“I’ve always identified as a multidisciplinary or digital artist, but lately, I’m embracing being an AI artist. I’ll continue using AI for decades, and eventually, people won’t label us as AI artists anymore.”
EMI KUSANO
I agree. I sometimes say “AI-collaborative artist” to highlight that it’s not simply pressing a button. Claire Silver says “taste is the new skill,” and bringing something from your mind into existence is powerful.
Yes, AI has changed how I work. Human brains are structured differently, and AI helps bridge that gap. For someone like me with ADD, AI makes life easier because I can focus on what I love. I’ve never mastered programming, but AI lets me think in a programming-like way. It’s a key skill for future education. Life is what you make of it, right?
What’s the creative dynamic like between you and your kids, and how does AI play a role now?
That’s a good question. Having kids has really opened my eyes. My son, who’s now 12, was 8 when we worked on “Zombie Zookeeper.” He collects Pokémon cards and tracks their floor price daily, deciding when to sell or buy more. It’s similar to how NFTs work, which led us to collaborate. Kids today consume digital items like Fortnite skins, which shows how they’re tuned into the future.
He even uses ChatGPT to search for things. Though he finds Midjourney a bit scary sometimes, we need a children-friendly AI. My 3-year-old son and I also use ChatGPT to co-create bedtime stories. It’s exciting, but I remind him that it’s a tool, not human.
I love that. As we wrap up, what else do you have coming up?
There’s a lot! I’ll be releasing another video art piece at a world-famous venue, and it’s surreal that my work will be up for auction. I’m incredibly lucky with the opportunities ahead, and I hope those following me continue to watch what I’m doing.
Editor’s note: This interview transcript has been edited for concision and clarity.
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