Climate change art

Climate change art is art inspired by

climate change and global warming,
generally intended to overcome humans'
hardwired tendency to value personal
experience over data and to disengage from
data-based representations by making the
data "vivid and accessible". One of the goal
of climate change art is to "raise awareness Tempestries, an example of climate change art, representing
of the crisis",[1] as well as engage viewers change in temperature in a given location over time
politically and environmentally.[2]

Climate change art is becoming a form of community involvement with the environment,[1] as exemplified
by Olafur Eliasson's famous "Ice Watch" piece.[3] Modern climate change artists express their socio-
political concerns through their various artistic tools,[3] such as paintings, photography, musical and films.
These works are intended to encourage viewers to reflect on their daily actions "in a socially responsible
manner to preserve and protect the planet".[3]

Climate change art is created both by scientists and by non-scientist artists. The field overlaps with data art.

History
The Guardian said that in response to a backlash in the 1990s against fossil
Omnipresent and
fuels and nuclear plants, major energy companies stepped up their
relevant, yet abstract
philanthropic giving, including to arts organizations, "to a point where many
and statistical by
major national institutions were on the payroll of the fossil fuel giants,"
nature, as well as
effectively silencing many environmentally-focused artists.[5] invisible for the naked
eye – climate change is
In 2005 Bill McKibben wrote an article, What the Warming World Needs
a subject matter in
Now Is Art, Sweet Art that argued that "An intellectual understanding of the
need for perception
scientific facts was not enough – if we wanted to move forward and effect
and cognition support
meaningful change, we needed to engage the other side of our brains. We
needed to approach the problem with our imagination. And the people best par excellence.[4]
suited to help us do that, he believed, were the artists." [6][7] According to
climate change in the arts organization The Arctic Cycle, "It took some time for artists to heed the call."[6]
In 2009 The Guardian said the art world was "waking up to climate-change art." [8] Reporting on the 2020
We Make Tomorrow conference on climate change and the arts[9] in London, Artnet News commented that
"instead of being seduced by sponsorships from deep-pocketed organizations invested in the fossil-fuel
industry, institutions should look for new funding models."[10]

Effects and influence

Representation and interpretation

According to Artnet News, climate change can be represented meaningfully in artwork because "Art has a
way of getting ahead of the general discourse because it can convey information in novel ways."[10]
Climate change artworks differ in how they are interpreted by and how they impact the viewer. Laura Kim
Sommer and Christian Andreas Klöckner (both from the Norwegian University of Science and
Technology) conducted a survey of attendees of the Parisian art festival ArtCOP21 in 2015 (that was held
at the same time as the 2015 United Nations Climate Change Conference) regarding 37 artworks within the
festival.[11] The responses led Sommer and Klöckner's research to develop four characterizations of the
works of art in terms of their content and the responses of the viewers to the artworks.[11] The first
categorization was labeled "the comforting utopia", which meant that the artwork had given off positive
emotions but did not inspire people to enact positive climate action.[11] The second categorization was
labeled "the challenging dystopia", which meant that the artwork had given off negative emotions and
greatly inspired climate nonaction.[11] The third categorization was labeled "the mediocre mythology",
which meant that the artwork had given off neutral emotions and did not inspire people to enact positive
climate action.[11]

The final categorization was labeled "the awesome solution", which meant that the work of art had given
off both positive and negative emotions but inspired people to enact positive climate action.[11] The data
collected by Sommer and Klöckner was categorized by them in 2019 into different psychological
characteristics and connected these to functions of the brain to see where various emotions were triggered
from observing the art and concluded that works of art that were not in "the challenging dystopia" category
were generally more likely to leave audiences open to positive climate action, with "the awesome solution"
works of art being the most likely of all the categories to inspire positive climate action.[11]

Journalist Betsy Mason wrote in

Knowable that humans are visual
creatures by nature, absorbing information
in graphic form that would elude them in
words, adding that bad visuals can impair
public understanding of science.[12]
Similarly, Bang Wong, creative director of
MIT's Broad Institute, stated that
visualizations can reveal patterns, trends,
and connections in data that are difficult
or impossible to find any other way.[12]

In particular, climate change art has been used both to make scientific data more accessible to non-scientists
and to express people's fears.[13] Some research indicates that climate change art is not particularly effective
in changing peoples views, though art with a "hopeful" message gives people ideas for change.[13]
Projecting a positive message, climate scientist Ed Hawkins said that "infiltrating popular culture is a means
of triggering a change of attitude that will lead to mass action".[14]
Students who are taught means to illustrate the concepts of global warming expressed through art can show
greater learning gains than by learning the scientific basis alone.[15] This was illustrated by a study
conducted at a public high school in Portugal by Julia Bentz (a postgraduate researcher for the Centre for
Ecology, Evolution, and Environmental Changes at the University of Lisbon in Portugal) in 2018 and
2019.[15] In this study, 70 high school students between the ages of 16 and 18 undertook two separate
projects relating to arts and global warming.[15] The first art project involved the students finding a small
but impactful change in their lives that leads to positive global warming change and sticking to it for 30
days, where the data they collected was reflected in various group discussions and individual writing and
art projects.[15] The second art project involved the students reading global warming-focused short stories
then discussing their takeaways in group discussions and producing art projects focused on specific topics
concerning what they discussed.[15] Bentz took first-hand observations of all of the various group and
individual discussions & assignments and transmuted them into analytic memos that suggested that the
above projects be used by teachers to more positively engage their students more effectively about global
warming than a more fear-based approach.[15]

It is thought that people who engage with climate change art feel a sense of belonging, a feeling of
connection to a cause, and a sense of empowerment.[13] Participatory climate change art, such as
downloading warming stripes graphics for one's own locality or using a climate-related logo, provides an
interactive element that gets people involved.[13]

Lucia Pietroiusti, the curator of "general ecology" at the Serpentine Galleries, suggested "a radical
redefinition of what constitutes an artwork...to include environmental campaigns," saying that "By calling
something an artwork, you are allowing an institution to support it."[10]

Expansion of formats

In recent years, the expansion of climate change art beyond purely visual representations has allowed for an
expansion of audiences able to appreciate and experience this art, specifically those who experience Visual
impairment. These musical forms of climate change art include pieces performed using environmental
media to represent climate change[16] and popular music whose lyrical aspects address climate change
topics.[17] Climate change composer Daniel Crawford said that "climate scientists have a standard toolbox
to communicate their data, and what we [climate change artists] are trying to do is to add to that another
tool to that toolbox to people who might get more out of this than maps graphs and numbers".[18] In the
performing arts, there has been an increasing number of stage productions related to climate change, such
as those performed by the global movement, Climate Change Theatre Action.[19]

A 2022 survey article published in Music and Science noted that music was already being written and
performed to address the climate crisis, but said that music psychology research had not addressed that
question directly.[20] The article said that there is "strong evidence" for the power of music "to change
listeners' and performers' emotions, moods, thoughts, levels of empathy, and beliefs", and urged further
research.[20]

Use of climate change art by non-governmental organizations

Various non-governmental organizations (or NGOs) work to emphasize the effects climate change-inspired
art can have to inspire positive climate action worldwide. In Australia, the NGO CLIMARTE aims for
people to not just get the right information out through works of art made from the joint effort of artists and
from climate change-focused scientists alike, but to enact positive climate action, opening a gallery based
on such works of art in the Richmond neighborhood of Melbourne.[21] In the Netherlands, the NGO Fossil
Free Culture works to sever the linkage between fine arts organizations and global petroleum corporations,
and to see that works of art that are critical of climate change get the proper forum to enact positive climate
action.[22] Based out of Yangon, Myanmar, but operating all over Southeast Asia, the NGO Kinnari
Ecological Theatre Project (or KETEP) stages folk performative arts from the regional area with the
intention of confronting an issue related to climate change decided by the performers to spread to its
audience in hopes of enacting positive climate action.[23] In the United Kingdom, the NGO Platform works
to incorporate education into the mixture of science and fine arts by providing curriculums to schools that
teach climate change science through various arts and literature-based projects.[24]

Emphasis on solutions

The 2015 exhibition 'Art Works For Change' (https://www.artworksforchange.org/footing-the-bill/) aims to

demonstrate the options available to reduce emissions and other climate change impacts, such as reducing
carbon footprints,[25] conserving energy,[26] and making sustainable transportation choices [27] among
others.

Reception
Journalist Betsy Mason wrote in Knowable that humans are visual creatures by nature, absorbing
information in graphic form that would elude them in words, adding that bad visuals can impair public
understanding of science.[12] Similarly, Bang Wong, creative director of MIT's Broad Institute, stated that
visualizations can reveal patterns, trends, and connections in data that are difficult or impossible to find any
other way.[12]

Malcolm Miles (professor of Cultural Theory at the University of Plymouth, U.K.) is among those who
believe that art that is centered on global warming can potentially normalize climate inaction.[28] Miles cites
the Natural Reality art exhibition that was held in Aachen, Germany in 1999 as an example, which had a
credo of needing to find original ideas for how to depict nature "'because the images of the visible nature it
processed before have lost their validity'".[28] Miles similarly mentions the 2006 art exhibition Climate
Change and Cultural Change that was held in both Newcastle and Gateshead, in northern England, which
tried to be more direct in their climate advocacy by commissioning works of art such as "a montage by
[artist] Peter Kennard depicting the Earth attached to a petrol pump, choking on black oil" and Water Mist
Wall (2005), a video instillation by David Buckland that detailed his efforts to provide a carbon-free
schooner ride to the artic to see first-hand the melting glaciers and icebergs caused by global warming.[28]
 These intense visual displays led to a numbing effect among audience members, which led not to positive
climate action but to climate inaction.[28]

Miles also argues that art that is centered on global warming might be more truly centered on singularly
moving forward the artist's feeling of self-representation and not propagating concrete positive change
about global warming, that these works of art can only potentially spread awareness and nothing more.[28]
The history of 'found objects' as art that started in the Dadaist movement of modern art in the early 20th
Century has transitioned in more recent years into "the art [sculptures] of natural conservation of Andy
Goldsworthy", which comments on how modern landscapes are less focused on the natural aspects of an
environment but more so on human interaction within an environment such as "war memorials" and
"country walking".[28]  Miles mentions that the majority of people who see Goldsworthy's work do not see
them in-person – and outdoors – but through photos found in books, websites, and gallery shows.[28]
Similarly, Miles cites the Groundworks art exhibition held in Pittsburgh, Pennsylvania in 2005 that was
curated by "art historian Grant Kester", whom Miles quoted in saying that when talking about an artist's
relationship to nature that "'the artist's brush can as easily resemble a dissecting scalpel as it can a lover's
caress'"; which Kester says is due to an artist's need to be a part of the global market economy to sustain
themselves.[28]
Finally, Miles argues that art that is centered on global warming that is also seen to be aesthetically boring
or awful is more likely to lead to inaction than works of art that are seen to be aesthetically exciting or awe-
inspiring.[28] The reviews of Goldworth's sculptures by David Matless – a professor of Cultural Geography
at the University of Nottingham, U.K. – and George Revill – a professor of Cultural Historical Geography
at The Open University, U.K. – were done so not so much for their aesthetic quality – which they go out of
their way to not comment on – but for their environmental advocacy are used by Miles as an example of
this.[28]

Examples
Researchers analyzing artwork created between 2000 and 2016 found that climate change art production
increased over the period.[29][30]

In 1998, Matthew Brutner composed Sikuigvik (The Time of Ice Melting) (http://matthewburtner.com/sikui
gvik/), which began as an ode to the "beauty of the Arctic", but over time has evolved into a frightening
representation of the loss of the Arctic environment.[16]

In 2002, Alan Sonfist created a series of wood sculptures sourced from the Roybal Fire in Santa Fe, New
Mexico. The work included 22 pieces of salvaged wood standing vertically on concrete pedestals with tree
seeds scattered on the surrounding floorspace,[31] using natural elements to make ecological processes and
concepts tangible.[32] Sonfist's "Time Landscape: Greenwich Village" converted abandoned lots in
Manhattan into "a natural microcosmic forest" of indigenous and native plants.[33]

A group started in 2005 to create crochet versions of coral reefs grew by 2022 to over 20,000 contributors
in what became the Crochet Coral Reef Project.[34] Organized by Margaret and Christine Wertheim, the
project promotes awareness of the effects of global warming.[34] Project creations have been displayed in
galleries and museums by an estimated 2 million people.[34] Many creations apply hyperbolic (curved)
geometric shapes—distinguished from Euclidian (flat) geometry—to emulate natural structures.[34]

In 2007, artist Eve Mosher used a sports-field chalk marker to draw a blue "high-water" line around
Manhattan and Brooklyn, showing the areas that would be underwater if climate change predictions are
realized. Her HighWaterLine Project has since drawn high-water lines around Bristol, Philadelphia, and
two coastal cities in Florida.[35]

In 2009, Matthew Brutner wrote Six Ecoacoustic Quintets No. 1: Water (Ice) (http://matthewburtner.com/si
x-ecoacoustic-quintets/), which incorporates the use of microphones placed outside and within bowls of ice
and water that are played to the composed music through precision of handling both the water and ice in
various ways. The purpose of the piece is to create an emotional connection to the changes in climate
conveyed through the development of the measures of the piece.[16]

In 2012, filmmaker Jeff Orlowski made Chasing Ice, documenting photographer James Balog's Extreme
Ice Survey, which uses time-lapse photography to show the disappearance of glaciers over time.[35]

In 2015, University of Georgia marine scientist Joan Sheldon produced a scarf illustrating average yearly
temperature from the 1600s to the present using one row per year.[36]

In 2015, an online exhibition called 'Footing The Bill: Art and Our Ecological Footprint' (https://www.artw
orksforchange.org/footing-the-bill/), was created by Art Works For Change (https://www.artworksforchang
e.org/exhibitions/) to show a range of artist expressions (such as Sebastian Copeland and Fred Tomaselli) of
climate change through their work. The exhibition is "an ongoing exhibition that addresses the urgent need
to live sustainably within the Earth's finite resources."[37]
Starting in 2017 The Tempestry Project encouraged fiber artists to create "tempestries", scarf-size banners
showing temperature change over time. Each tempestry is knitted or crocheted, one row per day in a color
representing that day's high temperature, for a year. Two or more tempestries for the same location, each
representing different years, are displayed together to show daily-high temperature change over time.

In 2018 artist Xavier Cortada's project Underwater Home Owner's Association placed signs in front yards
throughout Miami, Florida indicating each property's height above sea level to illustrate what the sea level
rise would flood that property.[38][39]

In 2019, the Grantham Institute - Climate Change and the Environment, Imperial College London,
launched its inaugural Grantham Art Prize, commissioning original works by six artists who collaborated
with climate researchers.

In 2019, artist Jill Pelto (http://www.jillpelto.com/) created 'Overgrown' which depicts how the composition
of Maine plant species will shift geographically as climate zones change.[40]

Animated GIF: This Final frame of a Ed Hawkins' warming stripes graphics portray global warming
Ed Hawkins climate climate spiral as a series of color-coded stripes, purposely devoid of
spiral portrays portrays recent scientific notation to be quickly understandable by non-
changing warmer temperatures scientists.[43]
temperatures as a with brighter colors
spiral with expanding further from the
radius.[41] center.[42]

Extinction Rebellion's Emanuele Bevacqua's An alternative adaptation This stacked warming

logo, symbolizing the circular warming stripes of warming stripes, stripes graphic—
Earth enclosing an graphic portrays global rendered in concentric technically a two-
hourglass.[44] warming as color-coded octagons to suggest a dimensional heat map—
rings that evolve from stop sign. organizes global
blues to reds with temperatures in two
increasing dimensions (month and
temperatures.[45] year).[46]
 0:00

Video: Antti Lipponen portrays Video: Antti Lipponen portrays global

global warming by changing warming as ring with colors that evolve
lengths of colored radial spikes over time.
arranged by country.

0:00 / 0:00
Sequence of piano notes
portraying respective annual
global average temperature
readings since 1850, similar to
Daniel Crawford's cello
composition, "Song of Our
Warming Planet".[47] The
sequence portrays global
warming with notes of
progressively higher pitches.

See also
Environment
portal
Global warming
portal

Craftivism
Environmentalism
Climate change
Environmental Art
Ecological Art

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External links
Windhager, Florian; Schreder, Günther; Mayr, Eva (2019). "On Inconvenient Images:
Exploring the Design Space of Engaging Climate Change Visualizations for Public
Audiences" (https://www.academia.edu/39733782). Workshop on Visualisation in
Environmental Sciences (EnvirVis). The Eurographics Association: 1–8.
doi:10.2312/envirvis.20191098 (https://doi.org/10.2312%2Fenvirvis.20191098).
ISBN 9783038680864. — Survey of climate change visualizations
Paddison, Laurie (September 23, 2018). "8 Artists Taking On The Big Global Challenge:
Climate Change "We should (and may) die trying to render climate change issues
accessible." " (https://www.huffpost.com/entry/artists-take-on-climate-change_n_5ba25163e
4b04d32ebfea0d4). Huffington Post. Archived (https://web.archive.org/web/2019041017323
4/https://www.huffpost.com/entry/artists-take-on-climate-change_n_5ba25163e4b04d32ebfe
a0d4) from the original on 10 April 2019.
"Footing the Bill: Art and Our Ecological Footprint (2020)" (https://www.artworksforchange.or
g/footing-the-bill/) Art Works For Change (archive (https://web.archive.org/web/20210213164
830/https://www.artworksforchange.org/footing-the-bill/))

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