Environmental Art and Sustainability in the Art World
Our planet’s 4.5 billion years of existence is one of transformation. There have been many pivotal moments that have shaped the Earth’s geology as well as its flora and fauna. We see evidence of Earth’s devastating history in the rocks we mine and the fossilised remains of creatures long extinct. The very elements that compose our natural surroundings are the foundation of environmental art with natural materials traditionally used in many cultures, reflecting the artist’s connection to the natural world itself,
“Sustainable art is about creativity to find new ways to make art that can benefit the environment, whether that is by using accessible and natural materials, or by inspiring social awareness on pressing issues.” (Cerasoli, 2022)
However, some of those issues don’t just involve the materials used. The biggest major impact of the Art World on the global crisis is its carbon footprint, particularly concerning shipping, tourism, sponsorships from non-eco-friendly companies, and waste. Can we marginalise these issues created by our modern society by assuming more economic methods?
Eliasson’s transportation to Tate Modern for his 2018 exhibition “Ice Watch” used over 55 tonnes of Carbon Dioxide emissions (CO2e) in the process, not just for the ice itself but for the artist and the team required to install the exhibit on the pavement outside of the gallery. This practice had been done twice before when he exhibited the same piece in Copenhagen in 2014 and Paris in 2015. Now, one could argue that the message was worth the sacrifice, or it could just as easily be labelled hypocritical, however, it is important to consider the entire lifecycle of an exhibition like “Ice Watch” before jumping to conclusions. This installation is still viewed as a monumental feat and narrative on climate change today and one of Eliasson’s most important works. While it is true that the transportation of the exhibit resulted in a significant amount of CO2e several other factors need to be considered. The reaction the exhibition incurred, cannot be ignored. The resulting publicity ensured Eliasson was able to convey the urgency of the issue and provoke meaningful discussions among visitors and the media alike, and there is no doubt that this kind of impact and public engagement can be a catalyst for change.
The Gallery Climate Coalition (GCC) was formed to tackle issues like Eliasson’s carbon footprint with many leading galleries and industry leaders committing to help reduce emissions by up to 50% in the next 17 years. One of their initiatives involves encouraging sea freight in place of flying artworks across the globe. This in turn has caused some friction between insurance companies, artists, and galleries. But it’s a start. Every initiative related to sustainability has to begin somewhere and with a globally recognised brand such as Lloyds Market Association on board, there’s a very real sense that transportation issues are finally being addressed with very real solutions under consideration.
References:
Cerasoli E. (2022) Keisei Magazine: What Does Sustainability Mean for the Art World. Available at:
https://keiseimagazine.com/what-does-sustainability-mean-for-the-art-world/ (Accessed 17th September 2023
Link to the full article: Environmental Art and Sustainability in the Art World
