Climate change art

Omnipresent and relevant, yet abstract and statistical by nature, as well as invisible for the naked eye – climate change is a subject matter in need for perception and cognition support par excellence.

"[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.

[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.

[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.

[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".

[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.

[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.

[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.

[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.

[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 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 arctic to see first-hand the melting glaciers and icebergs caused by global warming.

[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.

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.

Dian Parker writes in ArtNet, "In Burning Forest, a more recent series of paintings, Sonfist depicts trees selected from the majestic 19th-century landscapes of his “heroes,” the Hudson River School artists.

Sonfist disrupts their visions of America’s pristine natural beauty, however, by setting the trees on fire to visually represent the climate crisis.

[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.