EXTRACTION

ART ON THE EDGE OF THE ABYSS Preview of a Glorious Ruckus

Michael Traynor Earth Day ❧ april 22, 2021 “Tap ‘er light.”

Dedicated to the memory of Edwin Dobb.

Michael Traynor, Senior Counsel at Cobalt LLP in Berkeley, California, is an honorary life trustee of Earthjustice and a member of its Council, a member of the Leadership Council of the Environmental Law Institute, an honorary life trustee of the Lawyers Committee for Civil Rights under Law, President Emeritus of the American Law Institute, a Fellow of the Ameri- can Academy of Arts & Sciences, and a Fellow of the American Association for the Advancement of Science. He acknowledges with appreciation the many generous and helpful suggestions from friends and family. The views stated are personal.

A compilation of references selected from the growing litera- ture accompanies this preview. Jetsonorama, I Am the Change, installation, photograph by Ben Knight Copyright © 2018 and 2021 by Michael Traynor. INTRODUCTION Layout and design by Samuel Pelts & Peter Koch. At this critical time of climate disruption and unsustainable extraction of natural For noncommercial purposes, you may copy, redistribute, resources, Peter Koch,¹ a printer, publisher and fine artist, has conceived of quote from, and adapt this preview and compilation pursuant Extraction: Art on the Edge of the Abyss (www.extractionart.org).² He, and the late Ed- to Creative Commons Attribution-NonCommercial 4.0 Inter- win Dobb,³ a writer and teacher of environmental stories, and a growing group national License (CC BY-NC 4.0), https://creativecommons. of allies, launched this inspiring project in 2018. They created “a multi-layered, org/licenses/by/4.0/. cross-institutional, trans-border multimedia ruckus over the single most urgent planetary concern of our time—the social, cultural, and environmental costs of All images and illustrations Copyright © by the artists. unbridled globalized extractive industry, including the negative effects of climate change; the deterioration of land, water, and air; the devastation and displace- Second printing 2021 ment of poor, minority, and indigenous communities; and much else.”⁴ Leaders of the Extraction Art project and natives of Montana, Peter came The CODEX Foundation from Missoula and Edwin from Butte. While living in California, they main- 2205 Fourth Street tained strong Montana ties, as Peter still does. They set the stage for a constel- Berkeley, California 94710 lation of events in 2021 and enlisted confirmed participants from numerous and www.codexfoundation.org diverse museums and galleries, curators, artists, photographers, writers, librar- ies and rare book departments, organizations and publishers, and a team of

1 advisers. I learned of the project from Malcolm Margolin, author of the classic, The Ohlone Way, leader of the California Institute for Community, Art and Nature, and founder and president for forty years of Heyday, a nonprofit publisher on whose board I served.⁵ The project has published WORDS on the Edge, a portfolio of poems and lyrical texts addressing themes of nature and its irresponsible destruction, as well as a major compilation of contributions from artists and writers—the “MEGAZINE”— and will continue to publish periodic newsletters, documents/manifestos/images heralding a series of artistic, musical, and dramatic events and exhibitions.⁶ It is also completing arrangements for those events. Jane Hirshfield, poet, author, and participant, is preparing a forthcoming poetry reading at the San Francisco public library.⁷ It is human nature and a necessity to consume resources to survive. It is a human frailty and not a necessity to do so unsustainably. The extraction problem is not confined to mining fossil fuels or minerals from land and the deep sea. Unsustainable extraction occurs in many forms, for example, clear-cutting for- ests; overfishing oceans, rivers, and lakes; and over-drafting groundwater from aquifers. Unsustainable extraction in any form is attended by greed, lawlessness, Lawrence Gipe, Russian Drone Painting #1 (Mir, Siberia), 2018–19, oil on canvas, 72 by 96 inches treatment of the earth and its marvelously varied inhabitants as an externality, and a disregard for present and future generations. west Passage. Previously impassable or difficult terrain opens up—not to reveal In Butte, unsustainable extraction created the mammoth open pit known as a space of simple agreement, but instead to suggest new spaces of exploration, the Berkeley Pit, a mile wide, mile-and-a-half long, and third of a mile deep abyss imagination and concern. Climate change reveals such a passage, a space of where thousands of snow geese have perished after landing on its toxic lake. It environmental shifts and cultural complexity, of scientific study and political con- is a hellish legacy of the Anaconda copper mine. Ed Dobb told its story in his flict.”⁹ In addition to the focus of the Extraction Project, varied recent exhibitions, article, “Pennies from Hell.” programs, and commentaries demonstrate that art can help save the planet.¹⁰ That toxic abyss also symbolizes the deep hole that we and the fellow inhab- Combining their talents, vision, and aesthetic and ethical senses, artists itants of our planet will all be in if we don’t act now, with the crucial help of the can imaginatively and resolutely explore new spaces and forge alliances—when arts. Instead of plunging into the abyss, the arts can help us step away from the fitting and feasible—with scientists, lawyers, and other individuals and organi- edge and begin moving in a different direction. zations concerned about our planet and inspiring as well as inspired by emerging In her book, Undermining: A Wild Ride Through Land Use, Politics, And Art in the young leaders.¹¹ Together, they can cross “the line where the pressure of duty Changing West, Lucy Lippard, author, curator, and project participant, writes: “Of leaves off and the challenge of excellence begins,” in the words of legal philoso- course art cannot change the world alone, but it is a working ally to those chal- pher Lon Fuller.¹² lenging power with unconventional solutions.”⁸ In their article, “Arts, Sciences Ten years ago, in Note to the Next Generation, I said, “Apocalyptic words were and Climate Change: Practices and Politics at the Threshold,” scholars Jennifer not effective to cause people preoccupied with various stresses to pay attention Gabrys and Kathryn Yusoff, write that “Between sciences and arts, there are corre- to climate change and may have even fostered alienation, denial, and hostility.”¹³ spondences and passages to be detected, which may even come about through a As Elke Weber has recently written: “1) climate change does not elicit sufficient shared attention to issues and events—like the breaking up of the actual North- fear or dread; 2) motivating climate action through fear or guilt is a bad idea even

2 3 though it might sound like an effective approach; and 3) we need to help people recognize their personal experience of the concrete impacts of climate change on their lives, though this is easier said than done and may not work for everyone.”¹⁴ Incremental progress is hard enough to achieve on any front and is inadequate to meet the challenge of climate disruption. Despite advances on some fronts, for example, in California and with the Paris Agreement, there have been retrograde and hostile maneuvers on others, for example, the former Trump Administra- tion’s emphasis on unsustainable extraction, attacks on protection of endan- gered species, disregard for environmental laws, withdrawal of the U.S. from the Paris Agreement, rejection of science, denial of climate change, and appeal to base, negative partisanship and petromasculinity.¹⁵ There is plenty of damage to repair and plenty of cause to sound the alarm. We also need to find and use improved ways of communication that will engage people at a personal leval and move them to act positively. The Extraction Project holds the promise of fostering breakthrough changes in public opinion and public policy, including wider recognition of an enforce- able human right to a healthful environment.¹⁶ It is a singular component of a multi-pronged strategy of action that involves various disciplines. It augments significantly the historic and contemporary contributions of the arts to the envi- ronment and to meeting the challenges of climate change.

WHY ARE THE ARTS NEEDED?

Professional disciplines such as science, engineering, law, economics, public policy, and journalism are necessary but not sufficient to counter unsustainable extraction, environmental injustice, greed, and ignorance. They are not adequate alone to overcome the harm caused by “merchants of doubt,” “truth decay,” and insidious advertising.¹⁷ “The failure of widely accessible, compelling science to quiet persistent cultural controversy over the basic facts of climate change is the most spectacular science communication failure of our day,” as Dan Kahan, founder of the Yale Cultural Cognition Project, has critically observed.¹⁸ Science and the arts are closely related and can inspire each other. Indeed, the term “scientist” is a hybrid of “artist” and the Latin “scientia.”¹⁹ Both disci- plines require creativity, imagination, perseverance, and passion.²⁰ Physicist and Nobel Laureate Chen Ning Yang compared reducing “complicated phenomena to Charlotte Bird, Goodbye My Village, 2018, hand-dyed and commercial cotton, polyester organza, a few equations” to poetry as a “condensation of thought.” polyester thread, perle cotton thread; hand cut and fused applique, machine stitched, machine ²¹ quilted, hand emboroidered, 48 by 32 inches

4 5 Erika Osborne, The Chasm of Bingham, 2012, oil on linen, 48 by 90 inches

Leonardo da Vinci was an artist and inventor.²² Alexander von Humboldt “in- ics.³³ Santiago Ramón y Cajal, a Nobel Prize winner and the reputed “father of fluenced many of the greatest thinkers, artists and scientists of his day” through modern neuroscience,” also produced more than twenty-nine hundred drawings his discoveries, ideas, and drawings.²³ John James Audubon was a naturalist and that reveal the nervous system, many of which are reproduced in the recent book, artist.²⁴ Samuel F. B. Morse was an inventor and painter.²⁵ George Washington The Beautiful Brain.³⁴ Carver was an artist before he became a peanut scientist.²⁶ Alan Bean was an Although not based on scientific fact, ancient myths can convey a modern astronaut and painter.²⁷ Hedy Lamarr was an actress and inventor.²⁸ Alexander message relevant to climate disruption. Phaethon, for example, drove his father Fleming’s artistic eye and painting of bacteria, along with serendipity and genius, Helios’ sun chariot across the sky causing havoc in the sky and earth and was helped him discover penicillin, benefit humanity, and earn the Nobel Prize.²⁹ sent hurling to earth by a lightning bolt from Zeus.³⁵ Rosalind Franklin’s and Raymond Gosling’s famous Photo 51 led to the discov- Evolving neuroscience is revealing the power of art to induce changes in ery of the DNA double helix.³⁰ Hope Jahren’s “Lab Girl” reflects what Vladimir human behavior, facilitate discovery, and inspire invention.³⁶ Stories and other Nabokov described as essential for a writer: “the precision of a poet and the forms of art have the power to inspire empathy, motivate action, and release the inspiration of a scientist.”³¹ George Seurat’s paintings were influenced by the brain’s oxytocin (OXY), a neuropeptide that stimulates emotions and may induce science of color.³² David Hockney’s views of art history are influenced by phys- altruism. One recent experiment concludes that “a more accurate understanding

6 7 of altruism and its underlying regulatory mechanisms, including OXY [...]” may “motivate more individuals and groups to sacrifice money for ecological sustain- ability, which may help improve climate change prevention and the preservation of biodiversity.”³⁷ In the last three lines of her poem, “The Weighing,” Jane Hirshfield writes:

The world asks of us only the strength we have and we give it, Then it asks more, and we give it.³⁸

Perhaps altruism and a consequent sense of fairness and justice for our envi- ronment may also foster a sense of fairness and justice for each other. While recognizing the positive potential of emotions and the arts and the in- sights of neuroscience, we must also recognize their negative potential for manip- ulation and misuse such as the propaganda reflected in Nazi and Soviet posters, films, and music. This danger is even more ominous in the digital age than it was in the “Age of Mechanical Reproduction” when Walter Benjamin warned that “The logical result of Fascism is the introduction of aesthetics into political life,”³⁹ and Clement Greenberg wrote that although it was “too difficult to inject effective pro- paganda into” avant-garde art and literature, “kitsch is more pliable to this end” and “keeps a dictator in closer contact with the ‘soul’ of the people.”⁴⁰ Communicating science through art is essential. As Bill McKibben, founder of 350.org, has written, “science alone can’t make change, because it appeals only to the hemisphere of the brain that values logic and reason.”⁴¹ Reason and meaning on the one hand and emotion and feeling on the other are mutually reinforcing as well as occasionally in tension. The arts help link experience and emotion. As Elaine Scarry has written about beauty and justice and their mutu- Timothy McDowell, Mad Mother, 2016, oil and wax on linen. al relationship with symmetry, “matters that are with difficulty kept legible in one sphere can be assisted by their counterpart in the other.”⁴² As Alice Jardine has written, letters, syllables, words, and “the sonorities of language,” have the It took me some time to appreciate the crucial and important role the arts power “to creatively shape all invention, to evoke mystery unrecoverable by logic have played and must play. After writing about climate change and scientific un- or syntax, to profoundly change any status quo.”⁴³ Biomedical engineer and certainty and participating in workshops with scientists, journalists, and lawyers, science communicator Paige Jarreau states that art “gives scientific ideas shape I realized that science and reason, although critical, are not getting through to and imagination.”⁴⁴ The American Academy of Arts & Sciences recently initiated enough people. This essay about the Extraction Project’s “glorious ruckus” is the “Accelerating Climate Action” project involving “social scientists, artists, and written with the intention of sharing with those friends, colleagues, and potential humanities.”⁴⁵ Confronting climate change without engaging both sides of our supporters who might not already have considered it, my appreciation for the brains is like confronting a bully with one hand tied behind one’s back. vital voices of artists.

8 9 HOW CAN ARTISTS HELP?

Artists such as painters, musicians, dancers, poets, storytellers, dramatists and theater artists, photographers, filmmakers, fine-art printers, cartoonists, and cli- mate data visualization artists⁴⁶—who must also have environmental authenticity and credibility—are needed to bring their talents, creativity, spirit, and emotional sensibilities to the challenge of protecting and reclaiming our environment. Many are doing so now, individually and through organizations such as Artists & Climate Change (an initiative of the Arctic Cycle), the Climate Reality Project, Extinction Rebellion, and others, and their numbers are increasing.⁴⁷ They bring issues into the realm of emotions, affecting people on a sensory, spiritual, and visceral level in a way that scientific reports, statistics, graphs, and reason do not. They engage us. As artist and philosopher Enrique Martinez Celaya says, “Since it exists only as an experience, art is brought forth not only by the artist but also by its observer.”⁴⁸ Artists remind us of our humanity and renew our determination to care for our earth and our descendants. They evoke the environmental intimacy reflected in cave paintings by ancient humans and Neanderthals and in contemporary artworks such as Storm King Wavefield by Maya Lin and Storm King Wall by Andy Goldsworthy.⁴⁹ They help us restore lost intimacy and renew our reverence for nature, as Henry David Thoreau did in 1854 with Walden, and as my friend and Earthjustice colleague, Edwin Matthews, does today in Litchfield Country Journal: Notes on Wildness Around Us.⁵⁰ They move us from despair about a Silent Spring to the hopefulness of the hymn, “How Can I Keep from Singing.”⁵¹ Like the Lorax, Above: David Maisel, American Mine (Carlin, Nevada) #2, 2007; next page: Peter Rutledge Koch, they speak for the trees who have no tongues, and, like the fox who spoke to the Liber Ignis (Detail), artist book with UV-cured acrylic inkjet printed on .033” lead sheets Little Prince, they remind us that “You become responsible, forever, for what you have tamed.”⁵² Poet John Daniel, in Descendants of the Nuclear Age, reinforces place of value in a world of facts.”⁵⁵ They act as our conscience, as Picasso’s Guer- our sense of responsibility to unborn descendants and fellow creatures who lack nica demonstrates so vividly. They help us cope with and sometimes even survive human voice and power: “only in us can they speak at all, they speak if we speak the direst conditions as they did for some prisoners in Nazi concentration camps for them.”⁵³ Artists spark a child’s sense of wonder, simplicity, and good-heart- and, under harsh but less dire conditions, for some Japanese Americans segre- edness and rekindle those spirits in adults. They inspire action while rejuvenating gated and incarcerated in U.S. camps and centers during World War II. Art helps our inner wilderness.⁵⁴ migrant children in detention camps find their voices.⁵⁶ “Art is here to prove, and Artists of all ilk restate our deepest and evolving values in a language accessi- to help one bear, the fact that all safety is an illusion,” said James Baldwin in his ble to the times (whether fine arts, music, or literature). They reinforce the com- talk, “The Artist’s Struggle for Integrity.”⁵⁷ passion that must attend the law and guide science, which without values and Artists have lasting influence. They address the widespread hunger for com- compassion are capable of monstrous undertakings. Their function, as Kenneth munity, spirituality, and fairness that Pope Francis, for example, in his encyclical, Rexroth said, “is the revelation of reality in process, permanence in change, the Laudato Si, and other leaders are addressing.⁵⁸ They evoke our ability to empathize

10 11 with victims of environmental injustice, cope with uncertainty, appreciate new frames of reference, identify with others, celebrate the natural world, surmount melancholy and apathy, address the ethical challenges of geoengineering and as- sisted evolution of species (perhaps someday our own?),⁵⁹ and build morale such as the song “We Shall Overcome” does in the ongoing struggle for civil rights. They transcend language barriers as well as national, political, and cultural boundaries. They dramatize earth wounds like acid mine drainage (AMD) as well as reclamation. T. Allan Comp, a former historian for the National Park Ser- vice and a historic preservationist, has spurred community effort in Appalachia through his AMD&Art project to reclaim toxic former coal mines using design, sculpture, and history, as well as science.⁶⁰ Rachel Carson’s Silent Spring combined science and imagery to help ignite the environmental movement. She also said, “I believe quite sincerely that in these difficult times, we need more than ever to keep alive those arts from which [we] derive inspiration and courage and consolation—in a word, strength of spirit.”⁶¹ Upton Sinclair’s The Jungle exposed the meatpacking industry and led to the Pure Food and Drugs Act of 1906; Sinclair famously said “I aimed at the public’s heart and by accident I hit it in the stomach.”⁶² Likewise, the Abu Ghraib photographs and Fernando Botero’s paintings bring home the evils of torture and lawlessness, and Sebastião Salgado’s photographs illustrate the bravery and beauty of workers while the fruits of their toil are being extracted under often grim conditions.⁶³

ADDITIONAL EXAMPLES OF ENVIRONMENTAL CONTRIBUTIONS BY ARTISTS POEMS

Poems such as “On the Fifth Day” by Jane Hirshfield, “Erosion” by Terry Tempest Williams, “Extinction” by Elizabeth Herron, “Poem of the One World” by Mary Ol- iver, “The Problem of Describing Trees” by Robert Hass, “Watershed” by Tracy K. Smith, “For the Children” by Gary Snyder, “The Peace of Wild Things” by Wendell Berry, and “Waging Beauty As the Polar Bear Dreams of Ice” by Daniela Gioseffi, help us imagine a better world, comprehend the despoliation we have caused, listen to new voices such as “the cellists” in Jane Hirshfield’s poem, and enchant as well as sometimes disenchant us.⁶⁴ “Poems pull water from air we thought was dry,” says poet Kristin George Bagdanov, author of Fossils in the Making.⁶⁵ “Poets are the unacknowledged legislators of the world,” wrote Percy Bysshe Shelley.⁶⁶

12 13 SONGS

Songs such as “This Land is Your Land” by Woody Guthrie, “Big Yellow Taxi” by Joni Mitchell (“they paved paradise and put up a parking lot”), “What Have They Done to the Rain” by Malvina Reynolds, “Rejoice in the Sun” by Joan Baez, “Don’t Go Near the Water” by Johnny Cash, “Save Our Planet Earth” by Jimmy Cliff, and “Sailing Up My Dirty Stream” by Pete Seeger, which contributed to the enactment of the Clean Water Act of 1972, are just a few among many examples of the inter- section between music and the environment.⁶⁷ The Climate Music Project makes climate change personal through music. We can strive to make it possible to sing “America the Beautiful” with conviction that the title is still true.⁶⁸ Not all forms of extraction are inherently destructive or inherently Earth- based. As a counterpoint, images extracted from space telescopes are now being turned into tunes.⁶⁹ And humans are not the only musical species. As Paul Johns- gard has written in “Crane Music,” as just one example, “Cranes are the stuff of magic, whose voices penetrate the atmosphere of the world’s wilderness areas” and “have served as models for human tribal dances in places as remote as the Christopher Volpe, Westward, oil, tar and gold leaf on canvas, 16 by 24 inches Aegean, Australia, and Siberia.”⁷⁰

DANCES excesses of Prospero and his privileged guests in Edgar Allan Poe’s “The Masque of the Red Death,” or Camille Saint-Saëns’ “Danse Macabre.”⁷⁵ Environmental dance is evolving as a way of expressing our connection to the earth. Dancing on the banks of the Cannonball River in North Dakota, the Stand- PHOTOGRAPHS AND PAINTINGS ing Rock Sioux, joined by representatives of over 250 indigenous tribes from around the world, sought to save the sacred earth and stop the Dakota Access Photographs such as those by David Maisel, Robert Glenn Ketchum, Michael Pipeline.⁷¹ Dances such as GLACIER: A Climate Change Ballet, choreographed by Light, Garth Lenz, and Mandy Barker depict the beauty of the earth as well as Diana Movius, which imagines dancers as melting polar icecaps; On the Nature the despoliation that humans have caused by extraction.⁷⁶ Christmas Eve 2018 of Things, a collaboration by Karole Armitage and Paul Ehrlich; and Bringing the marked the 50th anniversary of Earthrise, Apollo 8 Astronaut Bill Anders’ photo- Arctic Home, choreographed by Jody Sperling, create an emotional experience graph that depicted the beauty and fragility of Earth, which the late Galen Rowell and movement that may lead to action.⁷² Destiny Arts, in Jewels, features teen- described as “The most influential environmental photograph ever taken.”⁷⁷ agers who venture underground to find the “Book of Secrets” to help save Planet Photographs are sometimes shocking, but can be deployed with intelligence and Earth and learn that they hold the secrets within themselves and have the power sensitivity to help prevent or mitigate image fatigue, foster a wariness of pho- to make necessary change.⁷³ As Barbara Ehrenreich writes in Dancing in the toshopping and “deep fakes,” and comment on the seductiveness of the beauty Streets: A History of Collective Joy, “festivity generates inclusiveness.”⁷⁴ depicted despite the horror or cruelty also revealed.⁷⁸ With transformative progress and good-will in all quarters, we and our Photographs and paintings contribute to legislation and public policy.⁷⁹ descendants should be able to avoid what Kim Stanley Robinson describes as William Henry Jackson’s photographs and Thomas Moran’s paintings led to the “extreme pathological responses to biosphere collapse,” reminiscent of the sadistic creation of Yellowstone National Park.⁸⁰ The photograph of President Teddy Roo-

14 15 ARCHITECTURE AND DESIGN

Denis Hayes, a national organizer of Earth Day and President of the Bullitt Foun- dation, led the initiative to establish the Bullitt Center in Seattle as a “deep green building.” In his words, “Deep green buildings are a necessary component of resilient cities, and resilient cities are a strategic necessity if the current genera- tion is to pass on a diverse, habitable planet to the next.”⁸⁶ In 2020, the Environ- mental Law Institute honored Denis Hayes with its Environmental Achievement Award.⁸⁷ The Center for Resilient Cities and Landscapes at Columbia University “uses planning and design to help communities and ecosystems adapt to the pressures of urbanization, inequality, and climate change.”⁸⁸

LOOKING AHEAD WITH THE EXTRACTION PROJECT

The Extraction Art Project has a big vision and a simple message that concen- trates on the arts and the environment: It hopes to educate, provoke, inspire, and reinforce others--educators, activists, academics, journalists, scientists, policy and opinion makers, and concerned individuals--while maintaining its inde- Chuck Forsman, Berkeley Pit, Butte, MT, 2019, photograph pendence as an art project. It has enlisted topnotch artists and art venues while respecting their boundaries and helping non-artist groups and individuals call attention to the social and environmental consequences of industrialized natural sevelt and John Muir on Overhanging Rock at the top of Glacier Point, Yosemite, resource extraction. contributed to the joining of state grant lands and national park lands.⁸¹ Ansel Peter and the project’s allies are continuing to seek additional fruitful Adams’ book, Sierra Nevada: The John Muir Trail, led to the establishment of Kings liaisons and funding. They are continuing to build publishing and advertising Canyon National Park.⁸² Robert Glenn Ketchum’s book, The Tongass: Alaska’s media opportunities and sponsorship for exhibitions, especially in regrettably Vanishing Rain Forest led to the Tongass Timber Reform Act of 1990.⁸³ Believing in underfunded small art museums and non-profit galleries around the West and environmental action, Adams and Ketchum also lobbied diligently and success- in potential musical venues. They are countering the nefarious forces that have fully for their proposals. targeted federal and state legislative and regulatory programs and engaged in a propaganda blitz promoting their anti-environmental policies. Now is an ideal FILMS AND PLAYS time for philanthropists to support excellent projects to communicate science through art and reach people on an emotional level. “Climate philanthropy has Al Gore’s documentaries, An Inconvenient Truth and An Inconvenient Sequel: Truth failed” and needs to help environmentalists “learn how to speak from the heart to Power, are pioneering and iconic works. Important new films are addressing as well as the head,” as Mark Gunther reports in the Chronicle of Philanthropy.⁸⁹ climate change, for example, Joe Gantz’ documentary, The Race to Save the World, To cover the costs of publications, editing, marketing, administration, web- released on Earth Day 2021.⁸⁴ Playwrights are addressing climate change in new site creation, communications, the new MEGAZINE, and other requirements, theatre works, for example, those sponsored by The Arctic Cycle and Climate the project has received and continues to seek funds from individual contrib- Change Theatre Action.⁸⁵ utors, foundations, kick-starting and crowd-funding, event sponsorships and

16 17 ENDNOTES AND COMPILATION OF SELECTED REFERENCES

1. EXTRACTION: ART ON THE EDGE OF THE ABYSS, https://www.extractionart.org.

2. Peter Koch, a fine art printer, publisher, and artist, http://www.peterkochprinters.com, http:// www.codexfoundation.org, conceived of the project. Peter’s publications include Liber Ignis from which a depiction of the infamous Neversweat Mine in Butte, Montana is reproduced in this pamphlet. In 2019, the Grolier Club in New York City presented a retrospective exhi- bition of Peter’s work, https://www.finebooksmagazine.com/news/grolier-club-presents-pe- ter-koch-printer-retrospective.

3. Edwin Dobb, writer and teacher of environmental stories, https://journalism.berkeley.edu/ person/ed_dobb/, was a co-founder of the project. His writings include Pennies from Hell: In Montana, the Bill for America’s Copper Comes Due, HARPERS (Oct. 1996); Guarding the Gates of Par- adise, in MARC BEAUDIN, SEABRING DAVIS AND MAX HJORTSBERG (EDS.), UNEARTHING PARADISE: MONTANA WRITERS IN DEFENSE OF GREATER YELLOWSTONE 5 (2016); and he co-wrote the documentary film,Butte, Montana: The Saga of a Hard Rock Mining Town, a Film by Above: Liz Miller-Kovacs, Garzweiler Venus, Archival Digital Print, 2020; page 20: Garth Lenz, Pamela Roberts (2009) (co-writer, Eugene Corr). Tar Mine and Roads, Northern Alberta, Canada, 2010, photograph Ed would sometimes end a conversation or message with “Take it easy, my friend,” or the equiv- alent Butte phrase, “Tap ‘er light,” (meaning more literally in mining days to take care to avoid tickets, and sales of items donated by artistic supporters. It has also received cave-ins or prematurely detonating explosions). For a local obituary, see, e.g., Susan Dunlap, and continues to seek nonmonetary contributions such as paintings, poems, Butte Literary son Edwin Dobb is Dead, MONTANA STANDARD (Jul. 19, 2019). musical compositions, broadsides, photographs, printings, gallery space, and the help of volunteers. 4. “Ruckus”: “A disturbance; a commotion. . . . [Perhaps blend of RUCTION and RUMPUS],” The AMERICAN HERITAGE DICTIONARY OF THE ENGLISH LANGUAGE (3rd ed. 1992). The Extraction Art Project continues to reach out to various environmental, tribal, and pertinent nonprofit organizations that are addressing the challenges 5. MALCOLM MARGOLIN, THE OHLONE WAY (1978); Heyday, http://www.heydaybooks.com; of unsustainable extraction and climate change. It affords an opportunity to build The California Institute for Community, Art, and Nature, http://californiaican.org. a movement that will help our planet, the innumerable varieties of life it sustains, 6. WORDS ON THE EDGE, https://www.extractionart.org/words-on-the-edge; MEGAZINE, our families, children and grandchildren, and untold generations to come if we https://www.extractionart.org/megazine. act for them now. Come join the glorious ruckus.* 7. Jane Hirshfield,https://www.poets.org/poetsorg/poet/jane-hirshfield.

❧ 8. LUCY R. LIPPARD, UNDERMINING: A WILD RIDE THROUGH LAND USE, POLITICS, AND ART IN THE CHANGING WEST 189 (2014); LUCY R. LIPPARD, WEATHER REPORT: ART AND *The CODEX Foundation, a nonprofit tax-exempt 501(c)(3) organization that CLIMATE CHANGE (2007).

Peter founded, will continue to receive and administer charitable donations and 9. Jennifer Gabrys & Kathryn Yusoff, Arts, Sciences and Climate Change: Practices and Politics at the project funds through a separate designated account (2203 4th Street, Berkeley, Threshold, 21 SCIENCE AS CULTURE 1, 13 (2012). CA 94710-2214; tax id. no. 11-3763607). 10. Alina Tugent, Can Art Help Save the Planet?, NY TIMES (Mar. 12, 2019), https://www.nytimes. com/2019/03/12/arts/art-climate-change.html (describing various art works and exhibitions); Can Art Change How We Think About Climate Change: An Interview with Anthony Leiserowitz (Jun. 8, 18 19 20 21 2016), https://www.giarts.org/article/can-art-change-how-we-think-about-climate-change; Psychology Alliance, CPA Newsletter November 2020 – Climate Crisis Digest: Petromasculinity Naomi Rea, 5 Meaningful Ways the Art World Can Help Fight Climate Change, According to Experts in the https://www.climatepsychologyalliance.org/news/newsletters/492-cpa-newsletter-novem- Field, ART WORLD (Mar. 3, 2020), https://news.artnet.com/art-world/climate-change-5-sus- ber-2020-climate-crisis-digest-petromasculinity; Jeffrey T. Kiehl, The problem with ignoring people’s tainability-tips-1791375; Elena Morris, 10 Artists Focused on Climate Change and Environmental emotions about climate change, YALE CLIMATE CONNECTIONS (Apr. 4, 2019). Justice, ARTSBOSTON (Jul. 28, 2020), http://artsboston.org/2020/07/28/10-artists-focused-cli- mate-change-environmental-justice/; Shannon Lee, These 10 Artists Are Making Urgent Work About 16. JOHN H. KNOX AND RAMIN PEJAN (EDS.), THE HUMAN RIGHT TO A HEALTHY ENVI- the Environment (Apr. 20, 2020), https://www.artsy.net/article/artsy-editorial-10-artists-mak- RONMENT (2018); MARY ROBINSON FOUNDATION, CLIMATE JUSTICE, https://www.mrfcj. ing-urgent-work-environment; Zoë Lescaze, 12 Artists On: Client Change, NY TIMES STYLE MAG- org; Michael Traynor, On Environmental Law, DAEDALUS (Summer 2003); HALIB SANI USMAN AZINE (Aug. 22, 2018), https://www.nytimes.com/2018/08/22/t-magazine/climate-change-art. AND ANNA BERTII SIMAN, THE VALUE OF A HUMAN RIGHTS-BASED APPROACH TO THE html; Eva Amsen, Climate Change Art Helps People Connect With A Challenging Topic, FORBES (Sep. CLIMATE CHANGE MITIGATION POLICY (2018). Selected references on the human right to 30, 2019), https://www.forbes.com/sites/evaamsen/2019/09/30/climate-change-art-helps-peo- a healthful environment are collected in Michael Traynor, Some Friendly Suggestions for the Federal ple-connect-with-a-challenging-topic/#7dd45b4775d0; William S. Smith, Climate Change Has Judiciary About Accountability, 168 U. PENN. L. REV. ONLINE 128, 130 n. 6 (2020), https://www. Already Transformed Everything about Contemporary Art, ART IN AMERICA (May 4, 2020), https:// pennlawreview.com/wp-content/uploads/2020/06/Traynor-Proof.pdf. www.artnews.com/art-in-america/features/climate-change-contemporary-art-1202685626/ (“In addition to addressing climate change or symbolizing its effects, artwork can embody ways of The Supreme Court of Montana recently invoked the human right to a healthful environment thinking about and coping with the environment”); Sam Wolfson, From baboon raps to Extinction in its state constitution to reject Lucky Minerals’ appeal to drill for gold outside the northern Gongs: can climate art save the world?, THE GUARDIAN (Jul. 20, 2019), https://www.theguardian. boundary of Yellowstone National Park, Park County Environmental Council v. Montana Dep’t of com/culture/2019/jul/20/from-baboon-raps-to-extinction-gongs-can-climate-art-save-the- Environmental Quality, 2020 MT 303 (Dec. 8, 2020, DA 19-0492); see world. https://earthjustice.org/news/press/2020/montana-supreme-court-rejects-lucky-minerals-last- bid-to-mine-near-yellowstone. THE ARCTIC CYCLE, https://www.thearcticcycle.org/events, sponsors a network of artists involved in climate change, https://artistsandclimatechange.com/. 17. JENNIFER KAVANAGH & MICHAEL D. RICH, TRUTH DECAY: AN INITIAL EXPLORATION OF THE DIMINISHING ROLE OF FACTS AND ANALYSIS IN AMERICAN PUBLIC LIFE (2018), 11. The world-wide emergence of young leaders is most encouraging. See, e.g., Covering Climate see: https://www.rand.org/research/projects/truth-decay.html (“Truth Decay is defined as a set of Now, Young Climate Leaders to Know, https://www.coveringclimatenow.org/climate-beat/young- four related trends: increasing disagreement about facts and analytical interpretations of facts leaderslist; Leah Asmelash, Greta Thunberg isn’t alone. Meet some other young activists who are leading and data; a blurring of the line between opinion and fact; an increase in the relative volume, and the environmental fight, CNN WORLD (Sept. 29, 2019) , https://www.cnn.com/2019/09/28/world/ resulting influence, of opinion and personal influence over fact; and declining trust in formerly youth-environment-activists-greta-thunberg-trnd/index.html; Earthday.org, 19 youth climate respected sources of factual information”); activists you should be following on social media (Jun. 14, 2019), https://www.earthday.org/19-youth- NAOMI ORESKES & ERIK M. COWAY, MERCHANTS OF DOUBT (2010); climate-activists-you-should-follow-on-social-media/; Mel Evans, Why the Art World Must Back Philip Merikle, Subliminal Advertising, Greta Thunberg’s Global Climate Strike (Sept. 17, 2019), https://www.frieze.com/article/why-art- https://www.psychologistworld.com/influence-personality/subliminal-advertising. world-must-back-greta-thunbergs-global-climate-strike. Contrast the insidious “Joe Camel” tobacco ad with the sunny message “It’s morning in 12. LON L. FULLER, THE MORALITY OF LAW 170 (1964). America again.” See: Stuart Elliot, Joe Camel, a Giant in Tobacco Marketing, Is Dead at 23, NEW YORK TIMES (Jul. 11, 1997); Michael Beschloss, The Ad That Helped Reagan Sell Good Times to an Uncertain 13. Michael Traynor, Note to the Next Generation, 28 ENVIRONMENTAL FORUM 42 (Nov./Dec. Nation, NEW YORK TIMES, p. BU5, May 7, 2016 (“Morning in America” was “written by Hal 2011, Issue No. 6). Riney ... who was determined to demonstrate that negative political ads were not the only kind that worked”). 14. Elke U. Weber, Seeing Is Believing: Understanding & Aiding Human Responses to Global Climate Change, 149 DAEDALUS 139, 141 (Fall 2020); see also Elke Weber, Irena Bauman, and Olafur 18. Dan Kahan, Professor of Law & Professor of Psychology at Yale Law School, Eliasson, Can Art Inspire Climate Change Action? An Ice Installation Aims to Do Just That, THE GUARD- https://law.yale.edu/dan-m-kahan; Dan Kahan, Climate-Science Communication and the Measurement IAN (Oct. 24, 2014), https://www.theguardian.com/sustainable-business/2014/oct/23/cli- Problem, 2 ADVANCES IN POLITICAL PSYCHOLOGY (2015); mate-change-ice-watch-installation-art-greenland-copenhagen-ipcc. Cultural Cognition project, http://www.culturalcognition.net/.

15. United Nations, Paris Agreement (2015), available on the website of the United Nations Frame- The science is overwhelming. See, e.g.,NICHOLAS STERN, WHY ARE WE WAITING?: THE work Convention on Climate Change, https://unfccc.int/. See: Cara Daggett, Petro-masculinity: LOGIC, URGENCY, AND PROMISE OF TACKLING CLIMATE CHANGE (2015); DAVID Fossil Fuels and Authoritarian Desire, 47(1) MILLENIUM J. INT’L. STUDIES 25-44 (2018); Climate WALLACE-WELLS, THE UNINHABITABLE EARTH (2019); MICHAEL E. MANN, THE NEW

22 23 CLIMATE WAR: THE FIGHT TO SAVE OUR PLANET (2021); AYANNA ELIZABETH JOHN- 24. John James Audubon, https://en.wikipedia.org/wiki/John_James_Audubon. See also: Jennifer SON & KATHARINE K. WILKINSON (EDS.), ALL WE CAN SAVE: TRUTH, COURAGE, AND Bogo, Letter From the Editor: Why Audubon Magazine Turned Its Spotlight to John James Audubon, AUDU- SOLUTIONS FOR THE CLIMATE CRISIS (2020); JAMES GUS SPETH, THEY KNEW: THE U.S. BON (Spring 2021); J. Drew Lanham, What Do We Do About John James Audubon?, id. (Audubon was FEDERAL FIFTY-YEAR ROLE IN CAUSING THE CLIMATE CRISIS (2021); BILL GATES, HOW a racist and slaveowner who “bought and sold humans like horses”); Gregory Nobles, The Myth TO AVOID A CLIMATE DISASTER: THE SOLUTIONS WE HAVE AND THE BREAKTHROUGHS of John James Audubon, id. (“As much as we celebrate his environmental legacy, we need to grapple WE NEED (2021); ELIZABETH KOLBERT, UNDER A WHITE SKY: THE NATURE OF THE FU- with his racial legacy”). TURE (2021); HOPE JAHREN, THE STORY OF MORE: HOW WE GOT TO CLIMATE CHANGE AND WHERE TO GO FROM HERE (2020); NAOMI KLEIN, THIS CHANGES EVERYTHING: 25. Samuel F. B. Morse. Megan Gambino, Samuel Morse’s Other Masterpieces, SMITHSONIAN (Aug. CAPITALISM VS. THE CLIMATE (2015). 16, 2011).

The Institute of the Environment and Sustainability at UCLA is engaged in moving science to 26. See: Eva Amsen, George Washington Carver Was An Artist Long Before He Became A Peanut Scientist, action, https://www.ioes.ucla.edu/. FORBES (Feb. 8, 2021).

The relevant legal literature is growing. See, e.g, MICHAEL B. GERRARD and JOHN C. DERN- 27. Alan Bean. See: Richard Taylor, The artist who walked on the Moon: Alan Bean, 558 NATURE 518 BACH (EDS.), LEGAL PATHWAYS TO DEEP DECARBONIZATION IN THE UNITED STATES: (Jun. 28, 2018). SUMMARY & KEY RECOMMENDATIONS (2018); MICHAEL B. GERRARD and JODY FREEMAN (EDS.), GLOBAL CLIMATE CHANGE AND U.S. LAW (2d ed. 2014). The Sabin Center for Climate 28. Peter Bradshaw, Bombshell: The Hedy Lamarr Story, the startling life of the film star/inventor, THE Change Law at Columbia Law School, https://climate.law.columbia.edu/, and the Institute GUARDIAN (Mar. 9, 2018); see: https://www.invent.org/inductees/hedy-lamarr (National for Policy Integrity at the NYU Law School, https://policyintegrity.org/, are key resources. On Inventors Hall of Fame); in 1997, she received the Pioneer Award from the Electronic Frontier his first day in office, President Biden issued a crucial Executive Order on Protecting Public Foundation, see: https://www.eff.org/deeplinks/2012/10/celebrating-pioneer-award-win- Health and the Environment and Restoring Science to Tackle the Climate Crisis, https://www. ning-women-ada-lovelace-day. whitehouse.gov/briefing-room/presidential-actions/2021/01/20/executive-order-protecting-pub- lic-health-and-environment-and-restoring-science-to-tackle-climate-crisis/(Jan. 20, 2021). 29. Alexander Fleming, Penicillin, Nobel Lecture (Dec. 11, 1945); Rob Dunn, Painting With Penicillin: Alexander Fleming’s Germ Art, SMITHSONIAN MAGAZINE (July 19. ONLINE ETYMOLOGY DICTIONARY for “scientist:” https://www.etymonline.com/word/ 11, 2010), scientist. https://www.smithsonianmag.com/science-nature/painting-with-penicillin-alexander-flem- ings-germ-art-1761496/?device=iphone&c=y. 20. Sylvie Garneau, Tsodikova, Scientist or Artist?, AMERICAN ASSOCIATION FOR THE AD- VANCEMENT OF SCIENCE (Mar. 2, 2018); Timothy Bogatz, 11 Fascinating Artists Inspired by Science 30. Victoria Hernandez, Photograph 51, by Rosalind Franklin (1952), THE EMBRYO PROJECT (2017), https://theartofeducation.edu/2017/10/26/11-fascinating-artists-inspired-science/; Virgin- ENCYCLOPEDIA (Dec. 30, 2019), https://embryo.asu.edu/pages/photograph-51-rosalind-frank- ia Gerwin, How to shape a productive scientist-artist collaboration, NATURE (Feb. 17, 2021). lin-1952; Dawn Powell, Rosalind Franklin’s Artistic Legacy, http://www.lablit.com/article/288 (Aug. 5, 2007). 21. Bill Moyers, Chen Ning Yang: Scientific Study East vs. West, Moyers on Democracy, NPR interview (Oct. 31, 1988), https://billmoyers.com/content/chen-ning-yang/. Moyers commented that “As 31. Michiko Kakutani, Book Review, Lab Girl, Hope Jahren’s Road Map to the Secret Life of Plants, NY you talk about the relationship between poetry and physics, you make me think that maybe the TIMES (Mar. 2, 2016), https://www.nytimes.com/2016/03/29/books/review-lab-girl-jope- poets anticipated you physicists. It was Blake, after all, who talked about seeing the universe in jahrens-road-map-for-the-secret-life-of-plants.htm (quoting Nabokov); HOPE JAHREN, LAB a grain of sand.” See: William Blake, Auguries of Innocence (1803) (which begins, “To see a World in GIRL (2016); HOPE JAHREN, THE STORY OF MORE: HOW WE GOT TO CLIMATE CHANGE a Grain of Sand”), Poetry Foundation, https://www.poetryfoundation.org/poems/43650/augu- AND WHERE TO GO FROM HERE (2020). ries-of-innocence. 32. Georges Seurat, http://www.georgeseurat.org. 22. Peter Jakab, Leonardo da Vinci and Flight, Smithsonian, NATIONAL AIR AND SPACE MUSEUM (Aug. 22, 2013); Richard Stimson, Da Vinci’s Aerodynamics, 33. David Hockney, http://www.davidhockney.co. https://wrightstories.com/da-vincis-aerodynamics. 34. ERIC NEWMAN ET AL. (EDS.), THE BEAUTIFUL BRAIN: THE DRAWINGS OF SANTIAGO 23. ANDREA WULF, THE INVENTION OF NATURE: ALEXANDER VON HUMBOLDT’S NEW RAMÓN Y CAJAL (2017); Roberta Smith, Where Science and Art Meet: Breakthrough drawings by the WORLD 5 (2015). father of neuroscience have a place in both worlds, NY TIMES (Jan. 19, 2018), p. C15.

24 25 35. See, e.g., Belkis Megraoui, Fascinating Classical Myths Which Are Still Relevant Today, “But artists can register scale. They can transpose the fact of melting ice to inundated homes https://www.topuniversities.com/courses/classics-ancient-history/fascinating-classi- and bewildered lives, gauge it against long history and lost future. Science and economics have cal-myths-which-are-still-relevant-today (updated March 1, 2021); Eliza Griswold, Ovid on no real way to value the fact that people have lived for millennia in a certain rhythm, have eaten Climate Change, POETRY (Dec. 2012), https://www.poetryfoundation.org/poetrymagazine/ the food and sung the songs of certain places that are now disappearing. This is a cost only art poems/55952/ovid-on-climate-change; Climate Psychology Alliance, Climate Conversations, can measure, and it makes sense that the units of that measurement are sadness and fury—and Podcast: Conversation between Jo Blake and Sarah Deco, Can Ancient Myths Help Transform the also, remarkably, hope.” Narratives that Led to the Climate Change Crisis?, https://www.climatepsychologyalliance.org/pod- casts/395-can-ancient-myths-help-transform-the-narratives-that-led-to-the-climate-change- 42. ELAINE SCARRY, ON BEAUTY AND BEING JUST 86–109 (1999). crisis. 43. ALICE JARDINE, AT THE RISK OF THINKING: AN INTELLECTUAL BIOGRAPHY OF JULIA 36. EDWARD O. WILSON, CONSILIENCE: THE UNITY OF KNOWLEDGE 229–259 (1998) KRISTEVA 136 (2020). “We cannot change the world without changing the way it is imagined (chapter on “the arts and their interpretation”). “Neither science nor the arts can be complete and spoken.” Id. at 138. without combining their separate strengths. Science needs the intuition and metaphorical power of the arts, and the arts need the fresh blood of science.” Id. at 230. Graham Farmelo, 44. Paige Jarreau, To Drive Innovation,Scientists Should Open Their Doors to More Equitable Relations with Perfect harmonies: How music was built into science, NEW SCIENTIST (Aug. 20, 2014); Marek Kepa, the Arts (Apr. 30, 2020), https://blogs.lse.ac.uk/impactofsocialsciences/2020/04/30/to-drive-in- Twice the Genius: The Music & Inventions of Josef Hofmann, https://culture.pl (Sept. 19, 2017); USGS, novation-scientists-should-open-their-doors-to-more-equitable-relations-with-the-arts/; Diane Earth Resources Observation and Science (EROS) Center, Earth as Art 4, https://eros.usgs.gov/ Ackerman, Alan Alda, and Geneva Overholser, Communicating Science through Art, 70 AMERICAN imagegallery/earth-art-4; JOHANNES KEPLER, HARMONICES MUNDI (1619). ACADEMY OF ARTS & SCIENCES BULLETIN 9 (Spring 2017). Eric Grimsrud, An artistic blueprint for civilization’s survival (Dec. 13, 2014), https:/ericgrimsrud.org/2014/12/13/an-artistic-blue- 37. Nina Marsh et al., The neuropeptide oxytocin induces a social altruism bias, J. NEUROSCIENCE print-for-civilizations-survival/. (Nov. 25, 2015); Son Preminger, Transformative art: art as means for long-term neurocognitive change, 6 FRONTIERS IN HUMAN NEUROSCIENCE 1 (Apr. 2012); Christopher W. Tyler and Lora T. Liko- On climate communication, see, e.g., https://www.climatecommunication.org (with links to va, The role of the visual arts in enhancing the learning process, 6 FRONTIERS IN HUMAN NEUROSCI- various resources, reports, and websites. ENCE 2 (Feb. 2012); Sylvain Moreno, Can music influence language and cognition, 28 CONTEMPO- RARY MUSIC REVIEW (Dec. 2, 2009) (Issue 3, Exploring Music Through Neuroscience); Belle 45. AMERICAN ASSOCIATION OF ARTS & SCIENCES, 2020 ANNUAL REPORT 36 in BULLE- Beth Cooper, The surprising science behind what music does to our brains, FAST COMPANY (Dec. 6, TIN (Fall 2020). 2013); Reena Jana, To innovate, scientists and engineers find inspiration in the arts, ZD NET (Oct. 27, 2012); EDWARD O. WILSON, CONSILIENCE: THE UNITY OF KNOWLEDGE 105–135 (1998) 46. See, e.g., Orama Velade, The Best Data Viz and Informatics on Climate Change Facts, VISME, https:// (chapter on “the mind”)(“Brain scientists have vindicated the evolutionary view of mind. They visme.co/blog/climate-change-facts/; Ulrike Hahn & Pauwke Bowens, Visualizing climate change: have established that passion is inevitably linked to reason. Emotion is not just a pertubation of an exploratory study of the effectiveness of artistic information visualizations, 11 WORLD ART (Issue No. reason but a vital part of it.” id. at 116); Carmine Gallo, FIVE STARS: THE COMMUNICATION 1, Jun. 4, 2020); Elisa Shenberger, Transforming Charts and Graphs About Climate Into Art, HYPER- SECRETS TO GET FROM GOOD TO GREAT 170–171 (2018). ALLERIC (May 21, 2019); NOAA, Visualizing Climate Data, https://www.climate.gov/maps-data/ primer/visualizing-climate-data; Wikipedia, Data Visualization, https://en.m.wikipedia.org/wiki/ 38. Jane Hirshfield,The Weighing, in ELIZABETH J. COLEMAN (ED.), HERE; POEMS FOR THE Data_visualization. For a pioneering work, see: EDWARD TUFTE, THE VISUAL DISPLAY OF PLANET 104 (2019), from JANE HIRSHFIELD, THE OCTOBER PALACE (1994). QUANTITATIVE INFORMATION (1983).

39. WALTER BENJAMIN, THE WORK OF ART IN THE AGE OF MECHANICAL REPRODUC- 47. See, e.g., Artists & Climate Change, https://artistsandclimatechange.com/about/ and list TION (1936), http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm. of over sixty organizations and projects at https://artistsandclimatechange.com/organiza- tions/; Climate Outreach, https://climateoutreach.org/; Tipping Point, https://juliesbicycle. 40. Clement Greenberg, Avant Garde and Kitsch (1939), reproduced IN CLEMENT GREENBERG, com/tippingpoint/; The Arctic Cycle, https://www.thearcticcycle.org/; Climate Reality Proj- ARTS AND CULTURE: CRITICAL ESSAYS 3, 19 (1961). ect, https://climaterealityproject.org/blog/10-musicians-taking-climate-crisis; https://www. climaterealityproject.org/2018-annual-report; Extinction Rebellion, https://extinctionrebel- 41. Bill McKibben, High ice and hard truth: the poets taking on climate change, THE GUARDIAN (Sep. lion.uk/2019/10/21/creative-rebellion-arts-and-culture-highlights-from-international-rebel- 12, 2018), describing poets Aka Niviana and Kathy Jetnil-Kijiner’s shouting a poem high on a lion-london/; https://extinctionrebellion.uk/category/arts-culture/; https://journalofmusic. melting Greenland glacier, https://www.theguardian.com/environment/2018/sep/12/high-ice- com/news-uk/music-arts-and-climate-protests; http://www.artofprotest.com/extinction-re- hard-truth-a-poetry-expedition-to-greenlands-melting-glaciers-bill-mckibben. See also: BILL bellion-a-poem-on-climate-change/; Mel Evans, How Activists Made the Art World Wake Up to the MCKIBBEN, FALTER: HAS THE HUMAN GAME BEGUN TO PLAY ITSELF OUT? 44-45 (2019): Climate Crisis, FRIEZE (Feb. 11, 2020); Kristine Liao, 6 Pieces of Climate ‘Activism’ That Will Make You

26 27 Stop and Stare, GLOBAL CITIZEN (Oct. 29, 2020); Wikipedia, https://en.m.wikipedia.org/wiki/ A Holocaust Art Exhibit, http://www.english.illinois.edu/maps/holocaust/art.htm Climate_change_art; Tempestry Project, https://www.tempestryproject.com/; Bioneers, https:// Art by Japanese Americans Segregated and Incarcerated in U.S. Camps and Centers During World War II; bioneers.org/engaged-arts/?gclid=EAIaIQobChMI9ovtqYPB7gIVUFXVCh2ssQ7zEAAYAiAAE- Artistic Expression: Japanese Internment, gIGt_D_BwE. http://oberlinlibstaff.com/omeka_hist244/exhibits/show/japanese-internment/art; Patricia Leigh Brown, At Detention Camps and Shelters, Art Helps Migrant Youths Find Their Voices, NY 48. Enrique Martinez Celaya, The Prophet, 59 PSYCHOLOGICAL PERSPECTIVES 157 (June 7, TIMES (Jul. 19, 2019), https://www.nytimes.com/2019/07/19/arts/art-detention-centers-mi- 2016, Issue 3); Interview by Chris Hedges, On Contact: Artist as Prophet (May 13, 2017) ,https:// grants.html. www.commondreams.org/views/2017/05/29/artist-prophet. For discussion of terminology, e.g., “incarceration” instead of “internment,” see https://den- 49. KIERAN A. O’HARA, CAVE ART AND CLIMATE CHANGE (2014); Megan Flynn, Oldest sho.org/terminology/. known cave paintings yield big surprise: Neanderthals may have been the first artists, WASH. POST. (Feb. 23, 2018); D.L. Hoffman et al., U-Th dating of carbonate crusts reveals Neandertal origin of Iberian cave On February 4, 2021, President Biden issued an Executive Order on Rebuilding and Enhancing art, 359 SCIENCE 912–915 (Feb. 20, 2018); Storm King Art Center, https://stormking.org; Maya Programs to Resettle Refugees and Planning for the Impact of Climate Change on Migration. Lin, Wavefield; see: Maya Lin, Interview by Rebecca Gross, NEA ARTS MAGAZINE (Issue 2011, For artistic works about migration, see, e.g., Phillips Collection, The Warmth of Other Suns: Stories No. 4); Madison Square Park in New York City plans an exhibition by Maya Lin in 2021 entitled “Ghost of Global Displacement (2019), https://www.phillipscollection.org/event/2019-06-22-warmth- Forests,” to show the ravages of climate change on woodlands, https://www.madisonsquarepark.org/ other-suns-stories-global-displacement; Platform on Disaster Displacement, When Art Meets mad-sq-art/maya-lin-2021; see also Robin Pogrebin, Maya Lin to Conjure Dying Trees to Make a Politics: Art,Climate, Disasters and Displacement at COP 25 (Dec. 9, 2019) (presentation of Coalition Point, NY TIMES (Nov. 11, 2019), https://www.nytimes.com/2019/11/11/arts/design/maya-lin- for Art and Sustainable Development [COAL] prize to artists Lena Dobrowolska and Teo madison-square-park.html; Andy Goldsworthy, Storm King Wall. Ormond-Skeaping for their project, You never know, one day you too may become a refugee), https:// disasterdisplacement.org/art-meets-politics-cop25; Crossing Footprints, Footprint Modulation: art, 50. HENRY DAVID THOREAU, WALDEN (1854); EDWIN MATTHEWS,LITCHFIELD COUNTRY climate and displacement (2015), https://crossingfootprints.com/footprint-modulation/. JOURNAL: NOTES ON WILDNESS AROUND US (2018). 57. James Baldwin, The Artist’s Struggle for Integrity (1963), in JAMES BALDWIN, THE CROSS OF 51. RACHEL CARSON, SILENT SPRING (1992); How Can I Keep from Singing, https://en.wikipe- REDEMPTION: UNCOLLECTED WRITINGS 50 (2010). dia.org/wiki/How_Can_I_Keep_from_Singing%3F. 58. Pope Francis, Laudato Si (2015), which seeks to create a new synergy between religion, 52. THEODORE GEISEL, THE LORAX (1971); Nathaniel J. Dominy, Sandra Winters, Donald E. science, and social policy. See also: Veerabhadran Ramanathan, Solving the Climate Change Problem: Pease & James P. Higham, Dr. Seuss and the Real Lorax, 2 NATURE ECOLOGY & EVOLUTION 1196 Alliance Between Science, Religion & Policy, THE LUMEN INSTITUTE FOR CATHOLIC THOUGHT (2018); Colin Barras, ‘I speak for the trees’: Could this monkey be Dr. Seuss’s Lorax?, NATURE NEWS (May 19, 2016); Monsignor Marvelo Sãnchez Sorendo & Veerabhadran Ramanathan, Pursuit of (Jul. 23, 2018); JoAnna Klein, Who Was the Real Lorax? Seeking the Inspiration for Dr. Seuss, NY TIMES Integral Ecology, SCIENCE (May 12, 2016). (Jul. 23, 2018); ANTOINE DE SAINT-EXPÉRY, THE LITTLE PRINCE, ch. 21 (1943). “One sees clearly only with the heart. What is essential is invisible to the eye.” Id. 59. See: Sabine Roeser, Behnam Taebi & Neelke Doorn, Geoengineering the climate and ethical chal- lenges: what we can learn from moral emotions and art, 23 CRITICAL REVIEW OF INTERNATIONAL 53. Descendants of the Nuclear Age, in JOHN DANIEL, OF EARTH 28 (2012) (poem for David). AND SOCIAL PHILOSOPHY 641-658 (Nov. 21, 2019), https://www.tandfonline.com/doi/full/1 0.1080/13698230.2020.1694225. On “assisted evolution,” see: ELIZABETH KOLBERT, UNDER 54. An online search of the term “inner wilderness” will turn up various references. For a recent A WHITE SKY: THE NATURE OF THE FUTURE 63-139 (2021); HENRY T. GREELY, CRISPR and apt mention of the connection between the outer wilderness and one’s inner wilderness, PEOPLE: THE SCIENCE AND ETHICS OF EDITING HUMANS (2021). see: Brooke Williams, Post-Election Walkabout, 8 WEST MARIN REVIEW 117, 119 (2018). 60. T. Allan Comp, From Environmental Liability to Community Asset: Public History, Communities, and 55. Kenneth Rexroth, The Visionary Painting of Morris Graves, PERSPECTIVES USA #10 (Winter Environmental Reclamation, ch. 11 in JAMES B. GARDEN & PAULA HAMILTON (EDS.), THE OX- 1955), reprinted in KENNETH REXROTH, WORLD OUTSIDE THE WINDOW: THE SELECTED FORD HANDBOOK OF PUBLIC HISTORY 207 (2017); T. Allan Comp, Welcome to the AMD&ART ESSAYS OF KENNETH REXROTH (1987). Project in Vintondale, Pennsylvania, https://amdandart.info/tour_vintondale.html; Erik Reece, Reclaiming a Toxic Legacy Through Art and Science, ORION (2007), orionmagazine.org/article/re- 56. Art in Nazi Concentration Camps Memorial and Museum, Auschwitz-Birkenau, claiming-a-toxic-legacy-through-art-and-science. http://auschwitz.org/en/museum/historical-collection/works-of-art; Art During the Holocaust, Jewish Women’s Archive, 61. Rachel Carson, National Symphony Orchestra Speech (1951), in RACHEL CARSON, https://jwa.org/encyclopedia/art-during-the-holocaust; LOST WOODS: THE DISCOVERED WRITING OF RACHEL CARSON 88 (Linda Lear Ed., 1998).

28 29 62. UPTON SINCLAIR, THE JUNGLE (1906). See: Arlene Finger Kantor, Upton Sinclair and the Pure (2013); LUCILLE LANG DAY & RUTH NOLAN (EDS.), FIRE AND RAIN: ECOPOETRY OF CALI- Food and Drugs Act of 1906, 66 AM. J. PUBLIC HEALTH 1202 (1976). FORNIA (2019); ELIZABETH J. COLEMAN (ED.), HERE: POEMS FOR THE PLANET (2019); ED- GAR ALLAN POE, EUREKA – A PROSE POEM (1848) (dedicated to Alexander Von Humboldt). 63. Abu Ghraib photographs, see e.g., https://original.antiwar.com/news/2006/02/17/abu-ghra- ib-abuse-photos/; FERNANDO BOTERO, ABU GHRAIB (2006); see, e.g., https://bampfa.org/ 67. Woody Guthrie, “This Land is Your Land” (1940). program/fernando-botero-abu-ghraib-series; SEBASTIÃO SALGADO Joni Mitchell, “Big Yellow Taxi” (1970). WORKERS (1993). Malvina Reynolds, “What Have They Done to the Rain?” (1962). Joan Baez, “Rejoice in the Sun,” from the film,Silent Running (1972). 64. Jane Hirshfield, “On the Fifth Day,” WASH. POST (Apr. 14, 2017), https://www.washington- Johnny Cash, “Don’t Go Near the Water.” post.com/posteverything/wp/2017/04/14/on-the-fifth-day/?utm_term=.4cbb8fed9b5 ; Jimmy Cliff, “Save Our Planet Earth” Terry Tempest Williams, “Erosion,” 10 WHITEFISH REVIEW (Issue No. 2, 2016); Pete Seeger, “Sailing Up My Dirty Stream” (1966). See: Kevin Desmond, Pete Seeger and the Hudson Elizabeth Herron, “Extinction,” Ship Clearwater, CLASSIC BOAT MAGAZINE (Nov. 2009). http://www.canarylitmag.org/archive_by_author.php?id=238; for her newest book, see ELIZA- Katharine Lee Bates (lyricist) and Samuel A. Ward (composer), “America the Beautiful,” https:// BETH C. HERRON, INSISTENT GRACE (2020); en.wikipedia.org/wiki/America_the_Beautiful. Mary Oliver, “Poem of the One World,” https://www.theodysseyonline.com/climate-change-favorite-poet; 68. Climate Music Project, http://www.theclimatemusicproject.com. Robert Hass, “The Problem of Describing Trees,” https://www.newyorker.com/maga- zine/2005/06/27/the-problem-of-describing-trees, in ROBERT HASS, TIME AND MATERIALS Songs About Climate Change: 10 (2007); https://spinditty.com/playlists/Songs-About-Climate-Change; Tracy K. Smith, “Watershed,” https://www.poets.org/poetsorg/poem/watershed, in TRACY K. Environmentalists in Song, http://www.planetpatriot.net/enviros_in_song.html; SMITH, WADE IN THE WATER (2018); Jeff Opperman and Wren Opperman, A Soundtrack for Earth Day, A Favorite Earth Song List—What Gary Snyder, “For the Children,” in Gary Snyder, Turtle Island 86 (1974); see also: GARY SNY- Are Yours? (Apr. 22, 2020), https://wwf.medium.com/a-soundtrack-for-earth-day-and-a-more- DER, MOUNTAINS AND RIVERS WITHOUT END (1996); youthful-alternative-4089a0f35714; Wendell Berry, “The Peace of Wild Things,” in WENDELL BERRY, THE PEACE OF WILD Doug Ramsey, The Role of Music in Environmental Education: Lessons from the Cod Fishery Crisis and the THINGS 25 (Penguin ed. 2018); see also: WENDELL BERRY, A TIMBERED CHOIR: THE SAB- Dust Bowl Days, 7 CANADIAN J. ENVIRONMENTAL EDUCATION 183 (Spring 2002); AARON S. BATH POEMS 1970–1997 (1998); ALLEN AND KEVIN DAWE (EDS.), CURRENT DIRECTIONS IN ECOMUSICOLOGY: MUSIC, DANIELA GIOSEFFI, WAGING BEAUTY: AS THE POLAR BEAR DREAMS OF ICE 6 (2017), CULTURE, NATURE (2016). https://forfatternesklimaaksjon.no/waging-beauty-as-the-polar-bear-dreams-of-ice/. 69. Juan Siliezer, Data Sonification turns images from space telescopes into tunes, THE HARVARD 65. KRISTIN GEORGE BAGDANOV, FOSSILS IN THE MAKING; Amy Brady, An interview with GAZETTE (Jan. 25, 2021), https://news.harvard.edu/gazette/story/2021/01/harvard-scien- Kristin George Bagdanov, CHICAGO REVIEW OF BOOKS (May 8, 2019), https://chireviewofbooks. tist-turns-space-images-into-music/?utm_source=SilverpopMailing&utm_medium=e- com/2019/04/23/fossils-in-the-making-uses-poetry-to-explore-how-climate-change-affects- mail&utm_campaign=Daily%20Gazette%2020210126%20(1). our-bodies/. 70. PAUL A. JOHNSGARD, CRANE MUSIC 5 (1991); see: BERNIE KRAUSE, THE GREAT 66. PERCY BYSSHE SHELLEY, A DEFENSE OF POETRY (1821), available at ANIMAL ORCHESTRA: FINDING THE ORIGINS OF MUSIC IN THE WORLD’S WILD PLACES https://www.poetryfoundation.org/articles/69388/a-defense-of-poetry; see (2012); HENKJAN HONING, THE EVOLVING ANIMAL ORCHESTRA: IN SEARCH OF WHAT Sidney W. DeLong, The Poetry of Law, 58 J. LEGAL ED. 141 (2008). MAKES US MUSICAL (2019).

The Poetry Foundation has assembled a collection of poetry and the environment, https://www. 71. Kimmerer LaMothe, Dancing With the Standing Rock Sioux, PSYCHOLOGY TODAY (Sept. 30, poetryfoundation.org/collections/146462/poetry-and-the-environment. 2016). In a blog featured by the Poetry Foundation, poet Joyelle McSweeney describes “an Anthro- pocenic zone” she calls “the Necropastoral,” defined by the processes of “decay, vagueness, 72. Diana Movius, GLACIER: A CLIMATE CHANGE BALLET (2018), see https://vimeo. interembodiment, fluidity, seepage, inflammation, supersaturation,” https://www.poetryfoun- com/129677171; https://www.moveiusballet.org/glacieraclimatechangeballet. dation.org/harriet/2014/04/what-is-the-necropastoral. Karole Armitage and Paul Ehrlich, On the Nature of Things (2015), at the American Museum of Natural History; see: Katharine Brooks, This Dance Project Is Out To Prove Climate Change An Issue We See also: ACADEMY OF AMERICAN POETS, ENVIRONMENTAL POEMS. Can’t Ignore, HUFFINGTON POST (Mar. 25, 2015, updated Dec. 6, 2017); Jody Sperling, Time ANN FISHER-WIRTH AND LAURA-GRAY STREET (EDS.), THE ECOPOETRY ANTHOLOGY Lapse Dance (2020), https://www.timelapsedance.com/press; see: Nicole Loeffler-Gladstone,

30 31 These Choreographers Are Using Dance to Fight for Climate Action, DANCE MAGAZINE (Jul. 23, 2018) 81. For background on the famous photograph of President Teddy Roosevelt and John Muir, (“Movement can lay the foundation for a sense of connection with the earth”). see, e.g., https://www.nps.gov/yose/learn/historyculture/muir.htm. See also: Michael Brune, Pulling Down Our Monuments (Jul 22, 2020), https://www.sierraclub.org/michael-brune/2020/07/ 73. Destiny Arts Center, Jewels, https://www.youtube.com/watch?v=cLot_RWAIj8 (feature john-muir-early-history-sierra-club ; Lucy Tompkins, Sierra Club Says It Must Confront the Racism of includes a young dancer and friend, Grace Schafer-Perry, then at Berkeley High School, now at John Muir, NY TIMES (Jul. 22, 2020). Occidental College). See also: Albert Bierstadt Paintings at Marsh-Billings-Rockefeller NHP, 74. BARBARA EHRENREICH, DANCING IN THE STREETS: A HISTORY OF COLLECTIVE https://www.nps.gov/mabi/learn/historyculture/albert-bierstadt-paintings.htm. JOY 253 (2006). See: Joanna Stone, Environmental dance: listening to and addressing the big questions gently (2015), REFEREED PROCEEDINGS OF THE 2014 WORLD DANCE ALLIANCE GLOBAL 82. ANSEL ADAMS, SIERRA NEVADA: THE JOHN MUIR TRAIL (1938). SUMMIT, https://ausdance.org.au/articles/details/environmental-dance-listening-to-and-ad- Ansel Adams, The Role of the Artist in Conservation, 1975 Horace M. Albright Lecture in Conserva- dressing-the-big-questions-gently; Katherine Brooks, This Dance Project is Out To Prove Climate tion, https://nature.berkeley.edu/site/lectures/albright/1975.php. In his lecture, Adams stressed Change Is An Issue We Can’t Ignore, HUFFINGTON POST (updated Dec. 6, 2017) (describing Karole the link between art and action: “photography of the environment as a whole should be positive Armitage’s dance performance entitled, On the Nature of Things, at the American Museum of but truthful, revealing and discerning, and, above all, it should move people to constructive Natural History in New York; MARGARETTA K. MITCHELL, DANCE FOR LIFE: ISADORA action.” See also Celia Herron, Ansel Adams; Protecting the Environment with a Camera, DUNCAN AND HER CALIFORNIA DANCE LEGACY AT THE TEMPLE OF WINGS (1985) CHRISTIAN SCIENCE MONITOR (Aug. 6, 1981); (dance and photography); Robert Turnage, The Role of the Artist in the Environmental Movement (March 1980), reprinted on the AMELIA ROSE UNSICKER, USING DANCE TO COMMUNICATE ISSUES OF CLIMATE Ansel Adams Gallery website courtesy of the Wilderness Society from The Living Wilderness, CHANGE (2016), UC IRVINE ELECTRONIC THESES AND DISSERTATIONS, https://escholar- http://anseladams.com/ansel-adams-the-role-of-the-artist-in-the-environmental-movement/. ship.org/uc/item/64g2b4xs (“dance can poetically convey climate change,” p. 3). 83. ROBERT GLENN KETCHUM, THE TONGASS: ALASKA’S VANISHING RAIN FOREST 75. KIM STANLEY ROBINSON, THE MINISTRY FOR THE FUTURE 297 (2020); EDGAR ALLAN (1987). Ketchum’s active work with members of Congress led to the Tongass Timber Reform POE, THE MASQUE OF THE RED DEATH (1842); CAMILLE SAINT-SAËNS, DANSE MACABRE Act of 1990. See, e.g., Joel Reynolds, Conservation and Art Work, https://www.nrdc.org/experts/jo- (1874). el-reynolds/conservation-and-art-work-robert-glenn-ketchum.

76. David Maisel, The Mining Project, a series of photographs, http://www.davidmaisel.com/ Climate Visuals is a source of climate change photography. https://climatevisuals.org/; https:// works/the-mining-project/. climatevisuals.org/blogs/climate-visuals-proving-imagery-needs-embody-people-centred-nar- Robert Glenn Ketchum, http://www.robertglennketchum.com/. ratives-and-positive-solutions. Michael Light, http://www.michaellight.net. Garth Lenz, http://garthlenz.com. Examples of other photographs that have influenced public opinion and public policy include Mandy Barker, http://www.mandy-barker.com/about.php?gallNo=1. Migrant Mother by Dorothea Lange, which helped address issues of migrant labor during the Great Depression, and Napalm Girl by Nick Ut, which contributed to ending the Vietnam War. 77. Earthrise, by Apollo 8 Astronaut Bill Anders (Christmas Eve, 1968); see: Alex Scimecca, How One Apollo 8 Photo Changed the World, FORTUNE (Dec. 20, 2017); Land Arts of the American West, 84. Al Gore, An Inconvenient Truth, (2006); An Inconvenient Sequel: Truth to Power (2017). https://landarts.unm.edu; The Center for Land Use Interpretation, http://www.clui.org. Joe Gantz, The Race to Save the World, a documentary film (2020), for trailer and information,see: For Amanda Gorman’s poem “Earthrise” and video for the Climate Reality Project, see https:// http://www.theracetosavetheworld.com. See also: Not OK: A Little Movie About a Small Glacier at the yaleclimateconnections.org/2021/01/poet-amanda-gormans-earthrise-climate-change-video/. End of the World (about the lost Okjökull glacier in Iceland); Bud Ward, New “Meltdown” film: A different kind of Greenland ice documentary (Feb. 15, 2021) (describing “Meltdown” by Lynn Davis 78. On shocking photographs and image fatigue, see, e.g., SUSAN SONTAG, ON PHOTOGRA- and Anthony Lieserowitz), https://yaleclimateconnections.org/2021/02/new-meltdown-film-a- PHY 19–21 (1973). different-kind-of-greenland-ice-documentary/.

79. Thomas Moran’s paintings and William Henry Jackson’s photographs led to creation of 85. See, e.g, CHANTAL BILODEAU AND THOMAS PETERSON (EDS.), LIGHTING THE WAY: Yellowstone National Park, see: LANDSCAPE ART AND THE FOUNDING OF THE NATIONAL AN ANTHOLOGY OF SHORT PLAYS ABOUT THE CLIMATE CRISIS (2020), https://www.cbi- PARK SERVICE, lodeau.com/books; Climate Change Theatre Action, http://www.climatechangetheatreaction. https://www.nps.gov/museum/exhibits/landscape_art/art_founding_NPS.html com/. See also: ANDREW BOVELL, WHEN THE RAIN STOPS FALLING (2010).

80. Nina Strochlic, We Have a Painter to Thank for Yellowstone, NATIONAL GEOGRAPHIC (Apr. 2016). 86. https://bullittcenter.org/vision/message-from-denis-hayes/. For his interview with

32 33 ADDITIONAL REFERENCES: ART AND THE ENVIRONMENT

Nevada Center for Art + Environment, http://www.nevadaart.org/ae/. The Crossroads Project, http://www.thecrossroadsproject.org. See also: Joe Palca, Climate Scientist Tries Arts to Stir Hearts Regarding Earth’s Fate, https://www.npr.org/2015/02/16/386064582/climate- scientist-tries-arts-to-stir-hearts-regarding-earths-fate. The Arts, Environment & Humanities Network at the University of Arizona, http://www.environment.edu/ae-network. Tim Hollo, Key Change: The role of the creative industries in climate change action (2015) (influential article by Australian musician, with references), GREEN MUSIC AUSTRALIA, ANU College of Law, Australian Research Council. Lesley Duxbury, A Change in the Climate: New Interpretations and Perceptions of Climate Change through Artistic Intervention and Representation, 2 WEATHER, CLIMATE, AND SOCIETY 294 (2010). Mort Rosenblum (text) and Samuel James (photographs), Range Wars: A copper rush sparks last- ditch battles for Arizona’s soul, HARPERS (Sept. 2018). Climarte, https://climarte.org. KQED, Art and the Environment, https://www.pbslearningmedia.org/collection/art-and-the-environment/. The Climate Museum, http://www.climatemuseum.org. Museums and Climate Change Network, https://mccnetwork.org. Museums and Climate Change: A Global Response, Eric Zhang, Source, 2019, photograph https://www.aam-us.org/2018/04/23/museums-climate-change-a-global-response/. Andrew Simms, Why climate action needs the arts, THE GUARDIAN (Jun. 3, 2015) (“For some, perhaps, art may be a hammer with which to shape reality, for others it’s a window opening on the Architectural Record, see: https://www.architecturalrecord.com/articles/14557-inter- a world in a compellingly new way”), view-with-earth-day-organizer-denis-hayes. See also: https://www.earthday.org/about-us/. https://www.theguardian.com/environment/2015/jun/03/why-climate-action-needs-the-arts?C- MP=share_btn_link. 87. https://www.eli.org/award-dinner. For recent articles on artists, writers, and the environment, see, e.g., 88. https://crcl.columbia.edu/. See also: Editors, AN rounds up our favorite climate change books of https://www.huffingtonpost.com/2014/07/155/environmental-art_n_5585288.html; 2018, THE ARCHITECTS NEWSPAPER (March 26, 2018), https://www.archpaper.com/2018/03/ BARBARA C. MATILSKI, FRAGILE ECOLOGIES: CONTEMPORARY ARTISTS’ INTERPRETA- an-favorite-climate-change-books-2018/. TIONS AND SOLUTIONS (1992) Earth Matters: Land as Material and Metaphor in the Arts of Africa, https://africa.si.edu/exhibits/earthmatters/environmental.html; Bill McKibben, What the 89. Mark Gunther, Foundations Are Losing the Fight Against Climate Change, CHRONICLE OF warming world needs now is art, sweet art, GRIST (Apr. 22, 2005), https://www.grist.org/comments/ PHILANTHROPY (Feb. 2018). soapbox/2005/04/21/mckibben-imagine/; Art, Science, and Technology Exhibitions at the Alyce De Roulet Williamson Gallery, http://www.williamsongallery.net/artsci/; Amy Brady, Mysteries past and present in “Waiting for the Night Song,” an interview with author Julie Carrick Dalton (Feb. 10, 2021) (“fiction has a role to play in conveying climate narratives, making the crisis feel per- sonal, prompting change, and making room for hope,” quoting Dalton), https://yaleclimate- connections.org/2021/02/mysteries-past-and-present-in-waiting-for-the-night-song/?ct=t(E- MAIL_CAMPAIGN_DAILY_021721).

34 35 COMMUNICATIONS AND COLLECTIVE ACTION PROJECTS ENVIRONMENTAL ORGANIZATIONS

Yale Climate Communications project, http://www.climatecommunication.yale.edu. Earthjustice, https://earthjustice.org/, will celebrate its 50th anniversary in 2021. For a timely es- Annenberg Public Policy Center project on the science of science communications, http://www. say by Earthjustice’s current President on its work on the climate emergency, see Abigail Dillen, annenbergpublicpolicycenter.org/science-communication. Litigating in a Time of Crisis, in Ayana Elizabeth Johnson & Katherine K. Wilkinson (eds.), ALL Alan Alda’s Center for Communicating Science, https://www.aldacenter.org. WE CAN SAVE: TRUTH, COURAGE, AND SOLUTIONS FOR THE CLIMATE CRISIS 51 (2020). Conservation Psychology Institute, Antioch University, CPI Webinar Series: Creating a Conser- For a synopsis of the work done by Earthjustice in its Northern Rockies Office, which includes vation Movement, https://www.antioch.edu/new-england/event/webinar-creating-a-conserva- important and effective litigation involving mines and lawless extraction, see https://earthjus- tion-movement/. tice.org/about/offices/northern-rockies. Tim Preso, a brilliant lawyer and former reporter, is the Redmap (“Range Extension Database and Mapping Project”), an interactive project that enables managing attorney for that office. See https://earthjustice.org/about/staff/timothy-preso. and invites Australians to share sightings of marine species that are uncommon to their local seas, http://www.imas.utas.edu.au/community/citizen-science/citizen-science-lbs/citizen-sci- The Earthjustice Council is an advisory group separate from the Board, see https://earthjustice. ence/redmap. org/about/earthjustice-council. Tom Turner tells the story of the vital work and history of Earth- Coal + Ice: Inspiring climate action through art and ideas, https://coalandice.org. justice and its predecessor, the Sierra Club Legal Defense Fund, in TOM TURNER, WILD BY Maine Center for Coastal Fisheries, which seeks to protect and sustain ocean resources through LAW: THE SIERRA CLUB LEGAL DEFENSE FUND AND THE PLACES IT HAS SAVED (1990); collaboration of fishermen and their communities, JUSTICE ON EARTH: EARTHJUSTICE AND THE PEOPLE IT HAS SERVED (2002); and ROAD- https://coastalfisheries.org. LESS RULES: THE STRUGGLE FOR THE LAST WILD FORESTS (2009). The Earth Institute, http://www.earth.columbia.edu. Alliance for Climate Education, https://acespace.org/. Environmental Law Institute, https://www.eli.org. With funding from the National Science Center for Climate Change Communication, https://www.climatechangecommunication.org/. Foundation, the Environmental Law Institute organized three recent workshops for about fifty Climate Central, http://www.climatecentral.org/. scientists, journalists, and lawyers. After participating in those workshops as well as writing New York City Environmental Justice Alliance, http://www.nyceja.org. Note to the Next Generation, 28 ENVIRONMENTAL FORUM (Nov./Dec. 2011), and Communi- Kyle White, Critical Investigations of Resilience: A Brief Introduction to Indigenous Environmental Studies cating Scientific Uncertainty: A Lawyers Perspective, 45 ENVIRONMENTAL LAW REPORTER & Sciences 147 DAEDALUS 136 (Spring 2018), in issue entitled “Unfolding Futures: Indigenous 10159 (2015), I am convinced that imaginative projects such as EXTRACTION: Art on the Edge Ways of Knowing for the Twenty-First Century.” See: https://www.mitpressjournals.org/toc/ of the Abyss are necessary to raise the glorious ruckus the project envisions. daed/current. IESS is an emerging field that includes attention to moral relationships of respon- sibility, spirituality, and justice. Ecojustice, https://www.ecojustice.ca, formerly The Sierra Legal Defence Fund, established in Robert J. Zimmer, Eric D. Isaacs, Robert Rosner, and Arthur Lupia, Communicating Scientific Facts Canada, with the significant help of The Sierra Club Legal Defense Fund. in an Age of Uncertainty, 70 AMERICAN ACADEMY OF ARTS & SCIENCES BULLETIn 16 (Spring Earth Island Institute, http://www.earthisland.org. 2017). Earthworks, https://earthworks.org RICHARD HAYES and DANIEL GROSSMAN, A SCIENTIST’S GUIDE TO TALKING WITH Extreme Energy Extraction Collaborative, http://www.stopextremeenergy.org, and recent sum- THE MEDIA: PRACTICAL ADVICE FROM THE UNION OF CONCERNED SCIENTISTS (2006); mit, http://www.stopextremeenergy.org/upcoming_summit. Union of Concerned Scientists, https://www.ucsusa.org/. The Center for Humans and Nature, https://www.humansandnature.org. National Wildlife Federation, https://nwf.org.;Montana Wildlife Federation, https://montanaw- ildlife.org. PHILANTHROPY Greater Yellowstone Coalition, http://www.greateryellowstone.org. Southern Utah Wilderness Alliance, https://suwa.org . Alexis Frasz, Funding at the Intersection of Art and Environment, Grand Canyon Trust, https://www.grandcanyontrust.org. https://www.giarts.org/article/funding-intersection-art-and-environment-field-scan. 350.org, https://350.org. The Robert Rauschenberg Foundation’s Art + Environment Program, Sierra Club, https://www.sierraclub.org. https://www.rauschenbergfoundation.org/grants/art-grants/art-environment. Climate Readiness Institute, http://www.climatereadinessinstitute.org. Kresge Foundation, see https://kresge.org. Sustainable Conservation, https://suscon.org. See also the list of funders of the Nevada Center for Art + Environment, http://www.nevadaart. Green Science Policy Institute, http://www.greensciencepolicy.org. org/ae/. The Center for Law, Energy & the Environment, Leonardo DiCaprio Foundation, https://www.leonardodicaprio.org/projects/climate-change/. https://www.law.berkeley.edu/research/clee. The Codex Foundation The Trust for Public Land, https://www.tpl.org/. http://www.codexfoundation.org. American Tribes: “Conversations with the Earth: Indigenous Voices on Climate Change”

36 37 https://www.si.edu/Exhibitions/Conversations-with-the-Earth-Indegenous-voices-on-Climate- on Human Resources, U.S. Senate, 95 th Congress, First Session, on S. 717 (pp. 178-2225, Change-4647. Gordon M. Miner, Vice President of Hecla Mining Co.; Laurence Casteel, Division Manager, St. Artists for Countdown is a project of the Fine Acts Foundation and Countdown, a collaboration Joe Minerals Corp.; Langan Swent, Vice President-Engineering, Homestake Mining Co.; and of TED and Future Stewards, https://fineacts.co/countdown. Edward A. McCabe, Hamel, Park, McCabe & Saunders, accompanied by Robert W. Long, Earthday.org, https://www.earthday.org/. Deputy General Counsel, American Mining Congress presented opposition testimony and a section-by-section analysis of the bill. These interests opposed being combined with the coal mining industry among other grounds, including, e.g., “The American Mining Congress is REFERENCES REGARDING FELIX TRAYNOR, 1871–1924 opposed to the imposition of any mandatory penalties” (p. 210), and concern expressed by Mr. Swent about the provisions relating to inspections and investigations and how best to conduct Baptized: November 10, 1871, Clonduff Parish, County Down, son of Roger Traynor and Ellen “well-organized and successful mine evacuations” (p. 218). McConville. John A. Breslin, One Hundred Years of Federal Mining Safey and Health Research, Information Circular Marriage to Elizabeth O’Hagan: Salt Lake City Herald, Apr. 30, 1899. 9520, Centers for Disease Control and Prevention (Feb. 2010), https://www.cdc.gov/niosh/min- ing/UserFiles/works/pdfs/2010-128.pdf. Admission to U.S. Citizenship: Salt Lake City Herald, Jun. 7, 1900. For the story of Congresswoman Jeannette Rankin’s Fight to Make Mines Safe for Democracy Dray wagon advertisement: The Park Record, Aug. 2, 1918. and speech in Butte, Montana, on August 18, 1917 criticizing the safety and labor practices of the Anaconda Copper Mining Company, after a disaster in which 168 miners died and the sur- Obituary: The Park Record, May 30, 1924. viving miners went on strike, see: https://history.house.gov/Blog/2017/October/10-18-Rankin- Mines/. Life expectancy of a man according to a statistical source: 39.41 years in 1870, 58.16 years in 1925, and 78.81 years in 2020. See https://www.statista.com/statistics/1040079/life-expectancy- Miners’ Hospital: https://www.visitparkcity.com/listing/miners-hospital/16092/. united-states-all-time/. Ben Cater, Grassroots Healing: The Park City Miners’ Hospital, 78 Utah Historical Quarterly Ontario Mine: http://www.miningartifacts.org/Utah-Mines.html; https://parkcityhistory.org/ 304, 307, 322 (2010). mining/ontario-mine/. In 1963, when he gave the Baccalaureate Address at the University of Utah on June 9, 1963, enti- Photograph of the Ontario Mine: https://s22658.pcdn.co/wp-content/uploads/2019/04/mine- tled, “Many Worlds Times You,” my father recalled his childhood days in Park City: “It was a uncropped.jpg. lively town, where the news of the day spread quickly, though hardly a telephone had yet in- truded to improve its circulation. It resounded by day with the rumble of wagons laden with ore George Hearst: https://www.legendsofamerica.com/we-georgehearst/;https://hearstcastle.org/ from the great mines and met evening with candlelight and coal oil lamps and here and there an history-behind-hearst-castle/historic-people/profiles/george-hearst/; https://truewestmagazine. electric light. It was not freer than any other place from provincialism and prejudice and sudden com/article/who-was-the-real-george-hearst/. gusts of crowd hysteria, but it managed to accommodate the heterogeneous speech and ways of beliefs of people who had come from all over the world to call it home. I heard English in many Daly West mine, https://parkcityhistory.org/mining/daly-west-mine/. accents, eloquent phrases and coarse bits of speech, when I left Rossi Hill in the morning and climbed down to school from Mill Road to Swede Alley, over the China Creek bridge, and then Donovan Symonds, A Day in the Life of a Park City Miner, 1870-1900, https://www.facebook.com/ across Main Street, with many a detour along the way.” THE TRAYNOR READER 11, 12 (1987) theParkCityMuseum/videos/10155883579771322/. (collection of essays by Roger J. Traynor published by The Hastings Law Journal)

Mine Disaster: https://usminedisasters.miningquiz.com/saxsewell/daly_west_news_only.htm; https://www.usdeadlyevents.com/1902-july-15-daly-west-leadsilver-mine-explosion-and- asphyxiation-park-city-ut-34/.

In 1977, Congress enacted the Federal Mine Safety and Health Act of 1977 (MSHA). The Act and the penalty system are administered by the Department of Labor, see https://www.ecfr.gov/cgi- bin/text-idx?SID=f563151d4c4ee003f464fc78296bc3a8&node=pt30.1.100&rgn=d iv5. At the hearing on March 31, 1977, before the Subcommittee on Labor of the Committee

38 39 Felix Traynor, 1871–1924

Like many Irish immigrants who came to mining towns such as Butte, Montana, and Park City, Utah, my paternal grandfather, Felix Traynor, left Hilltown, County Down as a young man and came to Park City. In 1899, he married my grandmother (Elizabeth “Lizzie” O’Hagan), also from County Down. In 1900, he became a U.S. citizen, and their first child was born, my father Roger Traynor.

Felix Traynor was a hard rock silver miner. After his health deteriorated from tuberculosis (“miners’ consumption”) contracted in the mine, he ran a horsedrawn dray wagon with help from my teen-aged father. Park City’s newspaper, the Park Record, carried his brief advertisement, “It’s Your Move: Felix Traynor, the expert drayman, is specially equipped for moving pianos to any part of the city and also packing them for shipment. If you are moving back to town or contemplating going away, see Felix Traynor, Phone 188x. All kinds of transfer- ring done on short notice. Prices reasonable and satisfaction guaranteed.”

Felix Traynor died at age 52, a decade before I was born, in San Diego where he and my grand- mother had moved briefly to be in a warmer climate. His obituary remarked on his honesty and straightforwardness. Fortunately, I did get to know my grandmother who recited Irish poetry from memory, spoke with an Irish accent, cooked dumplings, and was a devout Catholic throughout her long life.

George Hearst had purchased the local Ontario Mine for $27,000 and extracted over $50,000,000 in silver ore from it. The Hearst fortune included interests in other mines such as the Anaconda Copper Mine near Butte, Montana, the Homestake Gold Mine in Lead, South Dakota, and the Comstock Silver Mine near Virginia City, Nevada. On a visit to the Park City Museum, I saw the Hearst family silver service on display, and imagined that my grandfather or miners like him helped mine that silver.

Miners worked long shifts in cold, damp, and unsafe conditions. In July 1902, 34 miners were killed in an explosion in the Daly West and Ontario Mines in Park City. According to a local history, “Mine owners forced miners to work long hours under dangerous working conditions, which precipitated serious or fatal accidents and illnesses.” The former Miners’ Hospital in Park City was erected in 1904 and by 1911 was treating more than one-thousand patients annual- ly. It is now a community center in what became a famous ski resort.

Extraction is not limited to mining fossil fuels and minerals, overdrafting aquifers, overfishing, clearcutting, and otherwise harming our physical environment. It includes extraction of labor from human beings under conditions that cause illness, injury, and early death.