Climate Change: A Different Subjectivity?
Author Taplin, Roslyn Ellen
Published 2015
Thesis Type Thesis (Professional Doctorate)
School Queensland College of Art
DOI https://doi.org/10.25904/1912/2777
Copyright Statement The author owns the copyright in this thesis, unless stated otherwise.
Downloaded from http://hdl.handle.net/10072/365822
Griffith Research Online https://research-repository.griffith.edu.au Climate Change: A Different Subjectivity?
ROSLYN ELLEN TAPLIN BSc (Qld), BA Hons (Macq) MEnvSt (Tas) MArtAdmin MArt (UNSW) PhD (Griff)
Submitted in fulfilment of the requirements of the degree of DOCTOR OF VISUAL ARTS Queensland College of Art Arts, Education and Law Griffith University February 2015 Illustration 1 Copenhagen Plenary, 2009, digital image
ii SYNOPSIS
The issue of first emerged as a focus in contemporary art practice in the 1970sthe environment . However, has climatebeen an area of change art assignifi a newcant directionfocus since inthe early 2000s environmental . As a creative art only intervention, it is a reaction to the global phenomenon of he build up of greenhouse gases in the Earth’s atmosphere, the urg t ent - need for greater diplomatic cooperation internationally and sustained domestic policies and programs to mitigate and adapt to climate change. This doctoral research explores the role of visual art in producing new
strategies to mediate the urgency of the climate change issue. My studio practice involving drawing, digital imagery, video and installation has been plaited with three lines of inquiry. First, how may contemporary art address speeches and reports associated with negotiations on climate change? Second, how may people living in
contribute to varyingmitigating climate change impacts via their multiple efforts? Third, i localities and communities across the globe s it possible that climate change art may contribute to subjectivity within viewers some realisation of future implications an altered of climate etandhics of inaction? change and the My approach has been transdiciplinary and experimental. My transdiciplinary inquiry has drawn on aspects of the current international climate change political and policy making process, together with climate science and modelling developments and findings-
about Earth-ocean-atmosphere impacts. My experimental focus has
iii involved analysis of the political discourse associated with
. Discourse analysis is a lens and experimental climate changeapproach I have employed looktherefore beneath the text of an climate change speeches and scientific publications . I to explore meanings shared , generating a critical visual analysis of the global discussion taking place.
Text incorporation in my studio practice has involved use of dialogue selected mainly from United Nations climate change speeches but also from scientific papers and UN Intergovernmental Panel on Climate Change reports. I have highlighted discourses that are directed towards enabling climate change mitigation action – the discourses that have been often ignored and politically obstructed. My practice has developed with drawing at its core but also includes the forms of digital imagery, video and installation. With climate change as the central focus, I have intended my creative contributions as a personal, intellectual and political intercession – an ethico-aesthetic mediation in the production of subjectivity about climate change.
I have considered social learning of community members and the importance of polycentric local action as Ostrom advised. I have argued that transdisciplinary and experimental
Consequentlyvisual arts contributions may have a role in speaking to spectators and in turn eliciting personal and potentially community responses. Using perspectives drawn from Deleuze and Guattari, as interpreted by O’Sullivan in relation to contemporary art, it can be argued that climate change art has the p to open up new possibilities for perceiving and to contribute to aotential new minor literature and a new subjectivity. Climate change art op- erates on the cusp of the future and its of key cultural significance.
role is and environmental iv STATEMENT OF ORIGINALITY
This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself.
(Signed)______
Roslyn Ellen Taplin
v Illustration 2 Oxfam bears at COP15, 2009, digital image
vi TABLE OF CONTENTS Pages
Synopsis iii v Statement of Originality List of Illustrations viii Acknowledgements x xii Acknowledgement of Published Papers
PART I
Chapter 1 Climate Change, Ethico Aesthetics &
Transdisciplinary Inquiry- 2
PART II Chapter 2 Art & Language 22
Chapter 3 People, Policy & Politics in Future 32
Chapter 4 Contemporary Climate Change Art Climates 52
PART III
Chapter 5 Towards a Different Subjectivity 56
BIBLIOGRAPHY 68
vii LIST OF ILLUSTRATIONS
Illustration 1 Copenhagen Plenary, 2009, digital image Illustration 2 Oxfam bears at COP15, 2009, digital image Illustration 3 Sidney Nolan Drought, 1953, oil, gold paint on paper, 25.1 x 30.1 cm
Chapter 1
Illustration 4 Helen Harrison and Newton Harrison Peninsula Europe: The Force Majeure, 2007-8
Chapter 2
Figure 1 * Kathy Barber Here Today, 2005, installation, neon, solar panel, cabling and battery Figure 2 Kathy Barber Here Today, 2005, detail Figure 3 David Buckland and Amy Balkin Ice Text, 2007, video-still Figure 4 Greg Pryor Black Solander, 2005, detail installation, black ink on black sugar paper Figure 7 Copenhagen 2009 #1 2010, mixed media on paper, 81 x 93 cm Figure 8 Copenhagen 2009 #2 2010, mixed media on paper, 81 x 93 cm
Chapter 3
Figure 2.1 Eleanor Rhode and Vikki Peter Climate Change Timeline 2011, digital print in 2 parts, 21 x 28 cm Figure 2.2 Jean-Pascal van Ypersele AR5 Synthesis Report to be Dedicated to Steve Schneider’s Memory, 2010, digital image
* Figures 5 and 6 not included as completed prior to DVA candidature.
viii Chapter 4
Fig. 1 Adriane Colburn Up from Under the Edge 2009, installation, paper, aluminium, inkjet prints, video, mylar and mirrors, 335 x 550 cm Fig. 2 Gondwana Sensitivities 2013, video-still
Chapter 5
Illustration 5 Vincent J.F Huang Modern Atlantis 2013, installation, aquarium, fish, coral, sculpture miniatures, from Destiny‧Intertwined, Tuvalu Pavilion, Venice Biennale Illustration 6 Red rock beach #1, 2010, Indian ink and crayon on paper, 100x187 cm Illustration 7 Durban 2011 #1, 2012 and Durban 2011 #2, 2012, Indian ink and crayon on paper,76x102 cm ,
Illustration 8 inlandsis, 2015, installation , Indian Ink, ancient ink, natural chalk and pumice primer on sugar paper, 250x250 cm detail Illustration 9 Warrie, 2014, phemeral field installation detail, Springbrook National Park, Border Ranges, south-eeastern Qld, 2014, digital image
ix ACKNOWLEDGEMENTS
Completing this doctoral project would not have been possible without the help of many people. I am very grateful to my supervisor, Professor Ross Woodrow, Deputy Director, Queensland College of Arts, Griffith University for his support, beneficial advice and creative critical input and insights during all phases of my research. Also I am appreciative of the help provided by Dr George Petelin who contributed to the intellectual atmosphere that allowed my initial
to evolve. theoretical ideas for the research From my time as a Master’s student at the College of Fine Arts (COFA), University of New South Wales and more recently, several of the staff there have provided on-going encouragement and motivation. These have included Peter Sharp, Gary Carsley and Wenmin Li during my Masters studies. They set me on the path that has culminated in this visual arts doctoral research. More recentl , Louise Fowler Smith
y - , Directorhas provided mu of COFA'sch valued Imagingfriendship and the Land Internationalinspiration. Research Initiative,
I also wish to express a great deal of appreciation to my long-term mentors and friends, Ann Henderson-Sellers and Ken Walker, who have backed me and encouraged me in all my research endeavours over many years. Also I am very grateful to former Bond University colleagues, Ned Wales and Lynne Armitage for their support and interest.
Finally, I would like to thank my family. I am most grateful to them for constantly supporting me in many different ways throughout this undertaking: James Cresser (for always giving loving support),
x Paul Taplin (for his wonderful generosity a spacious studio at St Peters for me to work in, and ongoing help with in providing practical studio assistance and exhibition installations), Stephanie Tighe (for her constructive appraisals and video editing advice and collaborations) and Matthew Amery (for his musical inspiration), and Jeffrey Tighe and Minji Kwon (also for very helpful discussions, productive critique and studio assistance).
Illustration 3 Sidney Nolan Drought, 1953, oil, gold paint on paper, 25.1 x 30.1 cm
xi ACKNOWLEDGEMENT OF PUBLISHED PAPERS
Included in this thesis are papers in Chapters 2, 3 and 4 of which I am the sole author. The bibliographic details/status for these papers are:
• Chapter 2: ‘Art and language: Using text art to relay concerns over climate change’, Studio Research, #0, 2011, 41-49. Copyright © 2011 Studio Research: Queensland College of Art, Griffith University, Brisbane, Australia.
• Chapter 3: ‘People, policy and politics in future climates’, in A. Henderson- Sellers and K. McGuffie (eds) The Future of the World’s Climate, Elsevier Science, Amsterdam, 2012, 29-46. Copyright © 2012 Elsevier B.V., Amsterdam, Netherlands.
• Chapter 4: ‘Contemporary climate change art as the abstract machine: Ethico-aesthetics and futures orientation’, Leonardo, 47(5), 509- 510. Copyright © 2014 Leonardo: The International Society for the Arts, Sciences and Technology, Oakland, California, USA.
(Signed) ______(Date)______
Candidate: Roslyn Ellen Taplin
(Countersigned) ______(Date)______
Supervisor: Professor Ross Woodrow xii PART I CHAPTER 1 CLIMATE CHANGE ETHICO-AESTHETICS & TRANSDISCIPLINARY INQUIRY
2 Copenhagen
Queues stretched through the cold 2009 Copenhagen winter’s morning to the Bella Center in recently revitalised Ørestad, the city’s sustainable urban quarter. United Nations (UN) officials, diplomats, delegation members and journalists were given priority over delegates such as myself categorised as civil society. The UN climate conference was about to open. Once inside the building in the entry foyer after queuing for more than an hour, I reached the top of the line only to be told that my admission was not yet permitted. I couldn’t face the Northern European cold outside so I decided to wait indoors although there was an absence of seating in the foyer seemingly intended to dissuade loiterers through discomfort. Some others like me who had been turned away were patiently standing together in groups, or alone - as I was. A young African woman with a backpack stood slightly apart from her colleagues looking wistfully at a very large wall installation incorporating the COP15 logo that concealed the main entrance. I started to use my camera to document the scene.
Gaining entry finally took two more long hours, after re queuing, negotiating passport and paperwork checkpoints, being snapped for - photo ID, undergoing x ray security clearance and queuing again to shed winter at a coat check- . I then started to explore the vast event layout of layersplenary conference halls, large and small meeting rooms for side events, country delegation offices, organisation exhibition booths, internet hotspots, coffee bars, cafes and gathering points. TV monitors in every new space upcoming meetings. Security was at a premium. OI entered displayed informationver 24,000 on participants attended the two week process of COP15, the 15th annual Conference of the Parties to the UN Framework Convention on Climate Change (UNFCCC) from 7 18 December 2009 (UNFCCC 2009). Heads of
- 3 state and delegates from around the world gathered at the event chaired by Connie Hedegaard, then Danish Climate and Energy Minister.
As well as being part of plenary audiences (Illustration 1), I was there to hear the many presenters at side events. A little overwhelmed by the scale of the meeting on that first day, I was deliberating at one point about what to attend s next, when I saw in the distance a small group of Oxfam delegates moving through the crowd masquerading as polar bears. They held placards that read poignantly ‘Act now: save humans’ and ‘Warning: five days to save humans’. I decided to follow them. Eventually stopping, they performed a cumbersome circle dance waving their cardboard signs. Bystanders cameras including mine focussed on the bears to record their actions and messages (I' llustration 2).
Apart from these Bella Center activities, across Copenhagen, Denmark and Europe many counterpart conferences, seminars, green industry trade shows and environmental activist events were staged. A major march and protest was effected in central Copenhagen on the sixth day of the climate meeting, Saturday 12th December, that demonstrated the significance of the COP and the civil society aspirations for the remainder of the conference. Signs held by an estimated 100,000 marchers included ‘There is no planet B’ and ‘Nature doesn’t compromise’ (UNEP 2009).
Major art events, in tandem with the COP were held Scandinavia and the United Kingdom (UK). A Nordic visual arts , exhibitionin , RETHINK – Contemporary Art & Climate Change was shown across four galleries
, and formed an official cultural backdrop to COP15 in(Witzke and Hede 2009) Copenhagen while in the UK, The Royal Academy’s response, an exhibition, Earth: Art of a changing world incorporated 4 work from 34 leading contemporary artists internationally (Soriano, Buckland and Devaney 2009).
COP15, held more than six years ago, was a major attempt by the UN with Denmark as host to reach global agreement on action on climate change. The meeting has been deemed unsuccessful in achieving the aspirations for cooperation that had been hoped for (see e.g. Phelan 2010) but COP15 has had its legacies. It attracted the world’s attention. 115 heads of state and 194 countries/parties attended the event (UNFCCC 2009). This was a greater number of leaders of countries including major powers, attend any UN environmental meeting – even the famed UN Conference on Eing than in nvotherironment and Development in 1992 or its follow up Rio+20 in 2012. Importantly, scientific concerns about the impacts of climate change v- oiced at COP15 in Copenhagen attracted significantly more international and political focus than had occurred previously. Subsequent climate COPs media have not had the same profile but the UN and international efforts to mitigate climate change are continuing.
Climate change knowledge
Scientific understanding of the greenhouse effect started more than a century before COP15 with the work of
Arrhenius pioneeringwho recognised the phenomenon in Tyndall (1861) and th the 19subsequently century. (1896) This was followed with further landmark contributionsHowever it was not until the 1980s that atmospheric scientists became by Callendar (1938; 1961) and Keeling (1960; 1998). seriously concerned about the potential impacts of carbon dioxide and other greenhouse gas emissions. At a conference in Villach, Austria in 1985, organised by the United Nations Environment Programme, the World Meteorological Organisation and the International Council of Scientific Unions, a clarion call was issued by atmospheric scientists to political leaders (WMO 1986): 5 As a result of the increasing concentrations of greenhouse gases, it is now believed that in the first half of the next century a rise of global mean temperature could occur which is greater than any in man's [sic] history…While some warming of climate now appears inevitable due to past actions, the rate and degree of future warming could be profoundly affected by governmental policies on energy conservation, use of fossil fuels, and the emission of some greenhouse gases. (UNEP/WMO/ICSU 1985)
Three years later, the Intergovernmental Panel on Climate Change (IPCC) was formed in 1988 to bring together and synthesise knowledge from research on climate science, impacts and response strategies in a format useable by policymakers. Parallel work commenced by lawyers to draft an international agreement, eventuated in the climate convention being launched for signing at the 1992 Rio Earth Summit. The international agreement finally came into force in 1994. It has become collectively accepted by nations across the globe with 194 ratifying countries (UNFCCC 2014). The annual climate COP series commenced in Berlin in 1995 and the treaty’s operative organ, the Kyoto Protocol which provides mechanisms for reducing greenhouse gases1 was adopted in 1997 and has been in force since 2005.
The science of climate change is well understood notwithstanding doubters (Oreskes and Conway 2010) challenges by climate. A s eries of exceedingly detailed scientific and media skepticism 1 These mechanisms are Emissions Trading, Joint Implementation and the Clean Development Mechanism. The six major greenhouse gases that the Kyoto agreement was designed to mitigate are: carbon dioxide (CO2), methane (CH4), nitrous oxide (N2O), hydrofluorocarbons (HFCs), perfluorcarbons (PFCs) and sulphur hexafluoride (SF6). 6 reports has been progressively released by the IPCC (1990, 1995, 2001, 2007, 2013/2014) that have summarised over the last 25 years scientific findings and scholarly understanding of the effectiveness , or lack of human driven responses. The IPCC’s 2013 Working Group 1(, Summary for Policymakers () Stocker et al. 2013) advises:
Warming of the climate system is unequivocal, and since the 1950s, many of the observed changes are unprecedented over decades to millennia. The atmosphere and ocean have warmed, the amounts of snow and ice have diminished, sea level has risen, and the concentrations of greenhouse gases have increased (p.2)…Human influence on the climate system is clear (p.13)…Limiting climate change will require substantial and sustained reductions of greenhouse gas emissions. (p.17)
Care is taken in the IPCC Working Group I summary, to explain the degree of scientific confidence about the likely impacts. Climate change is not just a phenomenon of the future.
Theby scientistslatest on impacts attributed IPCC Working Group II impacts, adaptation and to climate change researched vulnerabilityis discussed in the 2014report . (IPCC 2014) Despite the work of IPCC scientists and the international cooperative efforts between nations resulting in the establishment of the UN climate treaty instruments, climate change has become recognised as a ‘wicked problem’ (e.g. Rayner and Prins 2007, p.v; Crowley 2009; Bennett 2011, p.3), as involving ‘super politics’ (Crowley 2013), and even is said to be a prototypical example of a
‘super wicked problem’ (Levin et al. 2012, p.124) having the
7 features of:
…time is running out; those who cause the problem also seek to provide a solution; the central authority needed to address them is weak or non-existent; and irrational discounting occurs that pushes responses into the future. Together these features create a tragedy because our governance institutions and the policies they generate (or fail to generate) largely respond to short-term time horizons even when the catastrophic implications of doing so are far greater than any real or perceived benefits of inaction. (Levin et al. 2012, p.124)
Levin et al. (2012) suggests that to address climate change, concerted interventions are needed ‘…to consciously and proactively initiat[e]… learning processes.’ (p.147).
Inquiry questions
The scientific and policy issues associated with climate change overviewed above have been central to my practice as an artist in recent years as well as my scientific focus for over two decades. In undertaking this particular body of doctoral research, three central questions have driven my investigation:
§ How may contemporary art address and interpret the massive amount of words associated with negotiations on climate change?
8 §
Second, how may people living in varying localities and communities across the globe contribute to mitigating § Is it possible that climate change art may contribute to climate change impacts via their multiple efforts?
an altered subjectivity within viewers and some realisation of future implications of climate change and the ethics of inaction? My research process has involved appraisal of discourses embodied in scientific papers, policy documents and UN speeches i.e. consideration of the communication of knowledge in spoken and written responses about climate change. These have been supplemented by digital photographic documentation of meetings, fieldwork, my notebooks, drawings (e.g. illustration and writing). I have used these to generate and support lines of inquiry to reconceive and represent climate change challenges in my . artwork My project is positioned among the many responses to the issue. Degrees of concern about climate change have influenced, and are continuing to guide the development of domestic as well as international policies and programs in multiple ways. The basis of this policy response is information generated via scientific research.
Political rhetoric, economic values and beliefs, and social realities also influence climate change policy development and implementation. Visual interpretations of climate
What is the significance of climate change to artists - or why have artists engaged with climate change? Climate defines the reality of the local environment that humans live in and the weather they experience - hot and cold, wet and dry, storm and calm. Artists of the past have certainly responded to its impacts. Aboriginal concerns about specific climatic changes are evident in Indigenous rock art dating back to 20,000 9 years ago in the Kimberley region of Western Australia (Luntz 2001). The elements or forces of weather also have been evident in past European art (see e.g. Poulsen and HolmApocalypse 2009). Created at the end of the 15thRevelation century, Durer’s series of 15New woodcuts, Testament (1496-1498) illustrate John’s (c. 95-96 AD) text and the consequences of divine intervention in the weather of flooding, famineThe and flood fire (Poulsen 2009). Another religiously inspired artwork, OldLorck’s Testament woodcut,Book of Genesis (c.1550-1551), depicts destructive floods from the ’s, account (Poulsen 2009).The Artists’ hunters in the snowresponses to actual weather events in Europe include Bruegel’s (1565) which is thought to have been created as a reaction to an unusually harsh winter in the period now referred to as the Little Ice Age (14th - mid 19th century) (Mann 2002).The Other frozen works Thames, representing looking eastwards this cold towardsperiod in Old Europe London are Hondius’sBridge, London paintings, A frost fair on the Thames at Temple stairs, London (1677)The deluge and (1684). Martin’s (1834) appears to be religiously linked but also can be seen as an instance of the frequent storm and tempest themes represented in European 19th century art (Poulsen and Holm 2009). This preoccupation may have stemmed from the much colder weather conditions, extreme rain events, summer snowfalls and crop failuresWeymouth in Europe Bay after the Mt Tambora eruption in 1816 (Wood 2014). Constable’s (1816) depicts a looming storm (Wood 2014). Zerefos et al. (2014), using scientific analysis, argue that the changed atmosphere due toWoman the eruption in front can of the be seensetting in sunmany works from the periodRed sky such and crescentas Friedrich’s moon (1818) and Turner’s A view (1818). through Other three 19th of the century northwestern weather arches representations of the third include:story of the Eckersberg’s Colosseum. A thunderstorm is brewing over the city Rain, (c.steam 1814-1815) and speed – indicatingthe Great Western Rome’s Railwaythunderstorm tempests; and Turner’s (1844) addresses the limitsThe greatof technology wave at Kanagawain relation to nature’s impacts. Interestingly, Hokusai’s work, (c. 1831-1833), depicting thundering ocean waves as well as winter snow on Mt Fuji, shown in the Paris Exposition in 1867, caught the attention of European art audiences perhaps for its weather subject matter as well as Eastern stimulus (Sullivan 1989). TowardsRough weather the end at of Étretat the century, climate impacts continued to be a theme. Monet’s 10 (1883) is the artist’s reaction to turbulence of the seaStorm at a in popular the Skerries. resort 'The of the Flying time Dutchman' and Strindberg addressed severe weather in (1898). th esponses to the impacts of weather and climate also seen in mid 20 century art. Australian exaR mples include Drysdale’s Bushfirehave been (19 44) and Nolan’s - Drought (1953) (Illustration 3). Notwithstanding Australia’s extremes, artists from the United States were among the first to take up climate change as a theme and concern. Interestingly, Smithson said in an interview in 1970 that his Spiral Jetty (1970) earthwork installation is ‘intimately involved with the climate changes and natural disturbances’ (Getty Conservation Institute 2010). However, Helen Mayer Harrison and Newton Harrison must be acknowledged as the pioneer artists in addressing climate change. Their early work on the greenhouse effect in the 1970s, If this then that (The first four): San Diego as the center of the world (1974) predated
the Villach conference statement, in proposing the need for future planning. Working from scientific understanding in art-science
Illustration 4 Helen Harrison and Newton Harrison Peninsula Europe: The Force Majeure (2007-8) 11 collaborations, they have continued their focus on the issue over four decades (Ingram 2013). Their 2008 London exhibition Greenhouse for Britain: Losing ground gaining wisdom explored the warming in Europe with Peninsula Europe: The Force Majeure impacts of(20 07 2 2008) (Illustration 4) (Harrison and Harrison 2011). -
Concern about climate change has arisen in contemporary art practice since 2000 (Buckland 2001; more markedlyKnebusch 2007; Buckland 2012). Collaborative art projects between scientists and artists as well as many exhibitions on the theme have evolved as a response (Jasanoff 2010; Miles 2010; Gabrys and Yusoff 2012; Giannachi 2012; Brown 2014).
I have reviewed selected climate change artists’ and curators’ work, projects and exhibitions in Chapters 2 and 4 but many artists and curators have been recognised for their climate change fomorecus in recent years. For example, Haubitz and Zoche for their Lighthouse Project (2007) in Copenhagen waterknowsnowalls (2009), Tea Mäkipää for her
Atlantis (2007) project on sea level rise in Denmark and Finland, - Sayler and Morris for Albedo (2007 ) Canary Project, Chris Drury for his controversial University of Wyoming - and theCarbon Sink (2011) installation eventually dismantled by university authorities due to political pressure, United Visual Artists for their High Arctic (2011) project, Bayly, Corby and McKenzie for their Southern Ocean Studies (2009 2011) Antarctica themed project, Katie Paterson for her
Langjökull, Snæfellsjökull, Solheimajökull- (2007) work addressing glacial melt in Iceland, Janine Randerson for Cascade (2009 2011), her arctic migratory birds video installation, Helen Evans and Heike Hansen - for Nuage Vert (2008) laser cloud installation over a Finnish power and their 2 Commissioned by the European Union. 12 plant (Miles 2014; Brown 2014). Also RMIT Gallery, Melbourne, staged
2112: Imagining the Future, an international exhibition curated in 2011,by Linda Williams on ‘…general anxieties about an uncertain future and public concern about the consequences of climate change’ (Williams 2011); this followed from her 2008 Heat: Art and Climate Change pioneering exhibition curated with Suzanne Davies and Sarah Morris (Chapter 2) (Williams et al. 2008). In Scotland, Reiko
Goto’s, Tim Collins’ and Chris Malcolm’s CO2 Edenburgh: Spirit in the Air (2013) project, following from the Eden3 project, launched during the Edinburgh Festival involved a collaboration between artists, curators, performers, IT specialists, and technologists with equipment for CO2 gas sensing to raise questions about ‘…the real carbon costs of an international festival’ and ‘…the role of critical art practices in imaging different paths through our collective climate future.’ (Collins and Goto Studio 2013). limate change artwork continues to evolve.
For example, in Australia, C ART+CLIMATE=CHANGE 2015, a festival of climate change related arts and ideas including over 20 curated exhibitions will be staged in Melbourne in April and May 2015 (Climarte 2015).
Climate change art is an exploratory and creative intervention into the political (Wynne 2010; Adger et al. 2013). It is a reaction to the global phenomenon of the build up of greenhouse gases in the Earth’s atmosphere, - the need for greater diplomatic cooperation internationally and more sustained the consequent changes in climate, and s domestic policies and programs. Although some early work in the field stems from the 1970s, arguably it is a 21st century art form and as argued in Chapter 4, a new minor literature in Deleuze and Guattari’s (1988) terms or a minor art practice (O’Sullivan 2005). The fusion of visual art and climate science in much of the work crystallises a different subjectivity (cf. O’Sullivan 2010) to mediate the climate
13
changeTwo issue. key ideasAs Gibbs emerging (2014) … has are observedthe ability about of arts-science climate change art: collaborative practice to engage diverse publics, and to ‘do’ social, cultural and political work. In the contemporary context of climate change, these functions become particularly important for understanding and developing new responses to changing environments
. (p.210) My approach to arts science research and studio practice is introduced
- . in the following section Transdisciplinary/experimental approach
My creative inquiry has involved both a transdisciplinary approach (Bennett 2011; Wise 2013) and an experimental focus (Bennett 2011). These are outlined below. Transdisciplinarity Wise (2013) has referred to the meaning of terms such as transdisciplinarity in relation to creative arts education as being ‘mercurial’ (p.197) and warns sagely about the dangers of hyperdisciplinarity (and also hyperspecialisation) (p.200). In an earlier paper on transdisciplinary research, I have reflected on trandisciplinarity in relation to environmental research questions and argued that it is best implemented with:
...integration of the specialist methods and techniques of the traditional disciplines – both sciences and social sciences – to provide research outcomes and insights... Selection of the disciplinary perspectives starts with the impacts of the environmental problem. Broader contexts are then selected on the
14 basis of relevance to the policymaking setting and stakeholders. (Taplin 2003, p.1)
Although, this was not written from a visual arts viewpoint, I believe my engagement in visual arts research has synergy with both my past transdisciplinary experience and much in common with Bennett’s (2011) perspectives on transdisciplinarity in the visual arts. I have attempted to explore, as Bennett describes, ‘…the complex relationships involved in seeing, responding, defining, framing and responding…[to the]…social boundaries and conventions.’ (pp.1,3).
Experimental focus M
uch recent climateiles (2014) change work in theclimate change b visual arts arguablyeing experimental is experimental.i.e. part of art’s ‘not M many other fields, or an expanded field’ (p.13) that refers to ‘…cannot be helpfully separated fr- om political critique or cultural discourse’ (p.14). He observes that ‘…the outcomes will be messy and uneven in efficacy’ (Miles 2014,
p.16). Bennett (2011, 2012a, 2012b) discusses the attributes of experimental work. She contends:
Experimental art today is increasingly concerned with the complex relationships involved in seeing, defining, framing and responding to pressing events. What is clearer today than in previous generations of research is that the aesthetic (in the fullest sense, encompassing the practical study of affect, sensation, perception, behaviour, imagination) is fundamental to any understanding of the connections between lifeworlds, disciplinary procedures and given
15 problems: the arts, in other words, are at the core of the transdisciplinary experiment. (Bennett 2011, p.3)
My experimental focus has involved observation in locations in Australia and internationally, and engagement with climate science and impacts knowledge, and analysis of the political discourse associated with policy responses. I have addressed discourse theory and analysis with Jeff McGee in a recent paper (McGee and Taplin 2014)3 where we adopted Dryzek’s (2005) approach. I have also used Dryzek’s (2005) perspectives in this visual arts research. He defines discourse as:
…a shared way of apprehending the world. Embedded in language, it enables those who subscribe to it to interpret bits of information and put them together into coherent stories or accounts. Discourses construct meanings and relationships, helping to define common sense and legitimate knowledge. Each discourse rests on assumptions, judgments, and contentions that provide the basic
3 I observe with Jeff McGee that discourse analysis is a: ‘…constructivist approach to research that investigates the varying ways actors talk about, understand and give meaning to the world (Jorgenson and Phillips, 2002, p. 1). Discourse theory is generally inspired by the work of Foucault (1972, p. 117), who described discourses as ‘relatively rule- bound sets of statements which impose limits on what gives meaning’. Foucault’s earlier work typically identified one dominant discourse in a particular time and place that conditioned not just agreement on meaning, but also the terms upon which meaning might be disputed (Dryzek, 2005, p. 22). This perspective provides that individuals are largely unable to ‘step back and make comparative assessments and choices across various discourses’ (p. 22). However, more contemporary forms of discourse theory depart from this perspective by adopting a ‘more conflictual picture in which different discourses exist side by side or struggle for the right to define truth’ (Jorgenson and Phillips, 2002, p. 13). Contemporary discourse theories recognise the ability of actors to reflect upon, and act as advocates for, particular discourses.’ (McGee and Taplin 2014, p.341). 16 terms for analysis, debates, agreements, and disagreements. (Dryzek 2005, p. 9)
Discourse analysis is thus a lens and experimental approach I have employed to look beneath the text of e climate change speeches and scientific publications to explore the shared meanings, ideas and understandings structured within them. My research interest in discourses has been because they may empower: ...in that actors may draw on existing dialogues to ‘subtly affect the content and weight of discourses’ within a given social structure … Discourses are not static, as over time coalitions of actors emerge with alternate discourses that contest and challenge even hegemonic discourses… This contestation leads to change in the discursive field, either through a dialectical merging of competing discourses, or the defeat of a competing discourse. (McGee and Taplin 2014, pp.356-357)
Thus, discourses may be powerful and gain acceptance, or ignored and politically obstructed.
There has been much use of text in the visual arts (Chapter 2). My methodological approach to text incorporation in this research differs somewhat as it has been based on discourse analysis underpinned by the theory referred to above. I have incorporated dialogue selected mainly from UN climate change speeches but also from scientific papers and the IPCC reports mentioned previously in this Chapter to highlight enabling discourses.
17 Exhibitions
Three solo during my doctoral candidature have outcomes from my studio work: shows exhibited
Vorsorgeprinzip? From Bali to Copenhagen,4 Tweed River Art Gallery, Murwillumbah, 1 April - 29 May 2011
Talking past each other ⎮ Drawings on climate change discourse POP Gallery, Woolloongabba, Brisbane, 15 – 26 May 2012
Climate change ⎮ A different subjectivity Silver St Gallery, St Peters, Sydney, 20 March – 2 April 2015
The latter exhibition is forthcoming. My practice has developed with drawing at its core but also includes digital imagery, video and installation. With climate change as the central focus, my creative contributions are a personal, intellectual and political intercession – an ethico-aesthetic mediation in the production of subjectivity about climate change.
Plaiting of studio practice and writing
This exegesis documents aspects of my thinking about climate change, contemporary art practice and influences on my creative processes. Part I has introduced my transdisciplinary and experimental orientations.
4 The term Vorsorgeprinzip was initiated in Germany and is also known as the ‘precautionary principle’ in English. It is a principle of environmental law that prescribes action in the face of scientific uncertainty.
18 The next section, Part II contains Chapters 2, 3 and 4 papers researched and written in parallel with my studio practice. - My writing, as such has been plaited with my art-making with both processes responding to, and reflecting each other (Krauth 2014). A selection of theoretical perspectives from the visual arts, philosophy and the political and policy sciences is incorporated within my papers. Alignments have arisen between these published papers and my practice – sometimes directly and at times indirectly.
Chapter 2, a paper published in 2011, discusses the use of text by visual artists, the signs and signifiers (e.g. Barthes 1985) arising from such use, and the use of text in my own creative work (‘Art and language: Using text art to relay concerns over climate change’, Studio Research, #0, 2011, 41-49). Chapter 3, published in 2012 as a chapter in a book, reviews the state of affairs at the beginning of the second decade of the 21st century, regarding climate change policy development and uses the theoretical of Ostrom (2010) and Milbrath (1989) to make contentions aboperspectivesut the possibilities for moving forward. The chapter informs the scientific and policy analytical influences on my practice (‘People, policy and politics in future climates’, in A. Henderson Sellers and K. McGuffie (eds) The Future of the World’s
Climate, Elsevier - Science, Amsterdam, 2012, 29 46). Chapter 4, published in 2014, discusses contemporary climate change art - as the ‘abstract machine’ with its ‘ethico aesthetics’ and ‘futures orientation’ (Deleuze and Guattari - 1988; Guattari 1989; O’Sullivan 2010) in the fusion of something new to mediate the urgency of the climate change issue the abstract machine: Ethico (‘Contemporaryaesthetics climateand futures changeorientation’, art as Leonardo, 47(5), 509 510). - -
19 Partstudio IIIpractice and Chapter and the research 5 complete this, and concluding discussio exegesis with reflectionsn of on my developments in climate change art.
20 PART II
CHAPTER 2 ART & LANGUAGE
‘Art and language: Using text art to relay concerns over climate change’, Studio Research, #0, 2011, 41-49.
22 RELAY CONCERNS OVER CLIMATE CHANGE CHANGE CLIMATE OVER CONCERNS RELAY LANGUAGE: AND ART demand arethinkofethics”. capitalism…continue tojeopardiseworld sustainability and human rights,globalwarming, rampantflows ofpredatory comments “…the interlinked flashpoints ofoil, energy, how indeedasanindividual, toengageandintervene”, and discusses artists’ responseson“…how how toact, tomobilise, themes (Hamilton2008,16–17). 47–48) Finnegan(2008, raised invisual-art responsesonoil,energy, andconflict anthropogenic responsibilityfor climate change have been culture atlarge” (Felshin, 1995, 23). Questionsofethicaland prevailing atagiven timeinboththeartworld andthe where art“practices[were] formed inresponsetoconditions environmental artaswell astrendsinthe1980s and1990s, goals. Theactivist dimensionhasconnectionsto1960s past decadehave beendriven by bothaestheticandactivist (Buckland, 2001). the public inthisissue, throughcreative insightandvision” project in2001theUK.Heargues that“artists canengage curator, who initiatedtheCape Farewell art climate-change responded, oneexample beingDavid Buckland, artistand ineff political responsetotheseissues, mosthave beensadly rainfall, droughtandbushfires. storm events andsurges, flooding,extremetemperaturesand 2007). Concerns over climate change include risingsealevels, 1991; 1996;impacts andadaptationresponses(IPCC, 2001; released reportsthatsummarise thescientificfindingsabout Intergovernmental PanelonClimateChange,scientistshave 1991, following theestablishment oftheUnited Nations Conference atVillach, Austria, in1985 (WMO, 1986).Since Meteorological Organisation/International Council for Science at thejointUnited Nations Environment Program/World atmosphere were firstbroughttoworld leaders’ attention Concerns over thebuildupofgreenhousegasesinEarth’s RESPONSES ARTISTS’ CHANGE: CLIMATE INTRODUCING Taplin Roslyn (BAN KI-MOON, 2009, ONLINE) 2009, KI-MOON, (BAN modern era…future Our beginstoday. Here inCopenhagen. negotiations thatcreated ourgreat United Nations…and builtour sheer sweep andconsequence, theyare asmomentousthe ambitious ever tobeundertaken by theworld community. In These talksinCopenhagen are amongthemost complex and ective. Inturn,visual artistsandcuratorshave strongly Works ofartmotivated by climate change over the While therehave beenvarying degreesofsocialand
USING TEXT ART TEXT USING
division Similarly, ofart. Selby observes: (2009) argues for textarttoberecognisedasanontological from anontological perspective. Inaccordwiththis,Beech argues for a“finer grainedrangeofcategoriesfor visual art” In TheBlackwell GuidetoAesthetics,AmieThomasson(2004) reflects: also He arrangements”. its of structure the in secondly and work the in language of presence actual the in over, first twice least at turn linguistic the in is]…embroiled [and 1960s the of art text waveof first the of logic substitutional the complexifying and “extending is today art text that argues 29) (2009, language asatool for communication” (2009, 7). art hasevolved toa“crucial questioningoftheviability notational”,direct, butargues that useoftextincontemporary that theuseoftextin1960s conceptualartwas “instructional, the 1960s. InArtandText, AimeeSelby (2009, 37) reflects conceptual-art movement thatoriginated intheUKduring The useoftextinartdatesback totheArtandLanguage ART CONTEMPORARY IN TEXT which willbediscussedindetail. discussion provides thecontextfor my own studiowork, recent exhibitions thatfocus onthetopic.Thisbackground and artthat incorporatetext, examples ofclimate-change use oftextinartmorebroadly, before discussingsome scientific reports.Thispaperbeginsby consideringthe of words agendas,speeches, generatedinthee-mails, and associated withthepolitics oftheissue—themassive amount to climate change ishow theyhave interpretedthelanguage makes itinteresting.(Beech 2009, 29–31) Post-Conceptual understandingofwhat artisand what Contemporary text artholds astrongplace withinour thinking onartandcontemporarytheoriesoflanguage… intersection ofcontemporaryphilosophy, contemporary Contemporary text artfindsitselflocatedatthe Beech Dave art, in text of place the considering In One compellingaspectofcontemporaryartists’ response
TO TO 41 STUDIO RESEARCH Issue #0 ...text art represent[s]...a fundamental conceptual CONTEXTUALISING TEXT: ARTISTS USING TEXT shift in art practices, wherein the production, motives Xu Bing, AR Penck, Simryn Gill, Annette Iggulden, George and intents of works may be seen to in part, or wholly, Gittoes, John Wolseley, and Nancy Spero are all artists who founded upon a linguistic basis. (2009, 7) use text in their drawings and paintings. Despite being created Beech (2009) proposes that text art embodies the three key in different cultural contexts and time periods, their work is aspects of contemporary art: the role of skill, deskilling, and connected because they all raise questions about language reskilling (Roberts 2007); the character of the work of art as itself. They interrogate text in differing ways, driven by a contingent object (Buskirk 2005); and inter-subjectivity varying political, cultural, feminist, social, and environmental (Bourriaud 2002). Beech concludes that the broader “...post- concerns. Before focusing on climate-change text art, it is Duchampian ontology makes text one of its key aspects worth briefly describing some of these artists works and especially with regard to the kind of skills, objects and social considering where they fall in Selby’s schema. relations that text involves” (2009, 31–32). Xu Bing explores the territory between writing and art This ontological perspective on image/text is in accord by using text in his installation pieces and works on paper. with my own practice in that I use glyphs (hand-printed and His calligraphic symbols, which superficially appear to written text), redeploying them as image-making devices. I be in the tradition of Chinese calligraphy, are “made-up” cannot claim singular authorship or ownership of my work characters or “Chinglish” (Chattopadhyay 2005). Collette as I appropriate text from climate change speeches and Chattopadhyay observes that Xu’s works that use this text, other sources on water needs, food security, and biodiversity such as Introduction to New English Calligraphy (2000), “… loss. Inter-subjectivity is apparent in my work as the text examine the relation between linguistic intent and subsequent appropriated from UN speeches, which are a substitute for understanding or misunderstanding” (Chattopadhyay 2005, action, is used as a medium to convey images of the impacts of 5). Taking another approach to language, Xu’s series of small inaction on climate change. drawings of mountainous landscapes (“landscripts”), created as part of the Project of the Helsinki Himalaya Exchange APPROACHES TO TEXT IN ART in 1999, are entirely executed in both modern and ancient While many have undertaken semiotic analyses of text in Chinese characters. These drawings, which use Chinese ink 42 artists’ works (Barthes 1967, 1972, 1977, 1985; Rylance, 1992; on Nepalese paper, represent the landforms and scenery of Roslyn Taplin Roslyn LANGUAGE AND ART Allen, 2003), in Art and Text (2009), Selby extends beyond mountains, rocks, trees, houses, and streams. They echo semiotic analysis by offering insights into the full range contemporary China’s links with its past cultural heritage and of possible relations between images and text including with its Himalayan neighbours. His work can be seen then to intertextuality and indeterminacy. She classifies and interprets fit within Selby’s “textuality” category. her survey of text in visual art in four ways: AR Penck’s oil paintings New System Paintings q text—“exploring what words can say, be and convey… (including Theory of Image—Image of Theory and Standard with resonances beyond the forms seeming immediacy” Theory—Standard Technique, both from 1973) use scientific (37); and mathematical symbols and text to communicate the q context—exploring text for “investigation of…broader oppression in East Germany during the Cold War, the notions of representation—whether the antagonisms of strictures of socialist society, and its impact on the individual. the social, political or biographical” (91); His paintings aim to transcend language and cultures. q semiotext—“dislocations of conventional meaning” are Raumöffnung (Spatial Opening) (2000) continues with created by artists “changing the relationship between the the use of letters and symbols, reflecting the tensions of linguistic sign and the image” (171); contemporary society and geopolitics. Thus, Penck’s use of q textuality—“the occurrences of…[texts’] fluctuation text fits into Selby’s “context” category. between opacity, its fluid state, its condition of Simryn Gill takes a postcolonial look at nineteenth- indefinability” with “multiple, deferred possibilities of and early-twentieth-century books that reflect British interpretation” (213). colonial power in Asia (Vali 2009). In her Pearls series As evidenced, Selby’s analytical framework goes further in (1999 onwards) strings of “beads” or pearls, as “layers delineating the range of possible relations between words of history”, are constructed from various books. A 2005 and images, showing that neither image nor text needs to work of 32 strands 75 centimetres in length is composed dominate; rather, they may be complementary, mutually of, and titled, The Angus and Robertson Atlas of the World contradictory, or incommensurable. In the next section, I will (Australia: Harper Collins 1992). Another 2005 work, which consider the work of several artists who use text in different has a parallel emphasis on the role of language, is composed ways, so as to illustrate how Selby’s framework manifests itself of, and titled, KM Pannikar Asia and Western Dominance in contemporary art. (London: Allen and Unwin, 3rd impression, 1953). In Gill’s
His drawing TheTransformation—Metamorphosis—Ka Bids: UNReport Includes Plansfor DirtyBombs,Nerve Gas”. title cutfromaNew York newspaper thatstates“IraqTerror a damagedhumanhead,drawn inpencil,withacollaged Zimbabwe. Hiscollaged drawing Fear.com (2002)depicts Cambodia, Israel,Palestine,Pakistan,Mozambique, and places ofconflictanddespair:Rwanda, Iraq, Afghanistan, Much ofthetextisdrawn fromhisdiarieskept ontripsto text tohighlighttheextremenatureofissues headdresses. environment, andfamine(Mendelssohn 2008,37). Heuses extends much further, covering humanrights,oppression, drawing. asa‘war artist’, Described Gittoes’s subject matter category. “textuality” Selby’s of that to close be to seen be can text of use Iggulden’s illegible”.Accordingly, superlegible—i.e. it make to order in written is what in returning continually written been has “palimpsest…what the with that saying palimpsest, the of illegibility the and writing illegible in body his and Réquichot in interest expresses 221) (1985, Barthes emphasis). original instrumentality), its in not Conrad’s Defoe’s Daniel including books, Forest at a particular site. Some ofhisworksat aparticularsite.Some commentonhuman from hisjournalsthatdocumentexperiencesofcamping drawn locationsandemploys fromremoteoutback textdrawn flora andfauna(Gri ffin 2008).Hissubject matterisoften watercolours, andinstallations,focuses ontheAustralian “context” category. Gittoes’s useoftext isbestclassified asbelongingtoSelby’s represent theUS andIraqmetamorphosed by war. Thus, two monstrousKa and theStatueofLiberty. Thisiscollaged over adrawing of photographic images oftheAmericanflag,TwinTowers, NY (2002)includes textthatrecordshisimpressionsover “ writes he when Semiography”, “Masson’s in observation (1985) Barthes’s with resonates This gender. to due silencing symbolise 2007, 76)—to (Iggulden ciphers” painted or alphabet the of script—“fragments illegible created also has She 2007, 67). (Iggulden women” of silencing historical “the society—particularly of members silenced the of plight the and language of aspects nonverbal the symbolise to series, 1363–1429 as such works, mixed-media and category. “context” Selby’s into falls arguably also text of Gill’suse 2008). (Storer branches and roots, flowers, leaves, become and species forest tropical to Species George Gittoes’s practiceincludes film,painting,and John Wolseley’s practice,which includes pendrawings, paintings her in text handwritten uses Iggulden Annette series (1996–98), strips and fragments of text from from text of fragments and strips (1996–98), series , appear in installation works where they are attached attached are they where works installation in appear , Lord Jim Lord (2005), which is part of the ‘The City of Ladies’ Ladies’ of City ‘The the of part is which (2005), for writing to manifest in its truth its in manifest to writing for , and Charles Darwin’s Charles and , aesque insectslocked inbattle,which it must be illegible be must it Robinson Crusoe Robinson Christine de Pisan: Pisan: de Christine The Origin of the the of Origin The …” (155, …”(155, , Joseph Joseph , (and (and a Barber presentsaneonlightintheshape ofthelowerscript- about theissue. mediums andapproaches butallconvey adefinite concern Balkin, andGreg Pryor. Theiruseoftexthasinvolved diff change include Kathy Barber, David Buckland andAmy absorb theoccasionalword orphrase. create images,buthaving theexpectationthatviewers may anticipating thatviewers willreadmuch ofthetextusedto James Stuart(2007, reflectsontextinartasnot 58–59) where hewrites: reactionbythis typeofsocio-political artistsinArtandText, change hasincreasingly focused onlanguage.Beech discusses In thelastdecade,artists’ andcurators’ responsestoclimate CHANGE CLIMATE ON ART IN TEXT and political concernsoftheirtimes. have beenprovoked torespondtheenvironmental, social, “semiotext”. Asevidencedintheir studiopraxis,theseartists or the socialandpolitical, ratherthanhercategoriesof“text” Selby’s categories,which reflecton “context” or“textuality” artists, onecanseethattheuseoftextisgenerally inlinewith related approach. concerns aboutvictims.Again, Spero’s work usesa“context” photographs anddrawings tocommunicateherpolitical territory (Birdetal.1996).Thework usedtextsurrounding the firstwoman executed intheNazi occupationofSoviet 1993 Whitney Biennial,Masha (1993), Buskina focussed on system’s rejectionofoutsiders.Her installationwork atthe humans andotherspecies,which representthepatriarchal texts, arrangedwithdrawing andcollaged appropriationsof Codex ArtaudXXIII(1972) depictstheFrench poetArtaud’s to women’s equalitybutthatinrealitysubjugates them. women areconfrontedby inasocietythatpays lipservice US experience.Sheusestexttohighlighttheissues that andpowerpolitical struggle relationsthatwomen inthe is relatedtoits“context”. rainforest plants. AswithPenck andGittoes,Wolseley’s work with theLatintermsandIndigenousnamesofnumerous with fragmentsofprintandplant material,andisinscribed Rainforest Tasmania (1994), which isawatercolour onpaper and hiswork onwood-chipping inTasmania, CoupeX considers theminingimpactsinPilbara,Western Australia, impacts, for example, WittenoomAsbestos (1988), Mine which In herinstallationHere Today figures1and2), (2005, artistswhoSome have usedtextintheirartonclimate we trytoresolve ourdiff we live, how we judge,how we feel, how we diff language—draws intoquestionsabouthow we think,how In aword, languageispolitical…an artmadeof While thissectiononly surveys alimitednumberof Nancy Spero’s work commentsonandanalyses the erences (Beech 2009, 27) er andhow ering 43 STUDIO RESEARCH Issue #0 written phrase “here today”, which focuses on the transience of human existence and the disregard for long-term impacts, such as climate change, on the planet. Buckland and Balkin’s video work Ice Text (2007, figure 3) was created on a Cape Farewell project expedition to the Arctic. Buckland (2008, online) explains the work:
We project video from the boat, a series of texts onto the glacier face. At times the image is swallowed up, disappearing through aeons of ice and then as we traverse the glacier it is reflected magically back with an electronic edge that gives the texts a living urgency.
The uppercase words Buckland and Balkin projected, “POSITIVE PURE TIME DISCOUNT RATE”, refer to Sir Nicholas Stern’s 2006 economic review of climate change and his concern about high rates of discounting in economic analysis driving global warming (Stern 2007). Buckland says they aimed to create:
…texts that bring into focus the state we are in, as the glacier continues its accelerated path towards total melt and oblivion… The texts projected onto ice are slogans
Figure 1 Kathy Barber Here Today 2005, installation featuring that appeal for an immediate emotional engagement with neon, solar panel, cabling, and battery climate. (Buckland 2008)
Pryor’s installation work Black Solander (2005, figure 4) is 44 compiled of thousands of botanical sketches, together with
Roslyn Taplin Roslyn LANGUAGE AND ART their scientific labels, of plant species found in Western Australia—the south-west of which is the Gondwanaland cradle of flowering plants. The work, all in tones of black, reminds the viewer that coal, as a fossil fuel, is sourced from plant life. These works use text with contrasting approaches: Barber interrogates our use of language via a contextual approach Figure 2 Kathy Barber Here Today (detail) whereas Buckland and Balkin and Pryor use text to anchor and relay—a semiotext approach.
RECENT EXHIBITIONS AND PROJECTS BASED ON CLIMATE CHANGE In recent years, curatorial responses to climate change have emerged in the UK, US, Denmark, Australia, and elsewhere. The aforementioned Cape Farewell project has brought artists, scientists, and educators involved with climate change together since 2001, initiating a series of expeditions to the Arctic to inform artists about climate-change impacts. Exhibitions that have developed from the project include Cape Farewell: Art and Climate Change, which was exhibited in 2006–8 (in London, Liverpool, Hamburg, Madrid, and Tokyo) and Earth: Art of a Changing World, which was exhibited from December 2009 to January 2010 at the Royal Academy of Arts, London, both of which were aimed “...to encourage debate, discussion and creative thinking and the role art can play on the relevance that climate change has Figure 3 David Buckland and Amy Balkin Ice Text 2007, video-still together withasymposium entitledCultures of Sustainability. 2008). Curatedby LindaWilliams, theexhibition was held and ClimateChange, heldatRMITGallery, Melbourne(Davies 1 My contributiontothe symposium paper:Taplin was theco-authored andTighe(2008). andCO regarding energy place concurrently withtheongoingpolitical manoeuvres on “theculturalandsocialshifts anddisplacements thattake andtheAlexandraInstitute,Copenhagen.Art, Its focus was Contemporary Art Center, Frie Den Center ofContemporary at theNational Nikolaj GalleryofDenmark, Copenhagen Copenhagen, 2009. Itinvolved concurrentlinked exhibitions to theFramework Convention in onClimateChange(COP15) throughout inresponsetothe15thConference oftheParties appearedinHeat(2008), . of my works onpaper, Fowlers #2 andPatonga Gap#2 (2008) from Australia, Iceland,New Japan, Zealand, andtheUK.Two and nations” (Artabase 2008).Theexhibition featured artists global issue connectingindividuals, localcommunities,cities pressing issues ofclimate change, andhighlighthow thisisa Heat gave internationalartists“theopportunitytoexposethe the cityofBoulderaswell asworks ofartinthegalleryitself. (Lippard 2007). Theexhibition included installationsaround which aimedto“...activate personalandpublic change” exhibition Weather Report: ArtandClimate Change (2007), artists for theBoulderMuseumofContemporary Art scientists, environmentalists, andperforming andvisual artists, including leadingandemerging internationalartists. Thelatterexhibition includedonline). work fromthirty on ourdaily lives” (Soriano, Buckland, andDevaney 2009, The diverse works presentedinRethink, many ofthem on black sugar paper, size not specified not size paper, sugar black on 4 Figure Rethink: Contemporary ArtandClimateChange was held Locally, 2008 saw a major Australian exhibition, In theUS, curator/writer LucyLippardbroughttogether Greg Pryor Pryor Greg Black Solander Black 2 emissions” (Witzke 2009, 9). (detail) 2005, black ink ink black 2005, (detail) Heat: Art
and and In them. deliver who those by intended sincerely not times at and ignored often are words The issues. change climate on conferences their at leaders UN and political of speeches platitudinous and symbolic the of ecology, aswell asinteriorsandstill-life studies. text tocreateimagesoftheAustralian regionallandscapeand or computer-generated textoftenseeninimage/text. Iuse climate scientists. Thisdiff emissions,aswarnedfor actiontoreducegreenhouse-gas by depict thecontrastsbetween political rhetoricandtheneed my art-making. Thewords flow intothework thatIcreateto food securityisthreatenedby climate change. ongoing productivity for theirfood supply andyet ourfuture Australian citiesaredependenton ruralagricultureandits used theland,establishing countrytowns for theirlivelihoods. years, andelsewhere settlersfromEurope have farmedand for Indigenouspeople andwhere, over thepasttwo hundred to createimagesoftherurallandscape,which hasclose ties aims topromptviewers toreflectonthis. taking actionwithregardtoclimate change. My studiowork ofprecautionortheperceptionthatwethe mythology are The discourseespousedby presentersarguably perpetuates Fowlers Gap#1andKinchega #2 , figures5and6respectively). the contentofpolitical speeches given atUNmeetings(e.g., involve handwrittenOften,my text. works have reflectedon UN ClimateConferences inBaliandCopenhagen. Theyall associated Australian climate impacts,andsomerefer tothe on paper. addressfossil Some fuel,itshistoricalusageand recent studiopracticehasinvolved threeseriesofdrawings As my responsetothepolitical rhetoriconclimate change, my PRACTICE STUDIO MY IN TEXT studio practicebuildsonthesefoundations. andcommunication.Asdetailedinthenextsection,myart, activist artisticpracticethathasemerged, which linksscience, aforementioned artists,indicatethekindofaestheticand theclimate” (Hansen2009,including “burdening 9). beyond our narrow, private circles” Museum 2009), (Louisiana that we must“consider problems andassume responsibilities viewer (Holm etal.2009, 4). Theexhibition communicated presentedworksDenmark, ofartaimingtoactively engagethe coastof Museum inHumlebækonthenorthernZealand represented by climate issues” (Witzke 2009, 16). challenges thatfaceusandfor handlingtheinformation crisis installations, revealed “diff #2 The images that I draw are constructed from the words words the from constructed are draw I that images The Printing orhand-writing thetext isanintegralpartof My work operatesonseveral semioticlevels. Iusetext Both thesecuratorialexamples, aswell asthe The exhibition TheWorld IsYours , heldattheLouisiana (2010, figures 7 and 8 respectively), I use the speech speech the use I respectively), 8 and 7 figures (2010, ers frommechanically produced erent strategiesfor meetingthe #1 2009 Copenhagen 45 STUDIO RESEARCH Issue #0 46 Figure 5 Roslyn Taplin Fowlers Gap #1 2008, mixed media on paper, 81 x 93cm
Roslyn Taplin Roslyn LANGUAGE AND ART
Figure 6 Roslyn Taplin Kinchega #2 2008, mixed media on paper, 100 x 187cm
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of Barthes1985, 16–20). of theissue ofclimate change (usingthesemioticdistinctions denotations andconnotationsofmeaningthatsignifyaspects in appropriatedtextassignifiers,Iaimtoconvey multiple depicting petrol bowsers, buildings,interiors,andlandscapes and willbefurtheraff are juxtaposedwiththelandscapethathasbeenimpacted fossil-fuel consumption anddependence.Inmy work they locations. TheserelicssignifythehistoryofAustralian discarded anddisused, while somearestillinuseremote in Australian countrysettlements andproperties—some are some ofmy Australian-based images.Old petrol pumpsstand venue. event’s the Center— Bella the of architecture indoor the frame to COP15 the at given (2009) Ki-moon Ban Secretary-General UN of 7 Figure I have alsointroducedimagesofpetrol bowser relicsto Roslyn Taplin Taplin Roslyn ected by impacts.By climate-change Copenhagen 2009 #1 2010, mixed media on paper, 81 x 93cm x 81 paper, on media mixed 2010, #1 2009 separate from society and environmental concerns would would concerns environmental and society from separate as studio my To see perspectives. and ties political and cultural with agent social a as position my of mindful am I Accordingly, sensibilities). social and political my by informed artist an am I (i.e., artist” “post-Cartesian the of characteristic being as describes 102–3) (2007, Roberts John that manner the in working 52–3), 2010, Sullivan 136; 2007, (Rose reflexive being as practice studio my consider I In a2005Artlinkeditorial,Stephanie Britton wrote: PRACTICE ART MY IN REFLEXIVITY around. (2005, 14) around. (2005, pressed intohelpingpopulationsturntheirattitudes ecological collapse [duetoclimate change],artisbeing barometer ofthehealthsociety. Inthefaceof The art…we produceasasociety has always beena 47 STUDIO RESEARCH Issue #0 48
Roslyn Taplin Roslyn LANGUAGE AND ART Figure 8 Roslyn Taplin Copenhagen 2009 #2 2010, mixed media on paper, 81 x 93cm
be to deny personal responsibilities. I acknowledge that I I am currently experimenting with reducing the number hope my works may influence viewers’ understandings and of words I use relative to illustrative drawing, the devices thus promote thinking and reflection about the political of illegibility and the palimpsest, and the use of scientific influences on the natural environment and sustainability, information on ecological resilience (e.g., cases of ecosystems i.e., in relation to leadership, power, politics, economics, and species lost, endangered, or threatened by climate social hierarchies, and cultures. However, I do not intend change). This reflects my growing interest in Selby’s image/ or expect to tell my audience what to think. I do not see text categories of context and textuality, rather than text and my work as belonging to the field of activism (see Felshin semiotext. Clearly, climate change is a serious issue that must 1995, 23–27) or propaganda. Felicity Fenner observes that be addressed locally and globally. Art can have some efficacy “being an aware artist is not the same as being an activist in influencing viewers about the need to act on the issue, as and the contribution of art is perhaps most telling at its most CSIRO scientist Simon Torok commented in Artlink: subtle and lateral” (cited in Britton 2008, 80). In discussing Climate change is an abstract concept. It is gradually Australian artist, Madeleine Kelly, whose work focuses on creeping up on us, almost unnoticeable. And that is where humanity’s relationship to nature, Tim Morrell (2008, 60) art and science can say more together than they can has commented, “Didactic ecological art is hardly necessary apart. Together, art and science can inspire an emotional now… Ideas once held by only a minority of particularly response, inspiring changes in our attitudes and well-informed and thoughtful individuals are now almost behaviour that ensure our landscapes survive… (2005, 17) universally discussed.” This is the territory that I aim to take up in my art—not to educate, but to reach out to viewers to elicit a personal response about climate-change issues.
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London: Iggulden, Annette.2007. “SilentSpeech.” asResearch: InPractice Approaches to 2009–10 Humlebæk,5September Art, January 2010. The World IsYours: ContemporaryArtshown Museum ofModern attheLouisiana Holm, AndersKold, andTineColstrup. Published inconjunctionwiththeexhibition Contemporary Art.” InTheWorld IsYours: ContemporaryArt,editedby Michael Hansen, Nils.2009.World “The IsYours: TheContemporary Viewed through Artlink 28,no. 1:16–17. FuelHamilton, Ian.2008.“Editorial: for Thought:Oil,Energy, Conflict andArt.” art_not_propaganda.html. how_to_make_a_diff The Ecologist, 16March. Accessed July 2010. 11, http://www.theecologist.org/ Griffiths, Jay. 2010. “Climate Change Needs Persuasive Not Art, Propaganda.” Griffin, Sasha. 2008.John Wolseley Landmarks II.Melbourne:CraftsmanHouse. 1:47–51. Finnegan, Ann.2008.“Hyperplexic, butNot Desalinated Scary.” Artlink28,no. Felshin, Nina.1995. Bay Seattle: ButIsItArt?:TheSpiritof Press. ArtasActivism. Davies andSarahMorrisattheRMITGallery, Melbourne,12September–18 October. the exhibition Suzanne Davies. 2008.Heat: ArtandClimateChange. Published inconjunctionwith English Today 81:5–10. Chattopadhyay, Collette. 2005.“Xu Bing:Calligraphy, LanguageandInterpretation.” MA: MITPress. Buskirk, Martha.2005.TheContingent Object of ContemporaryArt . Cambridge, http://www.resurgence.org/magazine/article2552-burning-ice.html. ———. 2008.“BurningIce.” Resurgence 249, July/August. Accessed 23May 2010. 2010. http://www.capefarewell.com/art/artists/david-buckland.html. Buckland, David. “Cape 2001. Farewell Artists:David Buckland.” Accessed 22May ———. 2008.“HandlingtheAdelaide Biennial.” Artlink28,no. 1:80–83. Accessed 26July 2010. http://www.artlink.com.au/issue.cfm?id=2540. Everyone’sBritton, Stephanie.Ecology: 2005.“Editorial: Business.” Artlink25,no. 4. Woods PressesduRéel. withMCopeland. Dijon:Les RelationalBourriaud, Nicolas. 2002. . Translated Aesthetics by SPleasanceandF Text, editedby AimeeSelby, Black 26–35.London: Publishing. Dog Beech, Dave. 2009. theWhole “Turning ThingAround:Text ArtToday.” InArtand Representation. Translated by Richard Miller. New York: HillandWang. ———. 1985. TheResponsibility of Forms: Essays Critical onMusic,Artand Collins. ———. 1977. Image-Music-Text. Translated by Fontana/ Stephen Heath.London: Cape. Barthes, Roland. 1972.Mythologies.Translated by AnnetteLavers. Jonathan London: Annette Lavers andColinJonathan Smith.London: Cape. Barthes, Roland. 1967. Writing Degree Zero.Translated &Elementsof Semiology by artabase.net/exhibition/808-heat. Artabase. 2008.“Heat:ArtandClimateChange.” Accessed 20July http://www. 2011. Allen, Graham. Routledge. 2003.Roland London: Barthes. REFERENCES University. candidate inVisual Arts,Queensland College Gri ofArt, ffith and Architecture, BondUniversity. SheisalsoaDoctoral & ProgramDirector, InstituteofSustainable Development Dr Roslyn Taplin isProfessor ofEnvironmental Management Heat: Art and Climate Change, curated by Linda Williams with Suzanne erence/culture_change/441147/climate_change_needs_persuasive_ October 1985.October Geneva: WMOReport No. 661. in ClimateVariations andAssociated Impacts,presentedatVillach, Austria, 9–15 on theAssessmentof theRole of CarbonDioxide andof other Greenhouse Gases World Meteorological Organisation. 1986. Report of theInternationalConference December. of Contemporary ArtandtheAlexandraInstitute,Copenhagen, 31October–27 Nikolajof Denmark, Copenhagen Contemporary ArtCenter, Frie Den Center Climate Change, Nordic Exhibition oftheYear 2009–2010, attheNational Gallery Published inconjunctionwiththeexhibition Rethink: ContemporaryArtand Witzke, AnneSophie,ed.2009. Rethink: ContemporaryArtandClimateChange. Culture 64(May–June): 125. Vali, Mutaza.2007. “SimrynGill:Perspectives.” ArtAsiaPacific:ContemporaryVisual Torok, Simon.2005.“PicturingClimateChange.” 16–17. Artlink25,no.4: 18–21. Tipping, Richard. 2007. TheWord “Editorial: asArt:Wordartorial.” Artlink27, no.1: edited by P. Kivy, Oxford: Blackwell. 78–92. ofArt.” Ontology “The InTheBlackwellThomasson, Amie.2004. GuidetoAesthetics, Sustainability Symposium, RMITUniversity, Melbourne,27September. Signals Communicated viaMediaStories.” PaperpresentedattheCultures of Taplin, Roslyn, andStephanie Tighe.2008.“Petrol PricesandClimateChange: Thousand Oaks:Sage. Sullivan, Graeme. 2010. asResearch: ArtPractice inVisualArts,2ndedition. Inquiry James.Stuart, 2007. “Text-art andInteractive Reading.” Artlink27, no.1: 58–61. November 2008–22March 2009. Cologne: Verlag derBuchhandlung Walther König. attheMuseumofContemporary Gill:Gathering Sydney,exhibition Art, Simryn 20 Storer,. Published Gill:Gathering Russell.inconjunctionwiththe ed.2008.Simryn Cambridge: CambridgeUniversity Press. Stern, Nicholas. 2007. TheStern Review: TheEconomicsof ClimateChange . change/. March http://www.bmoca.org/2007/09/weather-report-art-and-climate- 2011. Museum ofContemporary Boulder, Art, 14September–21 December. Accessed 22 with theexhibition Weather Report: Art &ClimateChange shown attheBoulder 49 STUDIO RESEARCH Issue #0 CHAPTER 3 PEOPLE, POLICY & POLITICS IN FUTURE CLIMATES
‘People, policy and politics in future climates’, in A. Henderson- Sellers and K. McGuffie (eds) The Future of the World’s Climate, Elsevier Science, Amsterdam, 2012, 29-46.
32 CHAPTER 4 CONTEMPORARY CLIMATE CHANGE ART
‘Contemporary climate change art as the abstract machine: Ethico-aesthetics and futures orientation’, Leonardo, 47(5), 509-510.
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Amy Balkin’s installation of letters, petitions and responses, Public smog: Earth’s Atmosphere as UNESCO World Heritage Preserve (2012) at dOCUMENTA 13 focused on human interference with the atmosphere. While at the 55th Venice Biennale, contributions from both the small island states of Tuvalu and the Maldives drew attention to their climate change predicaments. Vincent Huang’s installation Modern Atlantis (2013) Pavilion involved (Illustration: 5) in the newly added Tuvalu …[a] closed aquarium …[as] a metaphor for the earth’s ecosystem … [with] many miniatures of great artistic works…occupied by marine species after the sea level rises and famous museums sink into the ocean… [as] an artistic plan trying to break the boundary of art and connect political actions on universal climate changes. (Huang 2013). Also at Venice in 2013, Greg Niemeyer’s5 interactive bells installation, Polartide (2013) part of the Maldives Pavilion’s Portable Nation referenced the connections between sea level rise and oil prices, (Bryan- Wilson 2013). Jill Bennett in ‘Living in the Anthropocene’, her essay submission to dOCUMENTA 13 comments: The field of public art is now the entire earth system: land, ocean, and atmosphere…Ecology cannot be reduced to a 5 In collaboration with Chris Chafe, Perrin Meyer, and Rama Gottfried. 57 Illustration 5 Vincent J.F Huang Modern Atlantis 2013, installation, aquarium, fish , coral, sculpture miniatures, from Destiny-Intertwined, Tuvalu Pavilion, Venice Biennale 58 theme or the means for institutions to embrace climate as topic du jour [author’s emphasis]…greening gallery brands without addressing the ramifications of a radical shift…Ecological thought is changing the way in which our practices might operate in the future. Thinking ecologically means attuning, perceiving, and doing what we know how to do differently, in different spaces, dimensions, relationships. This is what it means to be in the midst of a paradigm shift… (Bennett 2012b, p. 347). As discussed in Chapter 3, social learning of community members and their polycentric involvements (Ostrom 2010) in local action may eventually result in bottom-up influences on government decision- making. Arguably transdisciplinary and experimental visual arts contributions also may have a role in speaking to spectators and eliciting responses (Milbrath 1989; O’Neill and Nicholson-Cole 2009; Ingram 2011; Levin et al. 2012, Bennett 2011). My research is positioned in this shift to a new environmental paradigm (Milbrath 1984; 1989) and the arts based politicised responses to climate change (Miles 2014; Brown 2014) that challenge the dominant social paradigm. Transdisciplinary inquiry process My transdiciplinary inquiry has involved observations of aspects of the spoken, written and visible features of the current international political and policy-making process, as well as engagement with knowledge regarding climate science and Earth-ocean-atmosphere impacts. As described in the preceding chapters of this exegesis, my lines of research investigation have focussed on: how may contemporary art address speeches59 and reports associated with negotiations on climate change; how may people living in varying localities and communities across the globe contribute to mitigating climate change impacts via their multiple efforts; and is it possible that climate change art may contribute to an altered subjectivity within viewers and some realisation of future implications of climate change and the ethics of inaction? Conducting this visual arts research, exhibiting works and addressing these questions has been a process and with much in common with the ‘messy and uneven in efficacy’ aspects of climate n iterative change art observ by Miles (2014, p.14) (referred to in Chapter 1). My understandings ofed the implications of climate science and impacts research have catalysed my field observations and studio practice. My work reflects on political and economic unwillingness to transform from reliance on fossil fuels globally and the lack of success of carbon mitigation attempts. Also my concerns about resultant extreme weather events, sea level rise, natural ecosystems exposure, fauna and flora impacts, human and food security vulnerabilities are intrinsic. Speeches I have heard, the climate conferences that I have participated in, and my discourse analyses have triggered my personal and ethical reflections and my studio projects outlined below. Reflections on the evolution of studio projects Work resulting from my research evolved into series of projects from 2010 to 2015 listed below and da etailed in Box 1: Copenhagen . These are Gondwana Schumacher Ice Red Rock Beach Warrie Eureka Toona Durban 60 BOX 1 STUDIO PROJECTS PROJECT WORKS Copenhagen Copenhagen 2009 #1, 2010, Indian ink and crayon on paper, 81x99cm 1, 2, 5, 7 Copenhagen 2009 #2, 2010, Indian ink and crayon on paper, 81x99cm 2 Copenhagen 2009 #3, 2011, Indian ink and crayon on paper, 58x80cm 2, 5 Copenhagen 2009 #4, 2011, Indian ink and crayon on paper, 58x80cm 2, 5 Mt Alford 2010-2012, Indian ink and crayon on paper, 81x99cm 5 Schumacher Awakening our relationship with food #2, Indian ink and crayon on paper, 81x99cm 2, 3 Awakening our relationship with food #3, Indian ink and crayon on paper, 81x99cm 2 Red Rock Red rock beach #1, 2010, Indian ink and crayon on paper, 100x187cm 4, 5 Beach Red rock beach #2, 2010, Indian ink and crayon on paper, 100x187cm 4, 5 Eureka Drawings, mixed media work, ephemeral field installation, Eureka, north- eastern NSW. Eureka #1, 2010-12, Indian ink and acrylic on paper, 50x70cm 5 Eureka #2, 2010-12, mixed media, 50x70cm 5 Eureka #3, 2010-12, Indian ink and acrylic on paper, 50x70cm 5 Eureka, 2010, video 7 Eureka Installation #1, 2010, digital image Eureka Installation #2, 2010, digital image Durban Durban 2011 #1, 2012, Indian ink and crayon on paper, 76x102cm 5 Durban 2011 #2, 2012, Indian ink and crayon on paper, 76x102cm 5 Gondwana Video segments recorded in Gibraltar National Park and Depot Beach, Murramarang National Park, NSW Gondwana Sensitivities, 2013, video 6 Gondwana Sensitivities #2, 2014, video 7 Ice Arctos: the rider of icebergs?, 2014, drawing, Indian ink, crayon, watercolour, masking tape on paper, 102x152cm 7 inlandsis, 2015, drawings in Indian Ink, ancient ink, natural chalk and pumice primer on sugar paper, alpaca yarn, 250x250cm 7 Warrie Ephemeral field installation, Springbrook National Park, Border Ranges, south- eastern Qld, 2014, video segments, digital photography, C-type prints, 21x30cm 7 Toona Installation, 2015, salvaged cedar doors, text in natural chalk and paint on blue sugar paper, books, toona australis seedlings, 290x750cm 7 Works exhibited prior to 2015: 1Jacaranda Acquisitive Drawing Award Exhibition, Grafton Regional Gallery, Grafton, October 29 – December 12, 2010. 2Vorsorgeprinzip? From Bali to Copenhagen, Tweed River Art Gallery, Murwillumbah, April 1–29 May, 2011. 3Marie Ellis OAM Prize for Drawing, Jugglers Art Space, Fortitude Valley, Brisbane, 5-19 July, 2011. 4Animals, People – A Shared Environment, Project Gallery, Queensland College of Art, Griffith University, Brisbane, 10 -13 July, 2011. 5talking past each other |drawings on climate change discourse, POP Gallery, Queensland College of Art, Griffith University, Brisbane, May 15–26, 2012. 6Balance-Unbalance 2013, Central Queensland University, Noosa, May 31 – June 2, 2013. 7Climate change ⎮ A different subjectivity, Silver St Gallery, St Peters, Sydney, 20 March – 2 April 2015 61 Illustration 6 Red rock beach #1, 2010, Indian ink and crayon on paper 100x187 cm and details 62 Taking petrol pumps and the Precautionary Principle (Vorsorgeprinzip) as a starting point (Chapter 2), I have discourses from political speeches at the UN, and landscapes at risk in drawingsoverlayed (e.g. Illustration 6). My works, at different phases of my practice have included the immediacy of drawing but I have also explored digital imagery, video and installation forms. The text excerpts that I have incorporated have been sometimes written and overwritten to reflect the seemingly futile climate change discourses on the imperatives for action (Illustration 6). Much of my work has contrasted empowering discourses with ineffectual responses, and slowness of uptake of transformative processes e.g. food security, forest protection, biodiversity conservation, sustainable transport, and renewable energy and materials as alternatives. Another interlocked strand is the complexity and incomprehensible nature of climate science for non-scientists. Inherent in my method has been a dialogue between disciplines - a transdisciplinary mediation - that focuses on the concepts and paradoxes of climate change science and policy responses. The discourses from speeches by UN leaders (Illustration 7), scientists, and environmentalists have overlapping and conflicting levels of meaning and ethics. These have been the focus of my experimental inquiry - the interactions between the aspirations expressed in speeches and the reality of climate change impacts on current and future generations and our planet (Illustrations 8 and 9). Arguably, my research outputs via exhibitions have synergies with polycentric attempts (Chapter 3) to connect communities with climate change. ‘The initiation of affect on the viewer is dependent on… spectators perceptions and actions…’ (O’Sullivan 2010). ' 63 Illustration 7 Durban 2011 #1, 2012 and Durban 2011 #2, 2012, Indian ink and crayon on paper,76x102 cm , 64 Illustration 8 inlandsis, 2015, installation , Indian Ink ancient and pumice primer on sugar paper, 250x250 cm detail , ink 65 Future directions Looking to the future, I plan to further in a visual arts context to climate change, the Anthropocene, and thwork e lack of interrogatesustainability of extraction of non renewable resources, immediate local impacts, uneven regulation efforts, - global ecological implications and concerns about intergenerational equity. James Lovelock, the 6 who conceptualised Gaia , has said: scientist We are the intelligent elite among animal life on earth and whatever our mistakes, [Earth] needs us. This may seem an odd statement after all that I have said about the way 20th century humans became almost a planetary disease organism. But it has taken [Earth] 2.5 billion years to evolve an animal that can think and communicate its thoughts. If we become extinct she has little chance of evolving another. (Lovelock 2010) My next steps will be to further employ my concepts in field environmental art installations. I hope to work with communities to open up new possibilities for perceiving and to contribute to the new minor literature and a new subjectivity. Climate change art - ‘…operate … on the cusp of any given present and the future’ (Deleuze an[s] d Guattari 1988) . and its role is of key cultural and environmental significance 6 Gaia theory, also referred to as the Gaia hypothesis is a scientific concept that Earth is a living organism that regulates its climate and biospheric composition for all the life on it including humans who are part of the Gaian system (Lovelock 1979) . 66 Illustration 9 Warrie, 2014, phemeral field installation detail, Springbrook National Park, Border Ranges, south-eastern Qld, 2014, digital image e 67 BIBLIOGRAPHY ABC Radio National (2010), Climate change and behavioural change: What will it take? All in the Mind, 4 September. Adger, W. N., Arnell, N. and E. Tompkins (2005), Successful adaptation to climate change across scales, Global Environ. Chang., 15, 77–86. Adger, W.N., Barnett, J., Brown, K., Marshall, N. and K. 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