Climate Change, The Anthropocene, and How Art Can be Successful to provoke change in this Context

Arts University Bournemouth

Harry Woodhouse1302748

BA Fine ArtDissertation 2016

Tutor: Harry Meadows Word Count: …

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Contents TableList of Illustrations …………………………………………..

Chapter 1…Introduction ……………………………………….................

Chapter 2…Gustav Metzger……………………………………………..

Chapter 3…David Nash……………………………………………

Chapter 4…My Direct Experiences……………………………………

Chapter 5…Hope for Replenished Earth…………………

Conclusion……………………………………………

Bibliography………………………………………….

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Figure 1 , "Flailing Trees" -Gustav Metzger(2009).............................................................10Figure 2 "Facing Extinction"2014 Gustav Metzger............................................................12Figure 3 Sod Swap, screenshot from David Nash , Forms into Time (1983)..........17Figure 4 Tunnel View, Yosemite (2013).................................................................................19

List of Illustrations

Figure

1 “Flailing Trees” search

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2“Facing Extinction” 2014 at :

http://www.serpentinegalleries.org/exhibitions-events/gustav-metzger-mass-

media-todayandyesterdaycouk

4 (The Sculpture Of David Nash 1999) p.105 “Sod Swap” Google Books

search(screenshot) At : https://books.google.co.uk/books?

id=oaDYBU27rf0C&printsec=frontcover&dq=sculpture+of+david+nash&hl=en&s

a=X&ved=0ahUKEwiHlcuVk_XJAhVB2xoKHaYnCZAQ6AEIIDAA#v=onepage&q=s

od%20swap&f=false

5 Tunnel View , Yosemite (2013) Photo by Jack Woodhouse at :

http://www.jackwoodhouse.co.uk/paintings/a3dc5x6c0596roer0woyahg7i86v

hs

‘facing extinction’ search on google at : http://www.research.ucreative.ac.uk/1757/2.haslightboxThumbnailVersion/DSCN3184.jpg

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Introduction

Although in constant change, growth and decay, life and death evidently an integral part, nature was in permanent occupation, a sign of strength and above all, a symbol of continuity, of permanence.Nature was something people turned to for reassurance, that life would continue. This inherited reaction to nature is no longer open to us.

(Metzger, 1999, p. 9)

Figure 1 Gustav Metzger 'damaged nature, auto-destructive art'(1999)

Nature could be considered our earths most powerful and influential artist. We are a

part of nature; nature is a part of us. But in a broader sense the preservation of nature

is paramount to our existence. In this essay I will be identifying how Art itself can

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raise awareness or act as a means for environmental change, so it is only appropriate

to look at artists that have recycled the earths resources to convey or re-present the

manor in which the world is being treated.

However I am focusing on two artists, one being Gustav Metzger and the other David

Nash, and in particular their sculptures/installations named “ Flailing Tree’s”(2009)

and “Sod Swap”(1983). I will mainly be examining Metzger’s legacy and but will

include elements of Nash’s career.

The Anthropocene is said to be the era in which human impact on the earth has

become so forceful that we are seeing shifting seas, changes in climate, and the

disappearance of innumerable species –as well as placing humanity itself at the

brink of extinction (Davis and Turpin, 131). Arguably, the optimistic side of this

is that it is a new platform for thought with regard to reformed environmental

thinking can be a catalyst for the potential of change. In researching this topic I

founded strong corresponding evidence to Gustav Metzger’s issues he deals with in a

fine art context, which run parallel. Metzger divulges in “damaged nature, auto-

destructive art”...

You make money dirtying up the Environment. You make money cleaning it up. What you do does not matter providing it pays. That has been the “philosophy” of our time.

The trouble is that you cannot treat Nature like a machine, or an economic system.

(Metzger, 1999, p. 19)

This is a valid point for this essay, considering the state of the current uses and

gratification for land and nature. In fact what we’ve been on is an all inclusive holiday

for our consciousness where we only care about consuming things with no knowledge

of where it comes from, what effect it has and what affect on species and their habitats

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it has. The animals, which are considered cute and cuddly, are unfortunately the same

ones dressed up in shiny plastic that you put in your oven. The same species that are

potentially penultimate to our extinction, or at least the effect we have by harvesting

these animals on the earth could lead to our penultimate extinction.

Similar to this, Davis and Turpin (2015) argues that …

‘The Anthopocene is said to be the era in which human impact on the earth has become so forceful that we are seeing shifting seas, change in climate, and the

disappearance of innumerable species- as well as placing humanity itself at the brink of extinction.’

(Davis and Turpin. 2015, p.131)

So yes our decline in consciousness has lead to other forms of life and the earth’s

health to retreat.

Chapter 1- Metzger’s Work and Legacy

Gustav Metzger, born in 1926, in Nuremburg, now living in Britain (previously being

a Polish citizen) whilst being stateless since the 1940’s, is an artist and political

activist who created and developed the concept of “Auto-Destructive Art”. He studied

Fine Arts in Antwerp in 1948, and his work essentially focuses on our relationship

with the Earth, specifically climate change and its potentially catastrophic effects.

Regarding Metzger’s most recent work he has delved into the topic of extinction and

protests comparable philosophies in relation to the Anthropocene. What convinced me

that this was a genuine issue is the fact that when the artists passionately articulate

themselves about these issues, it’s done with undeniable conviction. When these

streams of consciousness converge and produce art with sincerity the agent of

authenticity creates an immanent predicament. What will convince the masses to act

upon these immanent threats is how well the problem is articulated creatively through

aesthetics to provoke new thought patterns for you to adjust your life, then focus on

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the world after. Powerfulness and boldness in the art itself is important too, as a

sculpture that is living or always changing is a metaphor for how ephemeral nature is.

The artist’s obligation to provide awareness of the subject accumulates from, a sense

of urgency the masses lack. After all if we cannot live harmoniously with nature, we

cant live in harmonious parallels, destruction and an implausible effect is inevitable.

Figure 2, "Flailing Trees" -Gustav Metzger (2009)

In the Peace Garden behind Manchester’s Town Hall in July 2009, twenty-one willow

trees were implanted upside down, in a concrete base, their roots exposed to the skies.

The inverted symbol of a tree in a man made material (concrete) reflects our inverted

and unsustainable relationship we have with nature in possibly its most literal sense.

Metzger is powerful in this way as the presentation of his work is executed in a

threatening way, as if he is personifying destruction in his art. His auto destructive art

in actual fact mirrors the principles concerning the Anthropocene as he divulges …

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‘Auto-destructive art seeks to remind people of the horrors which they are perpetuating, and is a warning and an admonition to reverse this direction. By setting up large-scale industrially produced sculptures in a process of disintegration, auto-destructive art, through the aesthetic of revulsion can lead people to a rejection of many aspects of our civilization.’(Metzger, 1999, p.45)

This is so important in this essay because if this artist is trying to provoke people first

we must alter there thought patterns via aesthetics. This is necessary to encourage

them to change ultimately altering peoples consciousnesses for the better of the planet

and us.

As a core individual of British avant-garde art, Metzger has interwoven his primary

concerns with regard to art, politics, ecology and science into a critique of

industrialized society. He came to the England in 1939, escaping the hands of the

Nazi’s but leaving both his parents he migrated with his elder brother (O’Brien,

Metzger, 2009 p.33).

Figure 3 Gustav Metzger Decades: 1959-2009 Sophie O'Brien

This information is a key agent to his art; I believe subconsciously he uses Art as a

catharsis for his adverse past. Even though the character of the outsider was upon him

early on in his eventful life he is primarily focused on the importance and potential of

change. It is important to note this because life experiences make you understand the

power and capacity to change.

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‘Putting forward artistic proposals that have far-reaching implications- and yet are on a resolutely human scale- he fervently encourages us to take ethical responsibility in a world that is under permanent construction’ (Metzger, O’Brien. 2009 P13).

It makes you wonder can we take responsibility in a world that is in permanent

construction? If we can’t (suggesting it’s a natural cycle), does this mean Metzger’s

views contains misanthropic, pessimism of human nature? His adverse past may have

influenced these unfaithful views on humanities existence, totally justified though.

I chose flailing trees to critique because of its literal explicitly accessible visual

language communicating its message. As climate change needs the people to be

engaged, this is one of his pieces where the nature of our environment is utilized and

placed in public. I also chose this piece to critique to show how It aids climate change,

because however successful this piece of work is, no doubt it is hypercritical, as itself

is made from mistreated natural materials. It makes you wonder If you are making a

piece of art about how we are constantly brutalizing nature in an industrialized

society, is it possible to portray these harsh realities without nature itself, while

contributing to the subject you are opposing? His work creates a sense of ethical

responsibility and when he was asked what the desired effect the art was intended to

have on a BBC interview he replied “ Stimulate people and shock people into a more

expanded understanding of reality”.

The way in which the materials have been re-presented to us is in quite a literal sense

(concrete jungle) I think makes it more accessible to interpret, however in its visual

language its poetic, because you have one of the most spiritual natural objects and the

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man made presented in a way that reflects our relationship with nature on a global

scale, however Metzger dismisses these interpretations as “by-products”.

Metzger’s work challenges peoples perceived security, he makes apparent the impact

we are having on the planet in a visually engaging way by recycling resources. One

might say that “Flailing Trees” is presented in a destructive way, and they wouldn’t be

wrong.

‘Auto-destructive art sets up a kind of mirror image of reality. Society is

deteriorating.’

(Metzger 1999, p49).

This piece was a follow on from his process of creating called “Auto-destructive” art,

but the level of concern it provokes is engagement not fear, which is necessary for

success in raising awareness and immediate action considering our damaged

relationship with nature. Further more the process of which he named “Auto-

destructive” art makes apparent to the public “humankind’s intrinsic drive to auto-

destruction”(Gustav Metzger Decades: 1959-2009 pg12 line 2). The work itself is an

environmental statement, but in the context of art it resembles a fifteenth century

Gothic chapel, the trunks acting as columns and roots for the architectural tracery.

This is worth noting because any interaction with nature is spiritual, in this way he

had to present this information in a dystopian manor to reflect and make apparent to

people where we are heading as a species and in doing that it must have provided

Metzger with great spiritual catharsis, as if he was confessing in a chapel. Metzger’s

work forces us reevaluate our purpose and where we are heading as a species through

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coercing natural aesthetics personified in a dystopian sculpture. When audiences were

questioned on how they felt, bearing in mind the piece was in Manchester’s Peace

Garden’s, they openly expressed their disgust and confusion as to why he needed 21

trees instead of just 1 tree and the inverted form in which the artist desired. But does it

take such a bold, hypercritical statement, on a small scale (compared to deforestation)

to enable us a species or as an audience to help tackle the issue the piece represents on

a larger scale. In a BBC interview on 30th of June 2009 Gustav was asked “ How

would you feel if people looked at this and were shocked and felt uncomfortable at

seeing a tree in concrete?” Metzger responded “I would love to hear people say, this

is a most uncivilized way to treat trees, but in time, reflect when they calve up their

chickens and ducks and everything else as well, that’s also a mistreatment of nature”.

Its clear to see Metzger wants us to reflect on our actions which we’ve become

accustomed to, he wants to enable us to wake up from this repetitively danger ridden

consumerist daze.

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To properly influence change regarding climate change it seems there has to be an

interaction with the general public to engage them with these issues to further

convince them. In March 2013, Gustav presented a lecture about his work to the

students of Farnham Fine Art department. At the end of this event one of the students

asked him “What are you going to do about extinction?” In light of this, the next year

he proceeded to do an exhibition called “Facing Extinction” in the exact same place

he did the lecture (James Hockey Gallery). Thousands of newspapers occupied the

center of the gallery space in a rectangular shape gathered by staff and students from

UCA Farnham and Canterbury campuses. Shedding light on the capitalist miss-use of

goods and mis-information that endanger Earth’s ecological survival.

Figure 4 Facing Extinction audience participation

Metzger mentions in an interview on YouTube that “I want the work to be useful, to

emphasize the dangerous environment in which we live events of life that can lead to

extinction.”

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After all to produce and endless supply of newspapers you need an unlimited supply

of wood. This surely has an impact on a production perspective as well as the

wastefulness. It has become a cheap commodity from a previously rich earth.

Figure 5 "Facing Extinction"2014 Gustav Metzger

Audiences were invited to extract articles from the newspapers with relation to

“extinction” and attach them to the gallery walls. The work was ephemeral and in a

constant state of flux as more would be added with time. This is very important

because the element of audience participation, programs the audience to look for clues

amongst the abundance of an everyday item. The participation required, gives

Gustav’s legacy context; the audience can identify with what Gustav has been saying

for years coupled with providing awareness. Regarding the question one student

asked, maybe Metzger re-presented the question consciously as the question shouldn’t

have been “What will you do?” but instead “What will we do?” and this part of the

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exhibition personifies that idea. It also acts as a provider to connect the dots of certain

regimes or functions that are unsustainable towards the longevity of our human

presence on Earth. In helping to make the future of our world (The educated youth)

prosper in a time of economic and environmental disparity by making them aware of

financial systems that benefit the few and discard the majority as well as dismissing

the environment ultimately leading to a great extinction, he has informed an important

willing part of the population. In spotlighting climate change to many different

education institutions through a way of expressing himself in the context of Fine Art,

he has made more and more people aware by each lecture or exhibition. I think

addressing the younger more educated fraction of the population is one of the most

effective and pragmatic incentives, as they will continue this ideology.

Gustav mentions in an interview at UCA Farnham that the topic of extinction is now

more relevant than ever as it is a pending threat that we as a species are the catalyst to,

with bee populations decreasing and ecosystems being wiped from deforesting, and

while humanity depends on nature more than we think, if we continue then our

existence will collapse eventually. He also mentions that 3 artists colleagues died the

week before so the subject is even more prominent than ever to the artist and the

people involved. Therefore, the depth in this information creates a sense of urgency

amongst audiences and may inspire people to change their opinion, which over time,

indefinitely will help inspire climate change opinions to subvert them for the better

due to the prospect of our entire species being erased from this planet we currently

inhabit.

In a blog recently, Gustav has set up named Remember Nature (November 5th 2015)

he attains ‘in an attempt to create a mass movement across the arts to ward off

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extinction’. Many different artists uploaded their work around the world onto this

blog, which is very cohesive for the community of the Art world, as well as

expressing that this is a genuine problem for the earth due to the verification of other

artists in different parts of the world. Metzger also cultivated an event, on the same

day, where by included students and professional art practiioners were encouraged to

address global issues. Saint Martins individuals were urged to participate in a live

streaming event situated at Kings Cross in a world wide call for a day of action. Issues

such as climate change, extinction and environmental pollution were mentioned

(Metzger, 2015).

One of Metzger’s most notorious influences to society as a whole is his art strike, in

hope of social change to alter the structures of the art world he and many artists didn’t

make, sell or exhibit art for three years. As Sophie O’Brien ascertains that:

It is almost impossible to list all the issues that Metzger has been amongst the first to address, almost always through his artwork, as one must continually emphasise. They include, beyond those mentioned above , genetically modified foods , clean air , information technology , cybernetics , neuroscience, and last but not least , the corrupting power of the art market . This led Metzger in 1974 to publish a call for “years without art”:

A period of three years-1977 to 1980- when artists will not produce work, sell work, permit work to go to an exhibition, and refuse collaboration with any part of the publicity machinery of the art world. This total withdrawal of labour is the most extreme collective challenge that artists can make to the state.(Sophie O’Brien, 2009, p13).

In this act of civil disobedience or non- conformity, Metzger cleverly mirrors what

may happen to our species if we continue to destroy our planet consequently creating

a hostile environment for ourselves, resulting in extinction. As the artists did not

create any work and challenged the state, the state would loose out, as all artists

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weren’t cooperating, for 3 years too! Similarly the principle of extinction concerning

species such as Bees would lead to whole food chain collapses in a matter of weeks,

the art world that Metzger claims has been smothered by capitalism, would get

another chance to rejuvenate itself. Metzger was trying to provoke a trophic cascade

in the structure of capitalism, through art. Once the organisms at the bottom of the

food chain (artists) stopped producing, selling or cooperating (giving the predators

food) the predators (the rich) would surely suffer in consequence.

Chapter 2 -David Nash

‘If somebody is touching nature…there is a dialogue in and with it’

(Nash, conversation with John Grande, 2001)

In an eventful career with a range of over forty years, David Nash has composed over

two thousand sculptures from wood, the majority of them, in monumental scale, in the

context of ecological art. Nash is important in this context because his art is mostly a

work in progress, what I mean by that, is his work matures with time, it almost acts a

subtle reminder that everything is transient. It is important to note that Nash only uses

the material if the tree is already condemned to fall, also cutting the wood in favor of

the grain makes the process much more natural. His work can be viewed as an

ephemeral expression of natures on going process, and I have chosen Sod Swap to

analyze because he directly expresses his concern for nature in a geological sense and

the affect industrialization of civilization has had or is having on our planet. It seems -

in which I will explain in more detail- there is a direct correlation between perceived

civilization and the depletion of nature.

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Whilst Nash plays with natural law, Metzger (In Flailing Trees) opposes the law of

nature to mirror the negative impact our existence, if you like he inverts the nature to

make apparent the dystopian force of our industrialized world.

Nash refuses the division of soul and body, the spiritual and the material(Marina

Warner 2001.p.22). Basically non-dualism, this is not surprising though after

understanding that a tree is an incredibly spiritual being and symbolizes spirituality,

knowledge, and growth. In the bible the tree was the “Tree of knowledge”, and in

ancient Chinese tradition trees are seen as incredibly strong spiritual symbols. It is no

coincidence that written in David Nash- Forms into Time (with and essay by Marina

Warner) there is a poem written from the 6th century BC by the sage Lao Tzu, one of

the Tao Te Ching’s teachings, that exclaims:

A man is born gentle and weak.At his death he is hard and stiff.Green plants are tender and filled with sap. At their death they are withered and dry.Therefor the stiff and unbending is the disciple of death.The gentle and yielding is the discipline of life…A tree that is unbending is easily broken.

(Marina Warner 2001 P18)

Bearing in mind this essay is about how art can cause environmental change, this

information is a key factor to this essay because of this …

“Be the change you wish to see in the world”

Mahatma Ghandi

This correlation is paramount as if these artists wished to change the world they first

had to change themselves, for their work to be successful in this context of having an

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impact on environmental change. Once they had had spiritual alignment with their

material they could use it as a platform to change the world for better not worse.

Our (species) omnipresent relationship with plants isn’t visible but is no doubt

important for numerous reasons. Through photosynthesis, plants provide oxygen and

food, therefore are the infrastructure of most life on Earth. They are also the source of

a various medicines utilized by many pharmaceutical companies at present.

Plants differ to animals; although they are living they cannot move (except from

dispersing seeds for reproduction) which makes them much less adaptable and more

susceptible to extinction. As we are catalysts for global warming which exaggerates

the effect on this particular living being, this poses a future threat as plants (as well as

trees) are the spine of nature. They are at the bottom of the food chain, supporting all

species by accommodating food, shelter and essentially survival to a large range of

living activity. Hostile environments for plants are created when the extensive

pollution we cause permeates their livelihood or soil. The information above

concerning plants is all relevant to Sod Swap, an idea of literal swopping but

illustrated through a live sculpture, depicting how pollution has effected even the

species at the base of the food chain.

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Figure 6 Sod Swap, screenshot from David Nash , Forms into Time (1983)

Nash and a team of helpers cut a circle of turf out of the lawn in front of the

Serpentine Gallery. The parts of carefully mowed squares of Hyde Park grass were

loaded into a lorry where they were safely kept moist while covered with tarpaulin

whilst transported to North Wales. However, Nash had already cut a circle of

precisely the same radius from the lower, flat part, of his plot at Cae’n-y-Coed

(Wales). The rough parts of welsh turf, together with docks, thistles, sorrel and wild

flowers, were situated into the empty earth ring awaiting them in London. It was only

a matter of hours before these exchanged pieces had settled in, with the wild plants

looking more lively, and the Serpentine found itself accompanied by a ring shape of

rough Welsh grass clearly marked out on the smooth lawn. Sod Swop accumulated

serious interest, although the Arts Council who orchestrated the exhibition, was

concerned that the title of the work may be susceptible to –or may cause – adverse

comments. The fact the environmental organization Common Ground agreed to take it

over when the exhibition dates ended shows the appropriated context of the work and

environmental validity. They commissioned a botanist to conduct a survey of both

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pieces of land, in London and in Wales. His results showed that in Hyde Park where

the Wales grass was placed, twenty-six separate species survived. The Hyde Park turf

in Wales only contained five species. The London soil (transferred to Wales) meant

that the environment was too hostile for all species to flourish. Thirteen years later

the London circle of turf is still clearly visible. Unforteunatly in 1992, the English

Heritage Organisation gained authority of Kenwood House in 1992 they – in a

dismissive manor – dug it up and threw it away, as admitted by Marina Warner

(2001). In hindsight maybe Nash’s harshest critic was the establishment that dug up

his work in London. His harshest critic is arguably not nature because nature’s role in

this piece illustrated what environmentalists have been preaching since the seventies,

and it is no coincidence Nash’s career blossomed at this time. It’s metaphorical in a

way due to nature always in a constant state of flux. The quote below emphasizes my

point.

‘The scenery is a kind of sculpture in the wild, itself always changing, always

growing’

(Marina Warner 2001. p8.)

Chapter 4 – My Direct Experience with Climate Change

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Figure 7 Tunnel View, Yosemite (2013)

In the summer of 2013, my brother, and me travelled to California to stay with some

relatives. Whilst in California, specifically Mariposa, we discovered the sheer

wonders of Yosemite National Park. We experienced giant sequoia trees and climbed

the mountain named Half Dome (currently featured in Apple’s captivating wallpapers

and software updates). We climbed to the top of this awe-inspiring spectacle, and

were slightly disappointed. The 2013 forest fires surrounded the landscape at a

particular altitude. An annual occurrence in mid-Californian areas such as Yosemite.

Although in more recent years, fires have become more frequent than ever, growing

fiercer. Rising temperatures provoked by our industrialized societies definitely

contribute to this undesired consequence.

However a more effective example, in which directly affects the citizens, was

experienced at the location we stayed at (great uncles house) for the duration of the

trip. The rural location we were staying meant that houses were a mile apart in either

direction. Living in this part of Mariposa, and to facilitate the simple resource, water,

to brush your teeth, shower, and flush the toilet, you had to have a well. This is not

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uncommon for rural parts of California; many inhabitants in the area are familiar with

this way of living to utilize this resource. This interests me, as where I’m from;

everyone has their water from a central mains water supply. This place was dissimilar

to England in this respect. Houses – as I have said- are too far apart for this to be a

financially viable option.

During this two-week trip, I encountered an identifiably environmental threat, we

were unable to wash, flush the toilet or use taps to commit to simple tasks, and a

drought was upon us. Never had I realized or contemplated our complacent existence

on this Earth. It was explained to us that this was a regular characteristic of living in

this area, but this was the worst it had been since this problem had began. Luckily for

us this was toward the remainder of our trip, so only had a temporary impact on my

brother, and me, I can’t say the same for my relatives. Email correspondence over the

past couple of weeks with the occupants of the house have led me to understand that

this problem just got progressively worse. This time though extreme measures were

advertised to them as necessary. The occupants of the house paid seven thousand

dollars to drill another two hundred feet underneath the already deepened well. Our

relatives, maintain –up until now- the privilege of existing away from civilization

surrounded by nature, however this means they are the first to notice a disturbance in

nature. Last summer (2015), they revealed to me, that due to this environmental

threat, consequently they had to move to an urban area (Seattle) as this simple

resource we so easily take for granted was proving to high to compensate for, whilst

the previous house was not sold. Unfortunately for this couple they haven’t sold their

old house, which has landed them into unimaginable debt, however nothing

comparable to the debt our species is engulfed in under mother natures unstoppable

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power. This is a prime example, as well as extreme one, but acts as a constant

reminder to me that climate change if not clearly visible does not mean it is not an

immanent threat or in full effect. Rising temperatures have meant citizens have had to

migrate; just to improve the quality of life due to a resource once took for granted.

This illuminated the magnitude of this environmental problem our species faces, but

cant immediately see, question is will it be too late before we all realize, or is it

already too late? Will it take severe flooding or dangerous droughts for us to reform

our preconceptions of climate change to remove our seat of complacency? In the same

way my relatives were over whelmed by this change in climate and unfeasible

problem, will we be overwhelmed by Mother Nature’s brute force in correspondence

to our constant brutalization of nature?

Chapter 5 – Hope For a Replenished Earth

Undeniably climate change is happening rapidly, however the most affected animal is

the polar bear. The polar bear is also the most adaptive animal (which shows great

hope for other species), they effectively fast and live off their body reserves as long

periods without food is caused by warming and melting of ice, paramount to their

hunting capabilities and technique. Unfortunately winters are shorter and warmer,

summers are longer and even more unbearable then before, no doubt this species is

being pushed to their physiological limits. This has negative consequences on their

survival. We are now having such a vast effect through climate change we are

coercing evolution of top predators, even though polar bears are most adaptive, they

cannot keep up with our increasing effect influencing global warming. These aren’t

just animals to us anymore, essentially they are resources to us, but if we cannot

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reform our impactful westernized habits, what hope is there for the rest of nature?

Ultimately, psychological expressions manifest into physical representations, so the

more people recognize this as a problem, the more potential for change on planet

Earth.

Five hundred years ago there were over three hundred thousand tigers in India, but in

the last century their numbers fell to just two thousand, due to a combination of

poaching, and the loss of half their forest (both undeniable human impacts). In late

1970’s tigers were almost on the verge of extinction in India, but strong measures by

the Indian government to create protected areas, with tenacious law enforcement led

to an inspiring recovery, better than anything else the world has seen. It’s predicted

there are around two thousand five hundred tigers in India, with numbers increasing.

Now the problem is not the lack of tigers, but the shortage of space for them. As many

civilians live in wild life reserves, farmers and many other occupants are now

competing because of forced conflict. Governments have designed a way in which

villagers are paid to move out of their homes to make way for this iconic species. This

is an example of ecological recovery that with time and appropriated efforts, problems

can be resolved for both tigers and humans. This displays great hope and proves that

change with enough time and people participation, (civilians and politicians)

ecosystems can be rebuilt, a great example if not good. (David Attenborough, The

Hunt Living With Predators (conservation) 2015)

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Conclusion

To summarize how art can affect climate change, art itself can influence this

possibility, but its through provoked response that intervenes with audiences thought

patterns, that provides insight into predictions of our dystopian relationship with

nature. The topic itself, posing a threat to humanity on a global scale. However I do

believe art has made climate change a more key issue, if it’s the destructive visual

language of Metzger’s Flailing Tree’s in Manchester’s Peace Garden or his

persistence in creating awareness on the subject, or Nash’s environmental grass swap

eventually proving the unprecedented pollution having an adverse effect on plant life

and ultimately us as well. This surely must be means for an uprising against any

energy that is detrimental to our Earth’s health or ours.

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Art establishes a platform, for which expression can manipulate ones thought patterns,

to communicate genuine future possibilities due to our immense impact on our

surroundings coercing nature to create environment. Metzger’s art certainly proves

that government law is no metric for ethic, as the world is in permanent self destruct

mode, but maybe his art will become more appropriated when citizens outside the art

world start to clearly see the effects we are having on the planet and our own species,

and have those that do not consider this a top priority, actually left the country

understanding other continents are effected much more?

That moment when it starts raining so hard you can’t ignore the noise on the ceiling

you’re under, that moment when the wind is too strong for you to execute maneuvers

of what seemed so easily done before, the moment when animals integrate into

societies because we humans have ruined their previous habitats are all reminders that

mother nature is the worlds greatest manipulator when pushed to its limits. Or maybe

the biggest reminder of our current futile existence is the fact fighting over resources

can cause war crimes on an ever-increasing scale to generate more money to do

exactly the same thing over and over. The only real solution to all of this is a

revolution in consciousness, for the masses to understand that what ever we do to

nature it will be returned ten fold, we’re like a drop of water falling off numerous

leaves until we eventually fall into the river where life seems expansive, until we

reach the ocean and realize our previous understandings have now become obsolete as

eventually you reach the status of a cloud, then this repeats.

In conclusion I believe that art is an avenue to express humanities dissatisfaction with

the current geological age, so it is no coincidence that there are correlations between

the Anthropocene and the topic for which many artists have chosen to act upon, the

more and more people awake through consciousness beginning with the conscious

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decisions manifested in us, it will provide catharsis for the masses accompanied with

a solution to live more sustainably. All in all the particular artists (especially

Metzger) summaries how we have concluded our lifestyles and the effect it has. Its

sort of social realism in art, as it is a reflection of our societies lifestyles. Art is just

one amongst several platforms in which climate change can be addressed, but its the

success of the aesthetics and the works capacity (and influential capacity of the

audience) to provide empathy or compassion towards what we all know to be true, we

are all one. To separate ourselves and mistreat what we depend upon for daily

existence is the ultimate complacent sin and places others and ours existence in

jeopardy unnecessarily.

Bibleography

Books

Marina Warner (2001). David Nash Forms Into Time. 3rd ed. London: Art Media Press

Gustav Metger (1999). "damaged nature, auto-destructive art".1st ed. Nottingham: Coracle Press

Julian Andrews, David Nash The sculpture of David Nash(1999),1st ed. London: Henry Moore foundation

Richard Cork, Susan Daniel-McElroy, Making and Placing Abstract Sculpture 1978-2004, St Ives: Tate Gallery

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Sophie O’Brien (2009) Gustav Metzger: Decades, 1959-2009.1st ed. London: Koenig Books Ltd

Davis and Turpin (2015). Art in the Anthropocene.1st ed. London: Open Humanities Press

Hyperlinks

Metzger, 2015- online blog broadcasting a live stream of a worldwide calling addressing environmental issues on 5th November at: https://remembernaturegustavmetzger.wordpress.com

Real Living Art A Conversation with David Nash(2001) by John Grande at: http://www.sculpture.org/documents/scmag01/dec01/nash/nash.shtml

Indian Tiger statistics , displayed on BBC Iplayer , first shown : 9pm 13/12/15 At:

http://www.bbc.co.uk/iplayer/episode/b06snwj9/the-hunt-7-living-with-predators-conservation

http://www.tate.org.uk/art/artworks/metzger-recreation-of-first-public-demonstration-of-auto-destructive-art-t12156/text-summary

http://www.serpentinegalleries.org/exhibitions-events/gustav-metzger-decades-1959–2009

https://www.youtube.com/watch?v=5ioYs20rnL8

https://www.youtube.com/watch?v=HKoMW7NJWQk

https://www.youtube.com/watch?v=wwjmH9F1B_M

David Attenborough , The Hunt , Living with Predators (Conservation) at:http://www.bbc.co.uk/iplayer/episode/b06snwj9/the-hunt-7-living-with-predators-conservation

http://inmotion.magnumphotos.com/essay/one-planet-one-chance

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