Unit 2 Essay 

By Rachel Hogg

MA Fine Art Drawing Camberwell 

Main essay word count: 2075 

 

How do artists exhibiting their work in London 2020 demonstrate their role and responsibility to engage their audience in environmental issues? Do they successfully promote these issues in culture and evoke change in their audience?

 

1. Exhibition analysis

2. Exploring the role and responsibility of the artist

3. Communicating through materials and processes

4. Promoting environmental issues in societies cultural domain

5. Moving an audience to change

 

 

 

Abstract

This exhibition analysis investigates how artists exhibiting their work in London in 2020 demonstrate the role and responsibility of the artist to engage an audience in environmental issues, by means of effectively communicating environmental issues with materials and processes and evoking change. For example, changing cultural values, challenging preconceptions and assumptions, and prompting viewers to rethink their role as stewards on the Earth. 

The essay analyses two exhibitions ‘Nature unwrapped’ curated by Pigolian Gallery, displaying the works of twelve primarily sculptural artists, and ‘Among the trees’ (Hayward Galley) curated by Ralph Rugoff, displaying the works of 38 artists. Both exhibitions document and celebrate the beauty and diversity of nature, whilst challenging current issues, such as; consumerism, deforestation, pollution, fragile ecosystems, and sustainability. The focus of this essay is on (a) the works of David Mach’s ‘All the fish in the seas’ a series of 24 jars made in 2016, depicting the patterns of scales found on fish, from foam and dressmaker pins, and (b) Giuseppe Penone’s 'paper and wall drawing’ made in 1995-2020, which plays on the similarities between the rings of a tree and the human fingerprint.

 

This essay argues that firstly, the role of the artist is to ‘assume a leading role’ (Family, 2009, p. 83-87) in changing cultural values, ‘represent culture’(Gaztambide, 2015, p.233-265) and ‘challenge preconceptions and assumptions’(An and Cerasi, 2017, p.10). Secondly, artists are engaging audiences in environmental issues through the materials and processes they use, the presentation and accessibility of the work and the location and atmosphere of the space in which the work is displayed. Thirdly, artists are promoting environmental issues in culture by making these issues a focus in their exhibitions and reinforcing the value of nature both culturally and historically. Finally, such reinforcements and thought provoking presentations of environmental knowledge (Chalmers, 2015, p.21) made by collective artists and exhibitions, evoke change in the values and behaviours of general public.

 

The role and responsibility of the artist

 

We first start by exploring how the role of artists is that of a ‘cultural worker’ (Gaztambide, 2015, p.233-265), with a responsibility to create work which ‘represents’ and ‘crosses borders’ within society (Gaztambide, 2015, p.233-265). This is often with an eye to “improve public taste” by (Richards, 1966, p.221), ‘maintaining a standard of excellence in craftsmanship, communicating coherence and truth through detail and developing new languages, vision and messages’ through a variety of art practices (Richards, 1966, p.221). For example, in the context of art and the environment, many artists have attempted to represent our relationship with the natural world, primarily using art to ‘cross the boarders’ between art and science, in an attempt to share knowledge about nature through the language of art. Prime examples include landscape painting and botanical illustration, many of which have successfully ‘built awareness’ of our environment and celebrated nature through detailed ‘documentation’ (Taggart, 2018). Yet since the 1960’s environmental art and land art have sought to address ‘social and political issues relating to the natural and urban environment’ (Tate, 2020), engaging with nature on a whole other level.

 

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However, it is also recognised that art has the power to do more than celebrate and share knowledge. Art can ‘prompt us to think about life’s bigger questions, show us our preconceptions and challenge assumptions’ (An and Cerasi, 2017, p.10). Therefore, art has the potential to change cultural values and thus change the outcome of the environmental debate, as it is believed that a change in social and cultural values is vital in the fight against climate change (Family, 2009, p.83-87). Consequently, there is a great expectation on artists to ‘assume a leading role in bringing about this change’ (Family, 2009, p.83-87). Artists have been commissioned by fellow artists, curators and environmental activists, to ‘communicate visual evidence of climate change’ and in doing so ‘make climate change real’ to the public (Manzo, 2012).

There are many different approaches artists could take in light of this weighty commission. For example, art movements such as ‘Art works for change’, are dedicated to ‘harness the transformative power of art to promote awareness, provoke dialogue, and inspire action’ (Artworks for change, 2020). ‘Art works for change’ create exhibitions which partner with local organisations to build art-based programs which ‘foster dialogue’ and engage audiences through ‘emotional, intellectual and sensory experiences’ (Artworks for change, 2020). Other examples include artists such as Olafur Eliasson, who created a bold public display of large ice blocks melting outside the Tate Modern in 2019, which grabbed peoples attention and acted as a clear display of visual evidence for climate change.  

 

 

 

 

 

 

 

 

 

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However, not all approaches are as bold and direct as the examples given above. For example, in the ‘Among the trees’ exhibition, artists take on this commission by 'expanding our appreciation’ for trees. The works ‘highlight the role trees play in our lives’ and enabling viewers to "see the forest with new eyes’ (Hayward Gallery, 2020) through their exploration of our relationship with trees. Whereas, the 'Nature unwrapped' exhibition works in partnership with the ‘Nature unwrapped, sounds of life’ program at Kings Place London, in which artists, musicians, poets and writers ‘explore the sounds of the biosphere, man’s interaction with nature, and reflect on the paths open to us to make change’ (KingsPlace, 2020). These approaches may be subtle, however in our current climate crisis conscious society, many people feel overwhelmed by the doom and gloom of the climate change. Therefore, this subtle approach may be more effective in engaging people in the subject than brash more direct approaches. 

 

Having seen that it is indeed the role and responsibility of an artist to 'assume a leading role in changing cultural values' (Family, 2009, p.83-87), 'represent culture’ (Gaztambide, 2015, p.233-265) and ‘challenge preconceptions and assumptions’  (An & Cersia, 2017, p.10). We now explore how this is communicated through materials, processes, presentation and location.

 

 

 

 

Communicating environmental issues through location, materials, process, and presentation 

 

The location of both exhibitions is important as they are artistically and culturally significant, which  demonstrates their importance culturally and increases their capacity to promote environmental issues in society’s cultural domain. ‘Kings Place London’ is a multi-arts venue, which prides it self on being ‘rooted in partnership and have developed a collaborative community of resident partners and artistic associates’(KingsPlace, 2020). Likewise the ‘Southbank Centre’, is the largest centre for arts in the UK, and a hot spot for tourists. Both locations ensure that works presented there will reach a larger variety of people from across the globe. Additionally, as hubs of diverse creativity, artists collaborate in these locations with a wider creative body of people to further promote the call for environmental change. For example, in the ‘Nature unwrapped sounds of life’ program and the numerous events and performances on show at the Southbank Centre. 

 

It can also be argued that the location of the art impacts the way in which it is perceived by the audience. For example, the ‘Among the trees’ exhibition at the SouthBank is surrounded by a bleak, built-up-tree-less place, contrasting with the immersive forest of the exhibition which implores viewers to reconsider what their world would be like without trees. On the other hand, the value of nature expressed in the ‘Nature unwrapped’ exhibition is reinforced by the elegant exhibition space, exclusive atmosphere and polished display of high-end art. This successfully promotes the value of nature in culture and highlights our growing disconnect, yet perhaps missing the raw experience of the wild, as the space is a pruned manmade environment.  

 

 

 

 

 

 

 

 

 

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Furthermore, in the art of contemporary visual communication, materials and processes are vital to conveying an intended message, as they may increase or decrease the value of the art and trigger association in the minds of the audience (Santos, 2020). Both exhibitions displayed a variety of materials and processes such as; sculpture, collage, print, drawing, photography and film, to communicate the wonders of nature and promote environmental issues. 'Nature unwrapped' used these materials and processes to visually document the power of natural elements, diverse patterns and the delicate forms and shapes found in the natural world.  David Mach’s work ‘ all the fish in the sea’ (2016), which ‘celebrates colour, texture, shape and pattern of fish scales’(Nature unwrapped, 2020), encompasses the ‘celebratory’ focus of ‘Nature unwrapped’. He uses ‘everyday consumer items in mass volume’ (dress pins and polystyrene), to reinforce the issue of consumerism in culture and prompt viewers to ‘think about the stuff of life,’ which is ‘easily be overlooked’(Nature unwrapped, 2020).The use of such materials implies that the number of fish in the sea are running low and that they should not be over looked. Plastic pin heads and polystyrene references the threat of consumerism, micro plastics and fast fashion to ocean ecosystems, challenging a ‘throw away’ culture. He presents the viewer with a sustainable alternative by remaking these items into something of value, that could be kept for generations.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The way in which the items are presented as a ‘trophy’(Nature unwrapped, 2020) indicates the scarcity and value of fish and the fragility of nature or that nature, perhaps even the death of nature as the cabinet reads like a museum display.  Moreover, the decision to configure the pins and polystyrene into jars, which are often breakable may reference the fragility of undersea ecosystems. Therefore, the title, materials and presentation of Mach’s work, alongside the description and curation of the exhibition presents viewers with an invitation to consider environmental issues in a way which is both subtle and challenging.

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Similarly, ‘Among the trees’, uses a number of materials and processes to capture the ‘dark majesty of the forest’(Dowd, 2020). It successfully draws viewers ‘into the tranquility and diversity of the forest’, yet highlights the ‘unsettling undertones of social and political environmental concerns’ (Frankel, 2020). It has been suggested that many of the works in ‘Among the trees’ give ‘symbolic’ importance to the trees and highlight their prominent place within different cultures and historical events around the world(Dowd, 2020). This encourages views to ‘re-think’ their relationship with nature and challenges the assumption that a tree is just a tree with no greater significance. 

 

 

 

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In another example, Giuseppe Penone, 'paper and wall drawing' highlights our connection with the natural world. The encircling of a finger print by the rings of a tree possibly implies that nature ‘encompasses’ (Dowd, 2020) humanity, and will reclaim what we’ve stolen and outlive us. By linking the rings of a tree to the human finger print, which is a symbol of human identity, it could be argued that the work illustrates how trees are an important part of our identity and history as humans. 

 

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The invitation to personally identify with the tree is highlighted by the presentation of the work, which is simplistic and inviting. He uses familiar and accessible paper and graphite, which is drawn directly onto the wall. Although there is a barrier put in place by the gallery to stop viewers touching the work, the lack of glass casing which is visible in Mach’s work, lends Penone’s work to feel more approachable. Therefore, it enables viewers to personally identify with and approach the art work, which perhaps has a greater capacity to evoke change, as people often only take action when an issue directly effects them.   

 

 

Evoking change 

 

Evoking quantifiable change in an audience is difficult to determine, as it would require mass data being taken from all the people who have visited the shows. However, it is acknowledged that art has the ability to ‘transmit, sustain and change culture’ (Chalmers, 2015,p.21). The exhibitions in question achieved this by reflecting the current importance given to environmental issues in culture and reinforcing the 'range and quality of information’ (Chalmers, 2015, p.21) about these issues in a new ways. This enables viewers to explore new ways of ‘symbolising and ordering’(Chalmers, 2015, p.21) what they already know about climate change, with the potential to build greater awareness of these issues to a wider variety of people. This directly or indirectly creates 'unity and social solidarity’ (Chalmers, 2015, p.21) towards environmental concerns, which is needed to develop catalysts of change.

 

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Although the individual works or even individual exhibitions may not be effective in directly invoking mass change, it could be suggested that together over a period of time, the works collectively lead to a change in cultural views, by reinforcing the value of nature and challenging assumption made about nature. For example, the cultural and historical references made in the 'Among the trees' exhibition, demonstrates that a tree is more than just a tree, as it is rich in cultural and historical symbolism. In highlighting the cultural and historical accusation of trees the work encourages viewers to have a greater appreciation for trees. This growing appreciation for trees may lead to general society having  a greater value for trees and become more reluctant to cut them down. Similarly, ‘Nature unwrapped’ reinforces the value of nature and cultural importance of acknowledging and dealing with environmental concerns, thus resulting in a cultural change in values and behaviours.

 

Conclusion

In conclusion, the artists in this study effectively demonstrate their role and responsibility to engage an audience in environmental issues. The artists did this by creating work using materials and processes which build awareness and reference key issues, such as; consumerism and sustainability and by presenting work in a way which is accessible and communicates the value of nature to a larger variety of people. In making nature and the focus of an exhibition and alluding to environmental issues throughout the work, artists promote environmental issues in culture by reinforcing their importance and value. This resulted in a collective reinforcement which slowly increases the value of nature in the minds of the general public.These methods of creatively communicating environmental issues to the public offer information in new and exciting ways, which provide viewers with alternative way to personally reflecting on issues and encourage creativity. This may lead to a renewed way of thinking about the our relationship with the environment and a development in enervative ideas towards tackling climate change. All artists have a great responsibility to positively impact cultural values by creatively sharing information and reinforcing natures value and cultural significance.