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about the nonhuman world retool your inner climate one of our early slogans suggested moving beyond the fear and guilt that dominates the climate conversation we wanted as our name implies to cultivate a sense of affection for the climate and to recognize its ancient and complex relationship to human cultures our goal was to nudge aside the modern habit of thinking of nature and culture as opposites which leads us to forget that we are earthlings one species among many that share this planet dear climate dwells on the deep entanglements of our species with not only animals but also plants minerals organic matter and the bio geo physical systems including climate that govern the earth highlighting this aspect of human life could help to mend the broken connections or restore the lost understandings that have put us on a collision course with our own home planet this poster is meant to encourage viewers to consider the following questions can you give up some of your separateness can you take other forms and merge with other beings can you have less distinct edges can you embrace your inherent porousness as an earthly organism image zaria forman s arctic ocean northwest off the coast of ellesmere island can 83 19 44 976 n 79 18 22 957 w july 17th 2017 2018 credit portrait by drew denny artwork courtesy of the artist zaria forman born in south natick mass in 1982 arctic ocean is a pastel drawing on paper that depicts an aerial view of summer sea ice off the northwest coast of ellesmere island canada the inspiration for the piece came from several flights i took with icebridge a nasa operation that has been mapping the ice at both poles for over a decade the data that icebridge collects provides crucial information on how our polar regions are responding to climate change helping scientists to predict the effects ice melt will have on rising sea levels and the global climate system advertisement continue reading the main story my work including arctic ocean aims to illuminate this data through a medium that can move us in a way that statistics cannot the remote regions i draw are the keystones of climate change but are inaccessible to most people i draw as much precise detail as i can in order to transport the viewer to a place that is otherwise distant and abstract i convey the beauty of these vulnerable landscapes as opposed to their devastation to inspire viewers to help protect and preserve them image allison janae hamilton s brecencia and pheasant iii 2018 credit portrait by darcy rogers artwork courtesy of the artist allison janae hamilton born in lexington ky in 1984 i am curious about the ways that landscape contributes to social political and psychic ideas of space particularly within the rural american south i consider landscape s role in americana and how the natural environment functions in the drama of american life in my treatment of land the natural environment is the central protagonist in the unfolding history of this nation and our contemporary culture my approach to climate change focuses on how the increasing vulnerability of the environment is directly related to that of certain communities that live within it on how climate related natural disasters illuminate existing social and political inequality i ve been exploring these ideas primarily in my home regions i was born in kentucky raised in florida and my maternal family s farm and homestead lies in the rural flatlands of western tennessee i made brecencia and pheasant iii in north florida as part of an ongoing collection of works seeking to animate the land as a guide and witness by staging a series of environmental portraits these photographs and videos feature a cast of mythical characters based on family stories and folk tales from the region each character responds to the changing environment in distinct ways from curiosity to grief to rage advertisement continue reading the main story image bharti kher s the intermediaries 6 2016 credit portrait by susan silas artwork courtesy of perrotin photographed by alex delfanne bharti kher born in london united kingdom in 1969 the intermediaries are half spectral things and warnings for the indifferent we seem to be pushing our planet and the other creatures on it to the edge and we turn our stories about climate change and our destruction of resources into our excuses of survival and need mother nature is more powerful than us all when she speaks we will have no choice but to listen image mary mattingly s between bears ears and daneros mine 2018 credit portrait by rebekah schott artwork mary mattingly courtesy of robert mann gallery mary mattingly born in rockville conn in 1978 this photograph was taken in utah at a point equidistant from bears ears national monument and daneros uranium mine a recent order by president donald j trump shrank the boundaries of bears ears national monument by nearly 700 000 acres and it seems likely that more mining will come to the area the text on the pine box is from samuel beckett s 1953 novel the unnamable it is because there is nothing it is because i have no eyes here in this context the excerpt prompts us to ask what do people see when they experience this land and what is hidden the objects in the photograph clays used for pigments tools containing uranium copper used in bullets were found in the area and expose its contradictions extraction and smelting processes toxify the land and its dependents while the extracted elements are simultaneously necessary to create the goods that sustain many ways of life most of my work is environmental ranging from swale 2016 2018 a floating food forest on a barge currently docked at the brooklyn army terminal where people can freely forage to along the lines of displacement 2018 which consists of several palm trees transplanted from florida to storm king art center in new york and speaks to climate migration while speculating on the future of the region at the turn of this century just over 80 years from now advertisement continue reading the main story image eve mosher s liquid city now and then 2018 credit courtesy of the artist eve mosher born in delaware ohio in 1969 climate change is a wicked problem and it affects everything else that we are grappling with on a daily basis social justice housing immigration food and water access artists have the capacity to shape climate communications solutions and engagement we can use our unique skill sets to heal communities tackle complex challenges and even create innovative answers for me comprehending the science is the first step in defining a project understanding the impacts predictions remediation and adaptation help to ground the work in reality much of my work is focused on the waterways that surround us this image is based on the research i have undertaken to better understand new york city s urban waterways this research includes the mapping of these waterways now and at the end of this century when scientists from the national oceanic and atmospheric administration expect sea levels to have risen by about six feet i have also been mapping myriad aspects of the waterways including how they intersect and influence one another and i have been getting to know professionals shaping the future of the water as well as people who use the city s waterways recreationally and who understand them through decades of experience and intimate observation through all of this i aim to ignite radical ideas for the future of the waterways in light of the climate chaos we are already witnessing image erin jane nelson s brackish timepiece 2018 credit portrait by sarah mcmenimen artwork courtesy of the artist erin jane nelson born in neenah wis in 1989 making artwork about climate change is inextricably tied to the history of human intervention in lands and waterways in the southeast where i live that means contending with the history of colonization war the slave trade and mass industrialization as a backdrop to the onslaught of droughts super storms and rising tides of the ecological future i ve been traveling to barrier islands from the mid atlantic down and around to the gulf of mexico because these sites are not only rapidly changing from the acceleration of climate change and rising sea levels but also bear the marks of the violent history of america advertisement continue reading the main story i wanted to document this sculpture on daufuskie island in south carolina which was originally a home to indigenous muscogee peoples before being invaded by europeans the island then became part of the slave plantation economy until the civil war following the war freed slaves turned the island into their home and the gullah geechee identity and culture that developed throughout the lowcountry region thrived there for decades until wealthy white vacationers began to reclaim the island as their personal playground around the 1980s i traveled with this piece from atlanta in a ferry down the intracoastal waterway and then in a rickety golf cart to the island s public beach i washed her in the hot salty waves and then i stripped down to my underwear and flung myself into the ocean too the water was so warm almost bathlike and i floated and bobbed along the shore the mcmansions behind me partially obscured by trees covered in spanish moss and in front of me a horizon dotted only by a handful of tankers pulling cargo into port my barrier island works are markers clocks fragile emblems souvenirs of places that exist in conflict with their past and in defiance of their future image alexis rockman s tree of extinction 2018 which includes dimetrodon extinct 242 million years ago elkhorn coral critically endangered dodo the last of which was killed in mauritius in 1681 thylacine extinct tasmania 1936 bornean orangutan critically endangered credit portrait by dorothy spears artwork courtesy of sperone westwater new york alexis rockman born in new york n y in 1962 i first heard the words climate change in 1994 when i asked a paleontologist friend what are you afraid of for our future he mentioned climate change and told me why he was scared i was terrified but hopeful that we could rally as a species and avoid disaster a lot has changed since then mainly from an environmental perspective for the worse i used to hope that knowledge and information would open our eyes to environmental devastation and that we would save the world i made art partly to cope with what i was witnessing and to support a campaign for conservation i believed that if one could render moments of extinction genocide population explosion and political discord visible then we might learn to confront and change the conditions leading to civilization s collapse over the past two decades i realized we have a crucial achilles heel our brains are wired to be tribal and to think only in the seasonal short term even someone as persuasive as al gore could not successfully galvanize the world with his books and films the idea of sacrificing for the future seems ridiculous to most people when they are entrenched in a daily struggle for survival even if they will listen people just don t have the collective will to do much the engine of capitalism is too powerful 13 artists on immigration june 19 2018 a version of this article appears in print on aug 26 2018 section st page 3 of the new york edition with the headline artists on climate change getting engaged order reprints today s paper subscribe at november 03 2021 no comments email this blogthis share to x share to facebook share to pinterest labels arte ecologia clima older posts home subscribe to posts atom yearning for a more beautiful world pre raphaelite and symbolist works from the collection of isabel goldsmith https www christies com features pre raphaelite works owned by isabel goldsmith 12365 3 aspx sc_lang en cid em_emlcontent04144c16secti magritte s 1949 1960 gallery http www mattesonart com 1949 1960 mature period aspx 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