Climate change art
Climate change art is art inspired by climate change and global warming, generally intended to overcome humans' hardwired tendency to value personal experience over data and to disengage from data-based representations by making the data "vivid and accessible". The intention is to "make an emotional connection...through the power of art".
Climate change art is created both by scientists and by non-scientist artists. The field overlaps with data art.
The Guardian said that in response to a backlash in the 1990s against fossil fuels and nuclear plants, major energy companies stepped up their philanthropic giving, including to arts organizations, "to a point where many major national institutions were on the payroll of the fossil fuel giants," effectively silencing many environmentally-focussed artists.
In 2005 Bill McKibben wrote an article, What the Warming World Needs Now Is Art, Sweet Art that argued that "An intellectual understanding of the scientific facts was not enough – if we wanted to move forward and effect meaningful change, we needed to engage the other side of our brains. We needed to approach the problem with our imagination. And the people best suited to help us do that, he believed, were the artists." According to climate change in the arts organization The Arctic Cycle, "It took some time for artists to heed the call."
In 2009 The Guardian said the art world was "waking up to climate-change art." Reporting on the 2020 We Make Tomorrow conference on climate change and the arts in London, Artnet News commented that "instead of being seduced by sponsorships from deep-pocketed organizations invested in the fossil-fuel industry, institutions should look for new funding models."
Effects and influence
According to Artnet News, climate change can be represented meaningfully in artwork because "Art has a way of getting ahead of the general discourse because it can convey information in novel ways." In 2019 research by Laura Kim Sommer and Christian Andreas Klöckner, analyzing date collected at COP21, suggested climate change art could change opinions "as long as the message is hopeful, and gives people ideas for change."
Journalist Betsy Mason wrote in Knowable that humans are visual creatures by nature, absorbing information in graphic form that would elude them in words, adding that bad visuals can impair public understanding of science. Similarly, Bang Wong, creative director of MIT’s Broad Institute, stated that visualizations can reveal patterns, trends and connections in data that are difficult or impossible to find any other way.
In particular, climate change art has been used both to make scientific data more accessible to non-scientists, and to express people’s fears. Some research indicates that climate change art is not particularly effective in changing peoples views, though art with a "hopeful" message gives people ideas for change. Projecting a positive message, climate scientist Ed Hawkins said that "infiltrating popular culture is a means of triggering a change of attitude that will lead to mass action".
It is thought that people who engage with climate change art feel a sense of belonging, a feeling of connection to a cause, and a sense of empowerment. Participatory climate change art, such as downloading warming stripes graphics for one's own locality or using a climate-related logo, provides an interactive element that gets people involved.
Lucia Pietroiusti, the curator of “general ecology” at the Serpentine Galleries, suggested "a radical redefinition of what constitutes an artwork...to include environmental campaigns," saying that “By calling something an artwork, you are allowing an institution to support it.”
Climate change is one of the most prominent issues of this century. Artists are adamant to examine and present the global issues the planet faces and to encourage others to do the same. The 2015 exhibition 'Art Works For Change' aims to demonstrate the options available to reduce omissions and other climate change impacts, such as reducing carbon footprints, conserving energy, and making sustainable transportation choices  among others.
In 2007, artist Eve Mosher used a sports-field chalk marker to draw a blue "high-water" line around Manhattan and Brooklyn, showing the areas that would be underwater if climate change predictions are realized. Her HighWaterLine Project has since drawn high-water lines around Bristol, Philadelphia, and two coastal cities in Florida.
In 2013, undergraduate cellist Daniel Crawford created "Song of Our Warming Planet" in which musical notes, representing annual global average surface temperature readings since 1880, ascend to higher and higher pitches as the song progresses.
In 2015, David Ellingsen created a project called 'The Last Stand' which portrays the amount of deforestation going on by depicting photographs of trees with saws still in them from being chopped down. Ellingsen explains the importance of expression through climate change art and the seriousness of what the planet is now facing: "Although the pattern of progress and disaster has been repeated throughout human history, the urgency I now feel in our globalized world is one of scale..."
In 2015, visual artist and environmental engineer PhD Andrea Conte Aka Andreco started the 'Climate Art Project', a multidisciplinary project between art, science and activism, inspired by the latest scientific and social researches on Climate Change. The Climate Art Project is composed of a series of interventions that took place in different cities worldwide: 'Climate 01 causes and consequences' in Paris, France; 'Climate 04 Sea Level Rise' in Venice, Italy; 'Climate 05 Reclaim air and water' in Delhi, India. The aim of the project is to use art to rise awareness on Global Warming and to disseminate the Nature-based solutions (NBS) and the best practices for Climate Change adaptation and mitigation. 
In 2015, an online exhibition called 'Footing The Bill: Art and our Ecological Footprint', was created by Art Works For Change to show a range of powerful artist expressions (such as Sebastian Copeland and Fred Tomaselli) of climate change through their work. The exhibition is "an ongoing exhibition that addresses the urgent need to live sustainably within the Earth’s finite resources."
In 2016, Ed Hawkins, a scientist at the National Centre for Atmospheric Science and the University of Reading, created "climate spirals," a series of data art representations of global warming, and followed in 2018 with "warming stripes," a series of colored stripes representing chronologically ordered average annual temperature anomalies for a given location.
Starting in 2017 The Tempestry Project encouraged fiber artists to create "tempestries", scarf-size banners showing temperature change over time. Each tempestry is knitted or crocheted, one row per day in a color representing that day's high temperature, for a year. Two or more tempestries for the same location, each representing different years, are displayed together to show daily high temperature change over time.
In 2018 artist Xavier Cortada's project Underwater Home Owner's Association placed signs in front yards throughout Miami, Florida indicating each property's height above sea level to illustrate what sea level rise would flood that property.
In 2019, the Grantham Institute - Climate Change and the Environment, Imperial College London, launched its inaugural Grantham Art Prize, commissioning original works by six artists who collaborated with climate researchers. Each piece aimed to provoke thought and conversation about the climate crisis.
In 2019, artist Jill Pelto created 'Overgrown' which depicts how the composition of Maine plant species will shift geographically as climate zones change. She has also created multiple other works relating to climate change which include 'Take a Lesson from Nature' and 'Increasing Forest Fire Activity'.
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