This is a post for Blog Action Day 2009: Climate Change.

A few years ago, I wrote a post for Blog Action Day presenting ideas for creating art in more environmentally friendly ways – Making Art Without Unmaking the Environment. Art supplies and other byproducts of our work is notoriously toxic. Just like businesses and construction are changing to be more green, artists must update their ways of working as well, to minimize their long term affects on our planet.

But artists are more than businesses manufacturing a product. We are cultural messengers. We are here to speak about and reflect things that are important to us and our cultures. One common message we have been signaling, regardless of our country or medium, is that we must pay more attention and care to our planet. The Earth’s climate is changing, and we must take action to stop or reverse it. According to the United Nations, “There is alarming evidence that important tipping points, leading to irreversible changes in major ecosystems and the planetary climate system, may already have been reached or passed.” The Earth is the only home we have, along with the millions of other species who share it with us.

If you disagree with the idea that the climate is changing, or that humans are causing it, I would only ask you to consider the odds and the consequences. Many scientists believe this is happening and it is caused by human action. But what if you’re right, and it was only a 50/50 chance we were responsible. Do you think humanity’s fate, and the fate of many other species, should be decided by the toss of a coin?

So what are artists doing to make a difference? Here are some stories about artists affecting our collective approach to climate change through their work. There are many great stories of well known musicians and filmmakers putting together concerts, films and other events to make a big difference. But I wanted to shine a light on people you might not have heard of.

• Portrait of an artist as a climate activist from Grist magazine. Senator Barbara Boxer held up a photograph by Subhankar Banerjee to the full floor of the Senate, to prove the Alaska refuge was not a “flat white nothingness.”
• Early artists key to Yellowstone Park’s preservation, helenair.com. The paintings of Thomas Moran and photographs of Henry Jackson were critical to the U.S. Congress creation of Yellowstone, the first national park.
• In 2005, Grist pleaded What the warming world needs now is art, sweet art and four years later, followed it up with Climate Art is Hot.
• SEED Magazine says The Arts Community is Responding to Climate Change, and Changing the Conversation in the Process.
• Green Theater Initiative talks about Addressing Climate Change One Theatre Artist at a Time.
• Here is an entire episode of the PBS series Art:21 devoted to Ecology and art.
• Climate Change Education has a great Media and Arts section, including great lists of artwork and artists broken down by discipline: painting, sculpture, video and new media, and more.

Now, how can you make a difference? Here are pointers to more information about grants and funding, exhibitions, shows and more. If you know of other resources, or other stories about artists making great work, post a comment below and I’ll continue to update this post.

Climate Change Art Resources

• Green Museum informs, inspires and connects people through environmental art and encourages the creation of new work that serves communities and ecosystems.
• Ars Natura, nature in art, art in nature.
• Strange Weather, a resource hub about climate change for artists, writers and activists.
• Landscape and Arts Network brings together landscape architects, engineers, architects, artists, educationalists and ecologists who feel passionate about improving and sustaining the quality of our urban and natural environment.
• Free Soil, an international hybrid collaboration of artists, activists, researchers and gardeners who take a participatory role in the transformation of our environment.
• Ear to the Earth heightens environmental awareness through sound, inspires engagement in environmental issues, and sustains engagement through ongoing activities. The website is a forum for composers, sound artists, and everyone interested in sound to listen and participate.
• RANE – Research in Art Nature and Environment actively seeks creative methods through which art can impact on our current environmental predicament. Using artistic practice the group aims to offer interpretations and models of thinking about the natural world that help to promote a sustainable future.
• Eco Arts Online brings together science, environmental, arts, indigenous, and other organizations to offer you a wide variety of events – performances, exhibits, talks, tours, films, fairs, and more.
• The Ashden Directory, bringing together environmentalism and the performing arts.

Climate Change Art Exhibitions, shows, festivals

• Participate or Die, Wooloo.org. Wooloo.org is organizing the people of Copenhagen to open their homes to thousands of environmental artists during the United Nations (UN) Climate Change Conference in Denmark this December. By asking artists to develop happenings and reflections for a new life – and then request that thousands of participants implement them – Wooloo.org aims beyond the traditional art exhibition to become an active organizer of experiments in civic engagement and social empowerment.
• Lake, a journal which publishes contemporary art that engages with ecological issues.
• ecoartspace, promotes a diverse range of artworks that are participatory, collaborative, interdisciplinary and uniquely educational. “Our philosophy embodies a broader concept of art in its relationship to the world and seeks to connect human beings aesthetically with the awareness of larger ecological systems.”

Climate Change Opportunities for Artists
Calls for Artists, Grants, Residencies, Commissions and more

• Green Museum, Calls for Artists
• Artists Project Earth Funding
• Artist as Citizen, connecting art students with donors to help them create projects on social issues.

Get the work of Thomas Moran, Henry Jackson and Subhankar Banerjee.

Related posts:

1. We are Honored to be part of Blog Action Day 2009: Climate Change
2. What Does Clean Water Have to do with Art? Blog Action Day 2010
3. Environmental Knitting

In these recently uncovered fake letters, imagined to have come from the archives of the fake University of Italy School of the Arts at Florence (UISAF), the Minister of Medici Bank, Francesco Sassetti, pleads with the head of the Medici Family and defacto ruler of the Florentine Republic, Lorenzo de’ Medici, to stop spending the bank’s and family’s holdings on the arts.
Available exclusively on Art Here and Now.

Dear Lorenzo,
Though your family has a long history of supporting artists, because of the recent financial and political difficulties, I must request that you consider abandoning this legacy of extravagance.
As I have been balancing this year’s expenditures, I can’t help but notice the exorbitant amounts it requires to not only pay for artworks, but to also house and feed these artists. Michelangelo Buonarroti has been living in your household for five years, in excess of $90,000 per year [currency adjusted to equivelant U.S. Dollars -ed.]. Surely he could rent his own apartment, and you could simply purchase any artwork from him you liked once completed? Must we be responsible for an artist’s entire livelihood and every material need?

We must protect the assets of The Bank and the Medici trust, for the bank’s members and the family, both current and future. These creative works and artist supports are a drain on these financial resources, deprive these members from larger profits, and serve no purpose except the pursuit of notoriety.

I plead with you. We must stop this reckless spending. The livelihoods of bank stakeholders and future Medicis depend on it.

Sincerely,
Francesco Sassetti, Minister – Medici Bank

Dear Francesco,
Your bold pleading is certainly brave. Perhaps you have a death wish.
Ah, ha, just a joke!
You have a long history with me, and my father before me. Only from someone so dedicated to our cause would these words be tolerated. Yet I am sure you are not the first to think them.

Even if I accepted your argument that art was wasteful, you act as though we aren’t losing money in more ridiculous, costly ways. May I ask, how many horses do you own? How many rooms are in your house? How many banquets have you held this year? How many guests have you fed? I’m sure you like to be questioned about your expenses as much as anyone. I mention this purely for example, not from any plan to deprive you of your lifestyle.

In contrast to The Bank’s and Family’s complete holdings, housing a few artists and funding their work is a handful of pebbles freed from a mountain. We could indeed just buy completed works, but if so, then where would the artist live and work to make them? Michelangelo’s last work took a year to complete. The Dome took almost a lifetime. By what means should they live to make this work we would later buy? If they took to the trades to sustain themselves, then when would they have time to make this work?

I find your logic faulty.
-Lorenzo

From: Francesco Sassetti, Minister – Medici Bank
To: Lorenzo de’ Medici, The Magnificent

Dear Lorenzo,
It is my wish to eliminate all waste, regardless of size, so that we may all realize our maximum profits and potential. You must agree that over time, these types of expenditures throughout your history add up to far more than pebbles from a mountain.
You righteously question my horses, even though we have never once questioned The Giraffe? How much did the buildings, heating, feeding and men cost for that one? And to what end?

It is not my concern, and should not be yours, where, when and how these artists produce the work. Men must choose their paths. If they cannot succeed to secure a living from one trade, they must pursue another. If the quality of their work cannot attract enough buyers to support more in the future, then perhaps their work is not of a quality worth making.

Please invest this money in important endeavors, instead of supporting those who cannot support themselves.

Sincerely,
Francesco Sassetti, Minister – Medici Bank

Francesco,

Enough. Go no further.

I am the highest power of this family, the Republic of Florence and places beyond.
In this area, we will continue in our family’s tradition.
I owe you no explanation or justification. As our Minister, you will do as I command you.

For future clarity, to end this discussion, and out of some respect of your long service, I will conclude with these thoughts.

You have gall to demand we not support those who in their trade cannot support themselves,
when for all of your life we have done the same for you.
Do you think counting our money is more important work than creating The Basilica?

When we are all dead and buried, very few people will remember you and I.

They will remember Michelangelo and Leonardo. They will remember Sandro and Brunelleschi.
They will remember Florence as the place those artists lived. And they will remember us, if at all, as the people who helped them.

From vague, unsure memory they may believe we were kings. In some ways we are kings, because we are wealthy and powerful.
And like kings, we have some duty to our country and its people. Through learning, engineering and art, this duty is fulfilled, bettering the people, and making Florence a destination for others who seek an enlightened life.

Without this impulse, our money and power amount to nothing.
The Bank is not important and will not be remembered. The money’s only real worth is the lasting affect it has on our country and our world.

Midas follows all the others:
Turns to gold the things he touches.
Where’s the joy in owning treasure,
If it doesn’t give you pleasure?
And where’s the sweet taste for a man
Who only feels his thirst forever?
Who’d be happy, let him be so:
Nothing’s sure about tomorrow.

The Medicis will one day be gone, but the art will remain forever.

- Lorenzo de’ Medici

Read more on The Medici Family, Lorenzo de’ Medici, Michelangelo Buonarroti, Basilica di Santa Maria del Fiore, Florence, Filippo Brunelleschi, Sandro Botticelli, Francesco Sassetti and Leonardo Da Vinci.

This isn’t intended to be a partisan blog… I wanted to link to each of the candidate’s positions on The Arts. I could only find a position on Barack Obama’s site, so that’s what I’m linking to. If anyone has links to information about Hillary Clinton’s or John McCain’s positions on the arts, please post in the comments. (At this point Hillary is now supporting Barack Obama, but feel free to post this info anyway – it was my own fault for not posting this sooner.)

Barack Obama’s plan for the arts.

Richard Florida’s latest book, Who’s Your City?, has a lot of interesting ideas. It is a continuation of his work which started with the often quoted, celebrated and vilified Rise of the Creative Class.

In essence, the original book argues that economic greatness in any given place depends on the place’s ability to attract creative people. Creative people like openness, night life, authentic culture and great aesthetics (interesting architecture and grand natural beauty). At the time the original book came out, cities were not focused on these things. Instead they were erecting bigger shopping malls.

To Richard Florida’s credit, ever since the release of Rise of the Creative Class, there has been a big discussion about the quality of life in the places we live, and that this quality does not come from shopping and big business. I think this is true for whatever your passion is, and whatever you do for a living. This is a good discussion to have.

But I have always felt some nagging problem with his approach that I couldn’t quite pull into focus. There seems to be some things that are missing in his big equations. After reading Who’s Your City?, I finally started seeing what they were.

Who’s Your City? shows, through extensive research, that despite first impressions of the global economy, where you live is very important to your happiness and well being. This is a simple idea that seems like common sense. The details springing from this premise are more surprising.

The world has spiky places which are, like ever-growing magnets, attracting more and more creative, innovative people and capital into themselves. This means places like New York City, London, Tokyo and Paris will continue to suck in innovation and capital exponentially, and thus have larger engines to create even more innovation and capital. This also leads to most places outside of these spiky regions to specialize in various industries. Basic examples that you may be familiar with – if you want to be an actor, your chances for making a living at it are very slim unless you are in New York or Los Angeles. If you’re a technology innovator or developer, your greatest success would be found in the San Francisco or Boston areas. There is a lot of interesting detail in this, and if you want to learn more about it I recommend you read the book.

Now for a short break to watch Richard Florida’s appearance on The Colbert Report, because Stephen Colbert sums it up best.

The Gay-Bohemian Index mentioned by Mr. Colbert (“Which may sound like another name for the San Francisco phone book”), which supports some of Florida’s work, sounds like a great endowment of power handed down to anyone who is bohemian, artistic or gay. But in fact, this power to indicate or create new magnetic, economic engines usually benefits people besides the creators, and besides the businesses and families that long lived in the neighborhood before them. Who’s Your City? says

Albert Ratner, cochairman of the board at Forest City Enterprises, one of the biggest real estate companies in the world, likes to remind me that he alone has promoted The Rise of the Creative Class enough to secure its spot on the bestseller list. Another real estate investor once said of my work, “You have provided a map of where to invest.”

Anyone who has lived in a medium sized or larger city for any period of time recognizes a familiar pattern.

A neighborhood is a thriving community. Some type of economic hardship or shift happens in the city, and many neighborhood residents move away quickly. This leaves less sense of community and neighborhood, and as eyes on the street dwindle, crime can rise. At some point, the neighborhood is a shadow of itself, rents are cheap, but the authentic architecture and feeling of community still resonates. So artists and other creative people, who don’t have much money but have a need for space to create in, move to the neighborhood. This creates energy, public artwork (sanctioned or not), new venues to show or perform, and basic renovations. This energy, creativity and center of cultural amenities attracts more people from outside the area to visit and eventually move to. As more people move in, natural supply and demand occurs, causing rent and purchase prices to rise. Larger investors and realtors take note, seeing an opportunity to begin at the ground level, building new condos and luxury apartments. At some point, housing prices become out of reach for the families and businesses that have long been in the neighborhood, and for the artists and bohemians that sparked the neighborhood’s revitalization. They move on to the next neighborhood, or the next city, where the cycle starts again.

King of the Hill covered this in an entire episode, Lady and Gentrification.

Though Richard Florida now speaks to this issue – that a spiky region’s great success often leaves behind a large swath of the population – he doesn’t give it the gravity it deserves. Economic disparities can affect anyone in a region, but the irony is that the families, businesses, non-profits, artists and others who lead the front line of a neighborhood’s revitalization are often the first people to be kicked out by exorbitant housing prices when the fruit of their creative efforts finally appear. The very people that Florida claims are so important to an area’s success often have to move out of the area once that success arrives.

This also applies to businesses that help define an area, and more importantly non-profits. Non-profits find cheap commercial space to grow in, and help a community become a better place. But right when that better arrives, real estate investors buy up the historic building the non-profit lived in, raises their rent by 300%, and off they go to find a new home or shut down completely. This happens time and time again.

So Mr. Florida, how can the people who create so much value, so much aesthetic, creative energy and economic growth benefit from their investments of creativity, and stay where they live to continue helping their neighborhoods and cities grow? Or is it ok that this investment of time, effort, love and creativity in the end only benefits real estate developers and chain restaurants?

Who’s Your City? comes close to diving into this issue. When I read this part of the book, I was on the edge of my seat.

Escalating real estate prices can inhibit innovation. Many forms of innovative and creative activity – whether they are new high-tech businesses, art galleries, or musical groups – require the same thing: cheap space. That’s what Jane Jacobs was getting at when she famously wrote: “New ideas require old buildings.” These spaces, formerly abundant in places like Silicon Valley, San Diego, Cambridge, Massachusetts, and downtown New York City, are where everyone from Steve Jobs to Bob Dylan got their start. Cheap space in these towns is now hard to come by. Several Silicon Valley garages that witnesses high-tech start-ups in the 1990s have been turned into museums. When housing prices rise and buildings are converted into expensive condos or high-end retail shops, venues for fostering creativity disappear…

…They’re forced to move from apartment to apartment as their rentals turn into condos. When creative, productive regions become the province of affluent people who have already made their money (usually elsewhere), the cycle of local wealth building falls apart. At that point, Jacobs once presciently told me, “When a place gets boring, even the rich people leave.”

I have read this section to many friends because it strikes a chord with what we are living with every day. Condos are springing up like ivy, and fewer and fewer people can afford to live here anymore. Or they feel the place is losing it’s vitality and authenticity, as art cars become scarce and BMW’s are more prominent.

Even BMW knows its place in this equation. In this campaign, they appeal to the Creative Class (by name). The thing is most of this class could never afford a BMW, nor could the many other people in the city who help make it tick. This campaign is really aimed at the 2nd wave, wishing to benefit from what the others built.

In the end, what’s left out of these theories, for individuals and communities, is all the stuff that isn’t about money. Regional economic growth and might are the big measurements of success in the creative class model. But how does the majority of the population benefit? Are their lives better? Are they happier and more fulfilled? In many studies, Denmark is often cited as the happiest place on Earth. They are certainly not the biggest economic engine.

And what of human zugunruhe, the desire to move on, and experience something new? What explains some people’s strong desire to quit well paying jobs, giving up money and comfort, to take up teaching, social work or long term travel? It’s definitely not Economics.

This strong human drive for betterment, growth, new experience and beauty is the thing left out of these extensive studies, which ironically focus on the very people who revere these aspects of life most. The reason bohemians mostly do not profit from their action is that profit is not the point. It is instead small accumulating betterment of their own lives and the community around them. This is no different than other people who live in and care about a place. It’s only when other people arrive to try and transform that creativity into profit, causing displacement for the people who were there all along, that an Economic Flag shows up in the study, noting a success, a spiky place.

Why should the benefit and success be measured only when money is made?

Ultimately, it’s much less important what we measure than what we do. Maybe the earlier question should not be directed at Richard Florida at all.

So- bohemians, artists, gays, how can you, who create so much value, so much aesthetic, creative energy and economic growth, benefit from your own investments of creativity, and stay where you live to continue helping your neighborhoods and cities grow? Or is it ok that your investment of time, effort, love and creativity in the end only benefits real estate developers and chain restaurants?

buy the books of Richard Florida

read Richard Florida’s Blog.

Related posts:

1. I Want to be Richard Dedomenici
2. Across the Universe, The Power of Myth, 1967
3. Tekkon Kinkreet – Universally, Land Developers are Seen as Villains

I have all kinds of crazy dreams. I’ve had one of them for a long time, and I’ve never told anyone about it until now. Even for me it’s a nutty one. My secret dream was to be the first artist in space.

I had such a strong desire for this, I think, because all of our missions to space are so technical or militaristic. Yet if you’ve ever known anyone working in space travel (like NASA), you know how poetic they can be. My dream to be an artist in space is nowhere near as crazy as actually trying to get anyone into space at all. There is a certain long term humanity, a looking back on ourselves as a whole, a historic something that runs through these spaceborne intentions — from astronauts and engineers alike. Somehow though, that all gets lost. This is exactly the kind of thing artists explore. For much the same reasons artists are sent into combat, they should be sent into space. (And if you’re asking why do we go at all, isn’t there something better to spend money on? the answer in the short term is always yes. But long term, our planet’s species, including our own, have a much higher chance of surviving if we become interplanetary. This is covered in The Drake Equation.)

My heart skipped a beat when first hearing Laurie Anderson had been chosen as the first artist in residence for NASA. She’s the perfect candidate for this. Unfortunately when she asked “Do I get to go up?!” the answer was “No.” Sadly, she was the first and last NASA artist in residence. Representative Chris Chocola introduced and passed a bill specifically prohibiting NASA from having an artist in residence.

Little did I know that the first artists in space had already travelled long ago. The first was Russian cosmonaut Alexey Leonov in 1965 and the second was United States astronaut Alan Bean in 1969. Up until writing this post, I didn’t know that a small tile artwork titled The Moon Museum by Andy Warhol, Robert Rauschenberg, Claus Oldenberg and John Chamerlain was left on the moon by the crew of Apollo 12. There have been many other artist cosmonauts since then, of many nationalities, and many pieces of art flown into space.

This is in fact such a frequently pondered idea that there are several non-profits in existence solely to get artists into space programs throughout the world and get artists creating work for the context of space travel.

And Tate Modern, one of the top museums in the world, has plans in motion to create it’s next museum location in Earth orbit.

Organizations exploring art and artists in space: The MIR Network, The OURS Foundation at Ars Astronautica, and Tate Modern Space.

A great list of artwork taken to or created in space.

Artist-Astronaut: What the Future Told Us, a project by artist Debra Solomon.

Two blogs by on duty combat artists: Fire and Ice and Sketchpad Warrior.

In the Press: The Globe and Mail – Greetings, art lovers. We come in peace and The Times UK – Blast off: artistic adventures in time and space.

Buy related work: In the Stream of Stars: The Soviet-American Space Art Book (by Alexey Leonov and others), Apollo : An Eyewitness Account By Astronaut/Explorer Artist/Moonwalker by Alan Bean, Baghdad Journal: An Artist in Occupied Iraq, by combat artist Steve Mumford, They Drew Fire – a documentary about combat artists in World War II; and work by Laurie Anderson.

Travel to space on Virgin Galactic or Space Adventures.

Related posts:

1. Update on Art and Artists in Space
2. City Hostel, Seattle – Every Room by a Different Artist
3. OnTheBoards.tv – Performance Art On-Demand

I’ve just finished reading an illustrated autobiography that I’ll write more about later.

But it has me thinking. There are many people and places I’d like to know more about. Many times this kind of cultural learning and exchange happens through art. But where is the exchange when people aren’t allowed to express their true thoughts, feelings or nature through artwork and writing? How do we understand them, if we have no direct connection to who they are or what they think? We may be lucky enough to know someone personally who has lived there, but most of the time this is unlikely.

I finished reading thinking

The promise of an abstract “freedom”
is weak
against a real imminent threat
of death or violence.

There are many artists in history who have continued to create in the face of censorship and threats to their lives. My life has been very priviledged compared to theirs. I am inspired by their persistence and bravery.

Related posts:

1. Thank you Richard Florida for giving The Bohemians so much power. Now please tell us – when will we ever benefit from it?