L'ÉPOQUE - Art institutions such as museums and galleries are actively seeking strategies to minimize their environmental impact. Guests attending the Hammer Museum’s exhibition “Breath(e) Toward Climate and Social Justice” will encounter striking pieces that highlight the far-reaching effects of ecological harm: images of Flint, Mich., residents waiting for safe drinking water, and an artwork depicting a fish made from spilled crude oil and tainted sediment.
10.25.2024 © L'ÉPOQUE USA
By Eva Johnson
However, museums are increasingly recognizing that merely showcasing art that tackles the climate crisis is insufficient—they must also reflect on their own environmental footprint. Consequently, visitors to the Hammer won't be aware that most artworks were transported via ground or sea rather than air, significantly reducing carbon dioxide emissions. They also won’t know that the exhibition catalog was printed on FSC-certified paper sourced from sustainably managed forests and encased in translucent paper instead of conventional plastic wrap. « It would absolutely be hypocritical for us to put on a show about climate change without questioning our implication in climate change », stated Glenn Kaino, a conceptual artist based in Los Angeles and co-curator of the exhibit, which continues until January 5.
The Hammer exhibition is part of “PST Art: Art and Science Collide,” a series of events occurring through mid-February 2025 at approximately 70 museums, science centers, and other venues across Southern California.
For years, museums and galleries have displayed artworks addressing the climate crisis; however, there is now a heightened urgency for directors and curators to evaluate the environmental costs associated with heating, cooling, and lighting their spaces as well as transporting and exhibiting their collections. This scrutiny extends to the ecological impact of utilizing imported materials or artists from distant locations rather than supporting local talent. The pandemic played a role in accelerating this reflection; it provided people with time to contemplate pressing issues that often went unnoticed amid daily life’s hustle. Within the art sector, conversations emerged about collaborative efforts focused on the climate crisis.
What would it « look like to actually be able to come together and feel like we are empowered to do something — and imagine a future we can live in, rather than feeling this kind of existential dread? » asked Laura Lupton, an art and climate consultant who contributed to developing and co-leading the Climate Impact Program as part of the PST Art initiative. She co-founded the nonprofit Artists Commit in 2020.
While the art industry is not among the largest contributors to carbon emissions, its influence is significant due to its operational methods: typically housed in expansive buildings with stringent climate and humidity controls. Museums and other buildings devoted to art, « are some of the most energy-consuming buildings in a city », remarked Caitlin Southwick, founder of Ki Culture, a company dedicated to coaching, training, and offering services related to culture and sustainability.
Certain changes can be implemented at individual institutions—many museums are transitioning from incandescent bulbs to LED lighting, which consumes considerably less energy and has a longer lifespan. The Nevada Museum of Art in Reno — currently experiencing the fastest temperature rise in the nation — has prioritized sustainability efforts. It anticipates a 19 percent reduction in carbon emissions following the installation of solar panels in the coming months, according to Apsara DiQuinzio, senior curator for contemporary art at the museum.
Furthermore, a significant exhibition scheduled for March 2026 will focus on environmental themes and feature 190 artists. To mitigate transportation-related environmental impacts and costs associated with shipping artworks, over half of the 250 pieces displayed will be sourced from the museum's permanent collection, DiQuinzio noted.
However, comprehensive change requires an industry-wide strategy!
The Gallery Climate Coalition, established in London in 2020 by a collective of 1,500 arts-related organizations globally, aims to reduce greenhouse gas emissions within the sector by 50 percent by 2030. It primarily relies on individual contributions for funding. The coalition recently launched a carbon calculator designed to assist museums and galleries in monitoring and minimizing their carbon footprints.
Alex Klein, head curator and director of curatorial affairs at Contemporary Austin, shared that her museum tested this calculator alongside others and found it beneficial. « It helped us to start to think through what does it mean to track carbon? » she said. « Our ambitions in the future would be to have a carbon budget for our shows ».
The Contemporary Austin was one of six museums awarded a pilot Climate Action grant in 2023 from the Teiger Foundation, which supports contemporary arts curators. This program offered up to $20,000 per recipient — now increased to $25,000 — along with a year of collaboration with a climate consultant. « Curators are so desperate to engage on climate change », remarked Larissa Harris, executive director of the foundation. The Contemporary Austin utilized part of its grant to monitor carbon emissions for its exhibition “Carl Cheng: Nature Never Loses,” running until December 8. This showcase by California artist Cheng explores humanity's impact on ecosystems as well as the transience of both constructed environments and nature itself.
The exhibition will travel to four additional museums across the United States and Europe by 2027; all participating institutions have agreed to track specific carbon emissions metrics « so that at the end, we will have a base line for the field at large », Klein said. « Because you can’t really know how to change things unless you know what needs to be changed ».
For many museums, managing temperature and humidity levels essential for preserving artworks constitutes their most significant climate impact, Southwick noted. Since HVAC systems became prevalent during the 1960s and 1970s, museums have adhered strictly to optimal conditions for artwork preservation: around 65 degrees Fahrenheit with a two-degree variance and relative humidity maintained at 55 percent plus or minus five percent. These parameters became regarded as « the holy grail », she shared; if museums wished to borrow items from others, they typically had to comply with these climate specifications around-the-clock.
However, this standard is now being re-evaluated as numerous museums across Europe and North America reassess their practices alongside their insurers. The Bizot Group — a consortium comprising directors from some of the world’s leading museums — issued new green guidelines last year acknowledging that « museum collections survive exceptionally well under much wider climatic conditions than traditionally assumed ».
Additional strategies aimed at reducing carbon emissions include extending traveling exhibitions’ durations at individual venues from an average of 12 weeks to no less than six months; this approach minimizes packing, shipping, travel logistics, and new installation requirements suggested Anne Kraybill, chief executive officer of Art Bridges Foundation.
Moreover, collaboration with artists regarding sustainability is crucial according to Alexa Steiner, co-founder of Rute Collaborative consulting firm and climate consultant for Teiger Foundation. Discussions might encompass aspects such as materials used by artists and their potential environmental consequences or logistical considerations regarding installations—including how frequently non-local artists may need to visit.
Artists are increasingly cognizant that they wish not merely to depict climate change but also leverage their creativity toward combating it. New Jersey-based artist Haley Mellin stated she transitioned to outdoor painting approximately five years ago. « This creates a seasonal studio without utility bills, climate control or studio rent, and my art is less of a large physical production », she said. « I can paint outdoors and clean up easily, then put the paintings in my carrier and walk to work ».
Chicago-based artist Lan Tuazon features a sculpture installation titled “Over Your Head and Under the Weather” within the Hammer exhibition. The structure incorporates various forms of repurposed plastics and additional materials, featuring an industrial-grade shredder. Guests will have the chance to bring their own plastic waste to the Hammer, where they can observe the shredding process that will transform it into future creations by Tuazon. According to her, the climate emergency must be confronted by both artists and museums. Through her artwork, she aims to empower individuals to understand that their actions can lead to meaningful change. « I think that there are accessible, everyday, small things that absolutely impact climate change », she stated.