THIS WEEK'S HOT TOPIC
In May of 2022, the Mona Lisa was covered in cake by a 36-year-old man dressed up as an old lady. His goal? To draw urgent attention to climate change. You probably remember the moment. Furious debates about the effectiveness of the gesture ensued; so, too, did a spate of similar attacks on other famous artworks (almost all behind protective plastic) led by various climate activist groups. One pair tossed tomato soup on Vincent van Gogh’s Fifteen Sunflowers, while another man glued his head to Vermeer’s Girl with a Pearl Earring.
In some sense, these protestors accomplished their goal. Taking steps to redress environmental impact is, by and large, no longer optional for big institutions and commercial organizations in the art world. Museums and galleries across the globe have turned to more climate-conscious lighting and heating systems; auction houses have pivoted to shipping work by sea rather than plane; and fairs have pledged to offset carbon emissions and employ renewable energy sources. These efforts are all positive, but to what extent are they making a difference? And what else needs to be done?
On this topic, we might look to the Gallery Climate Coalition (GCC), an international membership organization founded in 2020, for direction. The non-profit provides an invaluable list of guidelines for working toward a more environmentally responsible art world. Questions about carbon footprints, climate justice, or the sustainable management of NFTs? This is where you’ll find the answers. Also available through the GCC are case studies, a carbon calculator, and practical, step-by-step “toolkits” for artists and fairs.
The GCC has a refreshingly clear aim: to reduce the visual art sector’s CO2e emissions by a minimum of 50% (from a 2019 baseline) and reach near-zero waste by 2030. That’s a bold goal—one that may require all corners of the art world pulling on the rope in the same direction to achieve. But that alliance is more attainable than it might seem. Some 2,100 artists, galleries, fairs, museums, and other individuals and organizations (including many of the biggest names in the industry) have already committed to the same goal by joining the coalition. Membership is free and open to all.
3…THINGS TO KNOW ABOUT BEING ENVIRONMENTALLY CONSCIOUS IN THE ART WORLD
1
Reuse packing materials whenever possible. Because many packing solutions are custom-made for individual works, the art world generates a surprising amount of single-use waste: bubble wrap, cardboard, and crate wood are often discarded after one shipment. Reusing these materials when possible is one of the simplest ways to lessen your environmental impact. Even a small effort—like keeping empty crates or boxes—can meaningfully reduce waste.
2
Prioritize local engagement when you can. If you live near a major city, there’s likely an art fair, gallery program, or exhibition schedule worth paying attention to. International travel is a significant part of the art world, but it’s also a major contributor to individual carbon footprints. While global fairs offer valuable opportunities to connect with artists and dealers, you don’t need to attend every edition of every fair. Spending more time with local galleries and regional events can be just as rewarding, and often more sustainable. And increasingly, artworks can be viewed and acquired remotely, making it easier to stay engaged without constant travel. Be proud to ask for a PDF!
3
Be mindful of how and how often you collect. Buying fewer works, taking more time between acquisitions, and focusing on artists you feel a lasting connection to can naturally reduce your footprint. Rapid turnover increases packing, shipping, and storage demands. A more measured approach to collecting not only supports the longevity of your collection but also aligns with a more sustainable way of engaging with the market.
A NUMBER TO KNOW
ZERO
That’s how many types of cultural institutions use more energy than art museums, according to the 2023 Culture Over Carbon report. The first-of-its-kind study, conducted by the nonprofit New Buildings Institute, surveyed 133 US institutions in nine categories. The goal wasn’t just to assess their environmental impact; it was to help the respondents create roadmaps to greater energy efficiency.
For comparison, the energy use (or median energy use intensity, to get technical) of art museums that participated in the survey was more than twice as high as that of arboretums and botanical gardens, historic houses, and children’s museums (which performed the best in this category). Art institutions were also the second-worst offenders when it came to carbon emissions, the report found. The only type of cultural institutions that out-emitted them were zoos.
Why are art museums gobbling up so much energy? Well, their collections need to be temperature- and humidity-controlled year-round. Their lighting demands are specific, including the need to limit the art’s exposure to direct sunlight. And many institutions are still relying on older systems that use fossil fuels and construction materials that predate climate awareness.
The money crunch is one big roadblock to solving this problem. Public funding for the arts is in decline, as you may have heard, and improving energy infrastructure isn’t exactly high on the list of causes that get private donors fired up about writing fat checks. But if the more than 30,000 cultural institutions in the US cut their energy use by 20%, the report states, it would generate the same climate benefit as taking around 180,000 cars off the road. It goes to show that exhibiting great paintings isn’t the only way that art museums can benefit humanity.
—Tim Schneider / The Gray Market
ASK: ACCESS SOPHISTICATED KNOWLEDGE
Ken from Miami ASKed: Why is it that two works by the same artist can sell for wildly different prices at auction?
Josh Baer for NoReserve: Let’s consider two works of similar size and period. This could happen if one is "better" than the other quality- or condition-wise. When comparable works are shown side-by-side by their primary dealer, they may be priced the same, but as soon as the show is over, that’s probably no longer the case. Provenance (who owned them) also matters. It can be an indicator of perceived quality and may have some other form of value too (say it was David Rockefeller’s—you can convince yourself that you are in his league by owning something he sold). And let's be honest, some colors (say red) sell better than others (yellow).
Have your own question for the NoReserve team? Reply to this email or reach out to us on Instagram, @no.reserve. Readers whose submissions we choose get a special prize—six free months of our paid newsletter, The Baer Faxt.
2 MINUTES WITH…
Domenico Gnoli only produced around 150 paintings before his death at 37, but the Italian painter left his mark. Most of Gnoli’s works either live in museums or in major private collections (his work is beloved and collected in depth by Miuccia Prada, for one). Touching Arte Povera, pop, and surrealism, his work elevates the unremarkable—a shirt collar, a head of hair, the fold of a bedsheet—into something mesmerizing. Born in Rome in 1933 to a family steeped in art and writing, he spent his 20s working as an illustrator and set designer in Paris, London, and New York before settling in Mallorca and finding his true calling as a painter. Tune in below to hear from Lévy Gorvy Dayan's co-founder, Amalia Dayan, on the occasion of her gallery’s current exhibition, “The Adventure of Domenico Gnoli.”
WANT MORE?
Want more from The Baer Faxt? Click here to request a free sample of our premium newsletter or view our subscription pricing tiers for artists, students, and nonprofits. Subscribe today to join the leading global arts professionals and enthusiasts who receive our weekly and monthly digests on the most important news and events in the industry.
Forwarded this email and not a subscriber to NoReserve? Sign up today—it’s free!
|
