The Weight of a Masterpiece
As the art world converges on Lagos for the biennial, an unlikely issue is taking center stage: the environmental impact of collecting. Nigerian art collector and philanthropist, Eni Arose, has made waves by announcing that she will be carbon offsetting every flight she takes to attend auctions and exhibitions. Arose’s move has sparked a heated debate among collectors, curators, and artists about the responsibility that comes with buying and selling art.
The stakes of this debate are high, with the global art market projected to reach $1.7 trillion by 2025. As the market continues to grow, so too does its carbon footprint. A study by the University of California, Los Angeles found that the art market is responsible for more greenhouse gas emissions than the entire country of Switzerland. The study’s lead author, Dr. Sarah Stanley, notes that the production, transportation, and storage of art are all significant contributors to this emissions total. For collectors, the numbers are stark: a single work of art can produce up to 20 tons of CO2 equivalent emissions over its lifetime.
The art world’s carbon footprint is not just a matter of statistics, but also of human impact. In Nigeria, where Arose is based, climate change is already having devastating effects. Rising temperatures and changing precipitation patterns are threatening the livelihoods of farmers, herders, and fishers. The country’s coastal regions are particularly vulnerable, with sea levels projected to rise by up to 1 meter by 2050. As the art world grapples with its own environmental impact, it cannot ignore the fact that the effects of climate change are being felt far beyond the gallery walls.
A History of Greenwashing
The art world’s environmental concerns are not new, but rather a symptom of a broader trend. In the 1970s and 1980s, some collectors and dealers began to tout their art as “green” or “sustainable.” This early form of greenwashing was often little more than a marketing gimmick, with dealers and collectors using vague language to describe their supposed commitment to the environment. Today, however, the stakes are higher. The science is clear: climate change is real, and it is being driven by human activity.
As a result, collectors and dealers are under increasing pressure to take concrete actions to reduce their environmental impact. For some, this means offsetting flights or using eco-friendly packaging materials. For others, it means supporting artists who are working with sustainable materials or exploring new forms of art that are less resource-intensive. The Nigerian artist, Njideka Akunyili Crosby, has been at the forefront of this movement, using her own practice to explore the intersection of art and environment. “As an artist, I feel a deep responsibility to consider the impact of my work on the planet,” she says in an interview. “I’m not just thinking about the materials I use, but also about the way that my work is produced, transported, and displayed.”
The Power of Consumer Choice
For collectors, the options are vast. Some are choosing to buy art that is locally sourced or produced, reducing the need for transportation and storage. Others are opting for digital art, which can be displayed and sold without the need for physical materials. The market for digital art is growing rapidly, with some collectors and dealers hailing it as the future of the industry. However, not all are convinced. Some argue that digital art is a novelty that will soon lose its appeal, while others worry about the lack of provenance and ownership that comes with buying art online.
Meanwhile, the art world’s traditional power brokers – galleries, dealers, and auction houses – are also being forced to adapt. Some are embracing sustainability, with galleries like the Lagos-based ARISE Fashion Week using eco-friendly materials and practices in their events. Others are resisting change, with some dealers and collectors arguing that the costs of going green are too high. As the debate rages on, one thing is clear: the art world’s environmental impact is no longer a secondary concern. It is a central issue that requires the attention and action of collectors, curators, and artists alike.
A Call to Action
The reactions to Arose’s carbon offsetting initiative have been mixed, with some welcoming the move as a positive step and others dismissing it as a publicity stunt. However, the implications of her decision are clear: the art world is under pressure to take action on climate change. As collectors and dealers consider their options, they must also think about the broader implications of their choices. Will they prioritize sustainability, or will they continue to prioritize profit? The answer will have far-reaching consequences, not just for the art world, but for the planet as a whole.
A New Era
As the art world continues to grapple with its environmental impact, one thing is certain: the stakes are high. The science is clear, and the consequences of inaction are dire. But there is also a sense of opportunity, as collectors, curators, and artists come together to explore new ways of working and thinking. The biennial in Lagos is a chance to showcase not just the best of African art, but also the best of the art world’s commitment to sustainability. As Eni Arose and others take the stage, they are not just celebrating art – they are also celebrating a new era of environmental responsibility. The question is: what happens next?