Recently some of history’s most iconic artworks have been targeted by climate activists advocating for a more sustainable use of natural resources. By targeting prominent pieces of art, the activists are indirectly placing the spotlight on one of society’s less sustainable industries – the art world.
The value of art versus the value of sustainability
With global art sales reaching a staggering 67.8 billion USD in 2022, the cumulation of activities related to the acquisition process leaves a heavy carbon footprint. Art fairs, the art market’s largest trade events, contribute to a substantive share of the industry’s overall emissions. The temporary dealer booths and art installations at art fairs produce a lot of materials that are rarely recycled or reused, such as the many white pop-up walls, the printed copies of information about the works on site, and the crates used for transportation of the artworks. In order to attract potential buyers, each work is usually accompanied by favourable, but energy consuming, lighting, resulting in a large number of lights installed across the fair.
The most significant contributions to greenhouse gas emissions originate from the flight activity of collectors trying to keep up with an ambitious international art fair calendar, as well as air transportation of the artworks themselves. Today's industry standard is shipping by air, which results in 10 times the environmental impact of land transport, and 60 times the impact of sea transportation. The art world is lagging behind in terms of sustainability and seems neither to encourage, nor value, sustainable initiatives from their market participants. In other words, sustainability would never make the top lot at Sotheby’s famous Evening auction.
But sustainable efforts should be in the highest of appraisals in the art world, and a focal point for business development within the industry. The United Nations World Commission on Environment and Development defines sustainability as ‘a kind of development that provides the best possible conditions in which economic growth, social cohesion and environmental protection go hand in hand and are mutually supporting’.
For art fairs, this means reconsidering their practices for travel, shipping, and energy consumption. In line with the UN’s definition, and contrary to popular beliefs in the past, a sustainable approach to doing business does not need to exclude profitability. The recent trend is that future investors are likely to favour those businesses which have a green consciousness.
The Times They Are a-Changin’
In the Art Basel and UBS Global Art Market Report from 2019, dealers were asked to list their top business priorities for the following five years. Attending art fairs, nurturing client relationships, and widening the geographical reach were ranked top three. These are all activities that require extensive travel. Only two per cent of dealers had sustainability and carbon footprint included in their five-year plan, placing sustainability at the bottom two on the list of concerns and priorities.
This year’s report, however, shows that issues concerning sustainability were among the top ten concerns for High Net-Worth Collectors. Many collectors are now more aware in opting for ‘sustainability options’ when purchasing art and managing their collections. As many as 64 per cent are concerned with reducing their personal travel to art events, and 68 per cent are considering more environmentally conscious shipping methods.
This shift was largely sparked by the pandemic. The year 2020 also fostered the birth of The Gallery Climate Coalition (GCC), an international community of arts organisations working to reduce the art sector’s environmental impacts. Their overall aim is to reduce the sector’s carbon emissions by a minimum of 50 per cent by 2030, in line with the Paris Agreement, as well as promoting zero waste. GCC provide sector specific guidelines on sustainability and offer a digital carbon footprint calculator to estimate the emissions of an action. Their more than 800 members pledge to reduce emissions, complete an emissions report or carbon audit, as well as establish in-house ‘green teams’ and publish an environmental responsibility statement outlining their commitment to action.
Frieze Art Fair leading the way
The renowned art fair conglomerate Frieze is a proud member of the GCC and holds a standing track record for environmental awareness amongst fellow key players of the art world.
Last year’s Frieze in London was powered by using a new type of fuel from vegetable oil waste, reducing carbon dioxide emissions by 90 per cent. Furthermore, all gallery booths were lit by LED lighting, and all contractors for construction and catering were vetted for their ‘green policy’. Booth walls and carpets were shredded and recycled after the fair closed. This year, Frieze continues their somewhat more sustainable path by donating all cloakroom proceeds to the environmental law charity Client Earth.
By honouring one of their GCC pledges and being carbon audited, Frieze is left with a better overview of their environmental impacts. This, followed up by a strategy on how to minimize such impacts, makes Frieze an example to follow for art fairs around the world on how to make their business green. Another conglomerate, Art Basel, is inspired and aims to have its four art fairs lit by LED lights by 2024, in addition to other measures.
Having measurable impacts that are transparent and visible to all, shows that efforts are credible, as well as provide a model for others to follow. It is also serving in attracting new business with clients that value sustainability. However, environment is more than climate, thus are the initiatives by Frieze sufficiently sustainable?
Lighter shade of green
Although helpful to the cause, the above-mentioned initiatives are considered baby steps, whilst the environmental challenges the world is facing demand immediate and impactful measures to be taken.
In an industry that relies on reputation and recognition, a fundamental element to accelerating the process may be found in the changing behaviour of leading collectors and dealers. They are looking for sustainability in their place of business, but are they willing to give up private airplanes when traveling, and wait days or weeks for their precious artworks to arrive, instead of hours? The fast-paced art fair business model does not accommodate such change, nor does it seem to be fully prepared to take this next step.
The key to success lies in the commitment of all market participants globally combining their efforts to adopt a sustainable business practice. In the same way as artworks need to be authenticated, so do sustainable efforts. Authentic, immediate, long-term initiatives are necessary to meet the goal of a sustainable art industry.
The art of going green is not yet mastered by the art world, but initiatives are underway and there is potential for change. Art has the power to move, inspire and make people reflect. Transferring these competencies to the market side of things will hopefully bring beneficial results in the future.