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The Art of Plastic Pollution: Creating Awareness Through Community Collaboration
A CREATIVE PROJECT SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL
OF THE UNIVERSITY OF MINNESOTA BY
Tanya Gravening
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF LIBERAL STUDIES
May 2013
i
CONTENTS
List of Illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iii
Chapter One. An Introduction to Plastic Pollution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Chapter Two. A Creative Reaction to the Plastic Problem . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Chapter Three. Creating a Memorable Image of Plastic Pollution . . . . . . . . . . . . . . . . . . .9
Chapter Four. The Foundations of Monuments of Trash Art Project . . . . . . . . . . . . . . . .16
Chapter Five. MoTAP Construction and Exhibition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Chapter Six. Connecting Art, Economics, Plastic Pollution, and Science . . . . . . . . . . . 43
Chapter Seven. Conclusion: The Monuments of Trash Art Project . . . . . . . . . . . . . . . . . . 48
Bibliography: The Monuments of Trash Art Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
ii
ILLUSTRATIONS
Figure 1 – The Mexi-‐Minne Marlin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Figure 2 – Bull’s Head . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Figure 3 – MoTAP bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Figure 4 – MoTAP Jars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Figure 5 – Plastic Obelisk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Figure 6 – Plastic Trash Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Figure 7 – MoTAP Mementos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Figure 8 – Plastic Pyramid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Figure 9 – Darwin’s Finches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Figure 10 – Ordovician Pore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Figure 11 – Laysan Albatross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
iii
ACKNOWLEDGEMENTS
This art project would not have been possible without the small community who
agreed to collect their plastic trash. Thank you to Deborah Boudewyns at Rapson
Library for exhibiting the art project in its entirety. Thank you Roslye Ultan. Your
invitation to show my art at the 2011 Living Green Art Expo took my work in an
entirely new direction.
1
Chapter One
An Introduction to Plastic Pollution
I got one word for you…are you listening? Plastics . . . there’s a great future in plastics. Think about it…will you think about it?
-‐-‐“The Graduate,” 1967
Plastic products, from manufacture to disposal, release pollutants into the air, land,
and water. A 2010 Science News article surveying pollution in the Pacific Ocean,
commonly referred to as the Great Garbage Patch, was conducted between 2004 and
2009. “The researchers estimate that part of the region – a whopping 3.5 million-‐
square-‐kilometer swatch, about twice the size of Alaska – contains more than
20,000 bits of floating plastic per square kilometer”(Perkins 8). That equals 280
billion bits of plastic in part of the Pacific Ocean. The facts and figures of science
regarding plastic pollution can be overwhelming, difficult to comprehend, and do
not always appeal to the public -‐-‐ facts and figures can also be distorted by the
media for economic and/or political purposes. Photographic documentation is more
accessible and memorable, but an artistic interpretation has the ability to combine
an image with facts and figures.
As an artist, I create paintings for public exhibition. However, hanging art on a wall
and waiting for an audience seemed like a passive gesture. The urgency of the
plastic pollution crisis requires art that summons an audience to pay attention. To
engage an audience, I recruited friends and neighbors to collaborate in the process
2
of gathering materials to create art. This exercise was intended to increase
understanding of plastic pollution and provide a memorable experience. An artistic
encounter has the capacity of eliciting cognitive and emotional responses, whereas
facts and figures of science depend primarily on intellectual understanding. Art
about plastic pollution creates visual and emotional facets to augment science and
open a dialog with an audience that leads to greater environmental consciousness.
My creative final project for the Master of Liberal Studies program is a series of art
works intended to raise awareness of plastic pollution. It began as a response to the
quantity of plastic trash in the Earth’s oceans. The art project titled Monuments of
Trash Art Project or MoTAP includes paintings, sculptures, and collaboration with
recruits. Contributors I refer to as “participants” assisted in the process by collecting
plastic trash to construct art objects that demonstrate the quantity of plastic
products and packaging discarded.
MoTAP defines plastic trash as plastics not accepted by curbside recycling
companies. Since I began the project in early 2011 at my studio in Minneapolis, the
city expanded the variety of plastics accepted for recycling and transitioned to a
single-‐sort system. These are positive changes. However, they come decades after
scientists began raising alarm. The following warning appeared in a 1974 edition of
Science News. “Even the ocean, long used as a dump by coastal communities, no
longer seems to be a bottomless sink” (Mandel 212-‐3).
3
Theoretical underpinnings for community engagement to bring artworks into
everyday life are derived from the writings of Nicolas Bourriard and Claire Bishop.
The work of artists such as Feliz Gonzalez-‐Torres, Allan Kaprow, Mierle Ukeles-‐
Laudermann and Joseph Bueys, who invited public involvement as part of the
creative process, inspired me to include a participatory component in MoTAP. WJT
Mitchell’s account of icons, totems and fetishes in What Pictures Want provided
theory of shared human images and the meanings we attach to them. Richard
Dawkins theory of memes serves as a model for the dissemination of information
through images and ideas. Paul Hawken’s inspirational book, Blessed Unrest, which
is about social enterprises, inspired one creative solution to reduce plastic
packaging. Online articles, interviews and lectures with scientists, activists and
oceanographers were researched to increase the potency of MoTAP images. Finally,
first-‐hand experience of the sad reality of plastic pollution acquired during walks on
the beach collecting plastic trash provoked me to become actively involved.
This paper outlines the problems with plastics, examines creative means to
introduce plastic pollution to an audience through participation and exhibition, and
illustrates the evolution of Monuments of Trash Art Project from a small two-‐
dimensional collage composed of pieces of plastic to a six-‐foot by six-‐foot by six-‐foot
pyramid constructed of plastic trash collected by a community.
4
Chapter Two
A Creative Reaction to the Plastic Problem
The overwhelming quantity of trash in the Earth’s oceans, most of which is non-‐
biodegradable plastic, makes plastic pollution an unprecedented crisis (Moore 78).
Non-‐biodegradable materials do not decompose naturally. Plastic breaks into
smaller pieces through exposure to ultraviolet rays, or photo-‐degradation, which
releases toxic chemicals into the environment (DiGregorio). Furthermore, the
remoteness of pollution in the oceans conceals its existence, making it difficult for
people to imagine.
To communicate the problems associated with plastic pollution I began making art
about it and its effects on aquatic animals. Art communicates concepts through
images. An image can be more memorable than something heard or read. An image
that exists as a memory in an individual may “grow” more complex in the
imagination based on information and skills acquired by a person through their
experiences. Denis Dutton, art historian and author of The Art Instinct, states the
imaginative experience of art is one of twelve ways to identify art. “Objects of art
essentially provide an imaginative experience for both producers and audiences”
(58). It was my hope that this art would introduce an image of plastic pollution to an
audience, and with increased awareness the memory of the art would become more
complex, maybe even activating an audience to avoid plastic products and
packaging.
5
My primary artistic medium is oil painting, but when I first began making art about
plastic pollution, I could not imagine making a painting that would convey the
problems with plastic. Therefore, rather than using oil paint, my first piece of art
about plastic pollution used small pieces of plastic to compose an image of a Marlin,
The Mexi-‐Minne Marlin. Kurt Schwitters is an artist who collected his materials from
the street, and attached these objects to an ongoing installation in his home. He
claimed, “when I adjust materials of different kinds to one another, I have taken a
step in advance of mere oil painting, for in addition to playing off color against color,
line against line, form against form, etc., I play off material against material” (Chipp
383). My first idea for art about plastic pollution was to attract an audience with a
colorful and familiar image, which, upon closer inspection, would reveal the
materials as plastic trash -‐-‐ the medium would play off the image.
The Mexi-‐Minne Marlin is a collage of a marlin, similar to a swordfish, leaping from
the water. The pose is common in taxidermy mounts and photos. The technique of
collage attaches common objects such as newspaper, rattan, or plastic on a surface.
The juxtaposition of object and image alters the context of both. My intention with
The Mexi-‐Minne Marlin was to show the relationship of the marlin and the pollutants
aquatic animals live in, through the image and materials.
I collected the plastics from Mexico and Minneapolis to reflect the journey plastic
trash makes from inland lakes and rivers to the oceans (DiGregorio). Tulum is
located in the Yucatan Peninsula, the landmass to the west and southwest of the Gulf
of Mexico. Minneapolis is located along the Mississippi River and in the State of
6
Minnesota where the river begins. The Mississippi travels 2530 miles before it flows
into the Gulf of Mexico. Plastic that enters the river in Minneapolis can make its way
into the Gulf of Mexico. Therefore, the artwork’s title takes its name from the
locations the plastics were collected -‐-‐ Mexico and Minneapolis -‐-‐ and also
references their water connection.
Artist and author of Junk Art, Gillian Whitley said, “whatever particular materials the
artist . . . has to handle – whether it is shit or plastic – are within a context and it is
the particularities of history, location and culture that must always be considered in
relation to the employment of trash in art” (30). Cool colors of blue and teal plastic
Figure 1. Tanya Gravening. The Mexi-‐Minne Marlin. 9 x 12 inches, collage made with plastic trash, 2010. Collection of the artist.
7
used in The Mexi-‐Minne Marlin were collected from beaches in Tulum, Mexico. The
warm colors of yellow and orange were collected from my garbage in Minneapolis.
The warm colors are lids from Minnesota-‐made salsa. Their former life, or history,
as a salsa container was a connection I made to the location where the cool colors
were collected. Further history of the plastic is revealed by the dullness and erosion
of cool colors, acquired during their journey through water. Whereas, the warm
colors never entered the trash cycle as evidenced by precisely cut edges and legible
text printed on the plastic.
The layers of meaning in The Mexi-‐Minne Marlin may or may not be revealed to an
audience easily or immediately. This reflects the difficulties in grasping the why and
how of plastic pollution. To understand plastic pollution, one must first pay
attention to plastic. However, plastic is a common dismissible material that does not
demand attention, and is considered disposable despite the toxic chemicals it
leeches into the environment (League of Women Voters 10). Beyond paying
attention to plastic, it is necessary to understand its lifecycle. Few people are likely
to pay attention to plastic and devote time to learning about its properties unless
something provokes them, and that is where art comes in. Mihaly Csikzentmihaly, a
psychology professor noted for his studies of happiness and creativity, observed,
“people who spend much time with art come to appreciate increasingly the affective,
historical, and cultural aspects of the work they are viewing, occasionally more than
they enjoy its purely visual aspects” (117). Because the facts and figures of science
do not necessarily invite an audience to linger and look closer, art that incorporates
8
familiar images and objects awakens the senses in a more tantalizing invitation for
an audience to spend time considering plastic.
9
Chapter Three
Creating a Memorable Image of Plastic Pollution
The Mexi-‐Minne Marlin demonstrated a nine-‐inch by twelve-‐inch collage lacked the
attention-‐getting draw necessary to communicate the magnitude of plastic
pollution. To capture audience attention, the scale of the art needed to be much
much larger, which led to material and construction challenges. Furthermore, the
urgency of the plastic pollution crisis meant this art should appeal to audiences and
engage them in a variety of ways. Involving an audience provided solutions to the
material and scale dilemmas. The only remaining question was what would be the
form of the next artwork? While the title, Monuments of Trash Art Project, gives
away the form of the sculpture, what follows is the process and creative imagination
of the art project.
Scale and Form
Death comes to all, but great achievements build a monument, which shall endure until the sun grows cold.
-‐-‐Ralph Waldo Emerson
A transition from two-‐dimensional collage to three-‐dimensional sculpture was the
solution for increasing the scale of the artwork while maintaining the medium of
plastic trash. Assemblage is the conglomeration of objects to construct three-‐
dimensional sculpture. The Art of Assemblage is the first book dedicated to the art
form. In it, author, art historian, and curator, William Seitz, discusses the qualities of
familiarity in assemblage art. “Assemblages of such material (junk) come at the
10
spectator as bits of life, bits of the environment. The urban environment is present,
then, as a source of objects, whether transfigured or left alone” (73).
Pablo Picasso’s Bull’s Head serves as an elegant example of Assemblage. Using a
bicycle seat and handlebars, Picasso arranged them into the likeness of a bull’s head.
Despite a resemblance to a bull’s head, the audience is still able to recognize the
objects as components of a bicycle. The juxtaposition of objects and image asks the
viewer to consider their relationship. The viewer also includes their experience with
the familiar objects in the meaning they attach to the sculpture. MoTAP sculptures
assembled from recognizable plastic trash would offer an audience everyday items
that are instantly familiar.
The use of intact
common plastic
trash made it easy
to increase the scale
of the sculpture. The
scale of plastic
pollution, along
with the durability
of plastic material
reminded me of
monuments like the Figure 2. Pablo Picasso. Bull's Head. 16.5 x 16 x 6 inches, sculpture made with bicycle parts, 1942. Musée Nationale Picasso, Paris.
11
enormous Giza pyramids. Monuments are common throughout human history and
cross-‐culturally – ancient pyramids are found on five continents. Monuments are
built to memorialize and influence the public due to their massive scale, human
ingenuity and craftsmanship. For me, there is a relationship between the
characteristics of a monument and the qualities of plastic as a material.
Human ingenuity introduced plastic in the 1950s as a disposable, therefore time
saving, product (Moore 132). The convenience of plastic led to plastic bottles
surpassing aluminum cans by 1976 (D’Amato 9), making it a ubiquitous material.
Plastic in the convenience industry was engineered to be safe and unbreakable,
which is why it can survive in landfills or water for indefinite periods of time
(DiGregorio). The garbage patches in the oceans, which are not solid floating islands,
but swirling masses of plastic pieces (DiGregorio), are of gargantuan scale. Like
many monuments, the ocean garbage patches are human constructions that will last
for a very long time.
Monuments are familiar common images. Most people could conjure up a mental
image of a pyramid as quickly as they could picture the shape of a plastic bottle of
Coca-‐Cola. However, monuments function as images that humans attach meaning
and emotion to. The Taliban’s destruction of two sixth century Buddhas, the largest
standing Buddhas in the world, and a UNESCO World Heritage site located in
Afghanistan, provides an example of the different values and emotions attached to
monuments. In 2001, the Taliban briefly occupied the valley where the monuments
12
resided. The Taliban claimed they destroyed the Buddhas for religious reasons, but
the act of destroying them was in reality a protest against a military blockade and a
global community who appeared to care more for the monuments than the
Afghanistan people suffering from the blockade. The global outcry and sadness in
the aftermath demonstrates the emotional attachment to monuments as human
heritage (Rathje). The strong emotional response of humans to monuments would
reinforce the statement of MoTAP sculptures because monuments are already
images loaded with human meaning.
Monuments also demand human attention. The destruction of the Bamiyan Buddhas
functioned as a spectacle to attract attention. In a similar manner, a large-‐scale
sculpture of a monument assembled from plastic trash creates a spectacle that
draws attention to itself and away from its surrounding environment. Nicolas
Mirzoeff describes distraction created by spectacles in An Introduction to Visual
Culture. He writes, “in the society of the spectacle, individuals are dazzled by the
spectacle into passive existence within mass consumer culture, aspiring only to
acquire yet more products” (264). Combining assemblage, scale, and the form of a
monument creates a spectacle and strong artistic statement about plastic pollution.
The large-‐scale sculpture can capture an audience’s attention from a distance. Up
close, it directs attention towards the familiar objects composing the overall
sculpture. Combined, the scale of the sculpture and the quantity of plastic trash is
intended to alert the public to their passive existence within consumer culture. The
13
sculpture assembled from plastic trash -‐-‐ discards of the products mass consumer
culture constantly tries to sell -‐-‐ turns the spectacle against itself.
Audience Participation
Never doubt that a small group of thoughtful committed citizens can change the world; indeed it is the only thing that has.
-‐-‐Margaret Mead To create deeper levels of understanding and a memorable experience, artist Allan
Kaprow invited audience members to participate in creating his performance works.
Kaprow called this art form “Happenings”, and directed his participants in activities.
Though, as his friend Robert Morgan, curator and writer, observed, “Its spontaneous
element was always guided by the structure of the piece, regardless of its openness”
(Morgan). Kaprow gave his audience a memorable experience because they were
actively engaged in creating it. This concept inspired me to ask twenty friends to
participate in my art project by saving their non-‐recyclable plastic trash for one
month. The direction I provided was intended to get participants to repeatedly pay
attention to what they throw away.
Plastic dominates the convenience industry (DiGregorio) – single-‐serve beverages,
take-‐away food containers, safe and durable containers for children – it is a material
encountered daily to save time and effort so folks can enjoy more leisure time.
Breaking the cycle of use, or at least noticing it, requires individuals to transcend
everyday preoccupations by paying attention to habits. Nicolas Bourriaud, author of,
Relational Aesthetics, argues for the value of participation in art because, “art does
14
not transcend everyday preoccupations, it confronts us with reality by way of the
remarkable nature of any relationship to the world, through make-‐believe” (264).
MoTAP participants are voluntary; most come to the project with an interest in
environmental sustainability. However, the task of repeatedly considering what
goes in the trash, essentially noticing everyday habits, presents a clearer mental
image of plastic pollution.
Participation in MoTAP is intended to motivate people to pay attention to daily
decisions surrounding consumer choices. For better or worse, humans have evolved
beyond hunters and gatherers. We purchase our food, clothing, and everything else
we may or may not need. Manufacturers compete for consumer’s attention and
income through spectacles such as advertising and packaging. Sea captain,
environmentalist, and author, Charles Moore, writes, “Worldwide, the closely
related but much larger packaging industry is the third largest, after food and
energy. Relative to other mega-‐industries, it whispers . . . beyond containing the
product, the crucial job of the package is to lure the shopper to the product” (129).
Packaging is a spectacle that distracts consumers from the product within, its
quality, material composition, and the pollution created in manufacturing and its
disposal. Active engagement in MoTAP contributes to increased awareness of
product packaging, creating shoppers more likely to question the products they are
lured into consuming.
15
Plastic Obelisk is the sculpture constructed from the first collection process. The
sculpture is a twelve-‐foot tall obelisk assembled from one month’s worth of plastic
trash collected by twenty people. Trash includes children’s toys, food containers,
coat hangers, records, ink pens, and a lot of packaging. Plastic Obelisk successfully
resolved the scale, material, and form dilemmas, to create a spectacle of a sculpture
composed of common plastic trash.
16
Chapter Four
The Foundations of Monuments of Trash Art Project
Reality changes with the nature of the attention we pay to it…context is everything in understanding.
-‐-‐Iain McGilchrist
The creative process of MoTAP occurred in conjunction with my Master of Liberal
Studies program, leading to the inclusion of a creative project as part of my thesis.
Liberal Studies seminar topics that influenced MoTAP included theories of relational
aesthetics, icons and totems, memes, and social enterprises. Informal MoTAP
resources are comprised of my artistic abilities, conversations with participants
during and after collection periods, observation of audience response to the
artwork, and ongoing research of plastic pollution to enrich the art. Resource
materials are taken from books, journals, and lectures with artists, scientists,
oceanographers, environmentalists, and a sea captain. Personal resources informing
MoTAP are daily observations of my relationship with plastic products and
packaging, along with inadvertent observations of how those around me interact
with plastic. The informal resources increased my awareness and knowledge of
plastic pollution, and defined the formal resources that would strengthen the artistic
statement.
Relational Aesthetics
My relationship with plastic products and packaging changed as I learned about its
harmful effects on animals who often mistake it for food, and its inability to
17
naturally degrade, especially when compared to its absurdly brief human use.
Rather than trying to recycle more plastic, I stopped buying it whenever possible. As
my relationship with plastic changed, my attention to how those around me
interacted with plastic increased. Many people pay almost no attention to plastic.
Perhaps because it is so common, plastic is difficult to avoid. My observations of
other people’s relationship to plastic shaped the belief that MoTAP needed a
participatory component that would offer personal experience and depth of
understanding. I learned to see trash during my undergraduate studies in an
assignment that required students to write down every piece of trash we threw
away during a week. It was a memorable assignment that changed the way I thought
about garbage, and it inspired the participatory component of MoTAP.
My research into participatory art focused on three authors: theorists Nicolas
Bourriard and Claire Bishop, and musician, curator, and author, Morgan Quaintance.
Relational aesthetics, or participatory art, engages the audience to do more than just
look. Bishop describes relational art as having the tendency to, “create not only
objects but situations and encounters . . . art no longer wants to respond to the
excess of commodities and signs; by offering small services, the artist repairs the
weakness in the social bond” (90). Participatory Art may invite its audience to have
a bite to eat, play a game, plant a tree, or take a piece of the art, but the purpose is to
enhance the audience’s experience of art through active engagement rather than
contemplation alone. It is about the process and/or exchange of ideas rather than a
final aesthetic piece of art.
18
MoTAP creates an encounter with plastic trash to get people to pay attention to
something they are used to dismissing. When I asked friends and family to save
plastic trash for the first project, they wanted to know why. Why save it, why plastic,
why did I care? My responses were as follows: So I can build a sculpture that shows
how much plastic we throw away in a specific period of time; because plastic does
not biodegrade and there is an unbelievable amount of it in our oceans; and finally, I
care because humans made this mess. We owe it to other species and future
generations to do something. MoTAP is a response to the excess of products we are
asked to buy and discard for new improved models. MoTAP seeks to bring attention
to excess and trash through an experience that inspires the public to want to reduce
their consumption of plastic.
MoTAP participants were engaged in addition to just collecting plastic trash through
monthly e-‐mails during collection periods and a Facebook page dedicated to the art
project. Monthly e-‐mails were intended to keep participants interested in collecting
plastic and offer deeper inclusion in the project. E-‐mails provided updates on how
the project was progressing and photos of the growing pile of plastic trash in my
studio. Because the burden of making room to store plastic seemed like it would
deter participation, I accepted plastic during collection periods. E-‐mails and
Facebook showcased “an object of the month,” which I selected based on criteria like
humor or questions of an object’s former use. My personal favorite is a disposable
19
plastic cup autographed by John Waters. The inside joke being, Waters is known as
the “Pope of Trash” due to the nature of his films.
E-‐mails and Facebook also contained information and links about plastic pollution.
Morgan Quaintance, claimed participation could “transform a presupposed
spectator from passive to active, disembodied to embodied and from apolitical to
political” (7). The goal for my community of trash collectors is to engage them with
experience and information that makes them want to reduce plastic consumption.
The Facebook pages features links to information about the long life of plastics
buried in landfills, dismal recycling statistics regarding plastic, artists working with
trash, and whenever possible environmentally optimistic outlooks to provide hope.
The links to articles, artists, and other information regarding plastic pollution and
art that are posted on the MoTAP Facebook page created an unintended archive and
timeline for the project.
In every aspect participation elevated the value of MoTAP art. Conversations with
those collecting plastic trash kept me excited about the project. The specific number
of people and period of time offered visual evidence of pollution in a manner that
mimicked facts and figures associated with science. Because my volunteer assistants
held up their end of the bargain, I had to hold up mine by building the best sculpture
I could with the materials they collected.
20
Icons, Totems, and Monuments
During and after collection periods, I had conversations with volunteers about their
experiences collecting trash and the insights they gained. These conversations have
been of great value for me because I learned how the project altered participant’s
attention to plastic. These conversations demonstrated the strength of shared
images and how they evolve with deeper understanding.
The idea of a monument as the form for the sculptures was informed by WJT
Mitchell’s definition of icons and totems in the book: What Do Pictures Want? .
Mitchell’s distinction between mental images and physical images inspired much of
the layering of familiar objects and images into MoTAP art. He writes,
To diagnose the ways in which objects and images are fused together to
produce those things I have been calling ‘pictures’ in an expanded field.
Totems, fetishes, and idols are not just objects, images or even uncanny
‘things’ that defy our modes of objectivity. They are also condensed world
pictures. (196)
A “picture” of an object or idea exists in the imagination. It may be recalled when
another object or idea triggers it. Everyone’s “picture” of the same object or idea will
be a little different based on individual values, beliefs and experiences, but an image
like a monument helps us share a “picture” of culture, community or history. Our
“pictures” evolve and change with increased understanding.
21
A shared “picture” can empower and motivate large groups of people. Monuments,
which function like icons and/or totems, are shared “pictures” of beliefs or values.
For MoTAP art, I selected familiar images, objects, and the form of monuments,
because they are already shared “pictures”. The layers of familiarity in MoTAP art
offer a more complex mental image, which may evolve values and beliefs.
Monuments, like totems and icons, are shared images that also possess emotional
attachment. Emotions are a strong source of motivation – people are more likely to
act when they care about something.
Memes
Memes are not necessarily something humans care deeply about. Memes are social
transmissions accepted by humans consciously or unconsciously. Meme theory is
controversial and its definition varies. Richard Dawkins, founder of the concept,
defines memes as social transmissions that are replicated or imitated by humans.
Music, fashion, values, beliefs, or the way something is done – ideas and information
selected as the norm are examples of memes. Dawkins writes, “memes propagate
themselves in the meme pool by leaping from brain to brain via a process which, in
the broad sense, can be called imitation” and memes replicate themselves with the
aid of “great music and great art”(192-‐3). The theory of memes inspired me to name
the art project, Monuments of Trash Art Project (MoTAP) – intentionally selecting a
memorable acronym – and add MoTAP bins to the project.
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MoTAP bins are receptacles for participants to collect their non-‐recyclable plastic
trash, similar to recycling bins. For many, recycling is a habit or “the way things are
done”, therefore, recycling is a meme in itself. Kate Distin, who expanded on
Dawkin’s theories, claims, “…replication of memes will be most efficient if it builds
on what already exists rather than starting afresh each time” (42). MoTAP bins are
skeletal wood frames with a painted canvas that wraps around the frame to create
the walls of the container. Two paper grocery bags fit inside the bin.
There were a number of challenges with the bins, including my insistence that the
materials should be as naturally degradable as possible. Initially, I planned a
collapsible bin structure for convenient storage, but my woodworking skills are
limited. I settled on a box structure with an open top. The canvas needed to remain
flexible so it could wrap around the bin. With oil painting, canvas is most often
covered with a couple coats of gesso – a cheap alternative is house paint. Gesso
makes canvas shrink and become less pliable. Shrinking was a concern because the
canvas had to fit around the bin with some accuracy. I used white spray paint as
gesso to retain the size and flexibility of the canvas. The canvas is finished with
hemmed edges and metal grommets every couple of feet. Grommets are metal rings
that fit together on each side of the canvas to create a reinforced metal opening, so
the fabric can be attached to something else without tearing. Grommets are common
on boat covers and as a way to attach banners to fences. The grommets on the
canvases hook around screws on bin frames, causing it to stretch around the bin and
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create an enclosed container. The grommets are also used to stretch the canvas on a
flat frame during the painting process or to hang the painting on a wall.
Figure 3. Tanya Gravening. MoTAP bins. Pictured from left to right: Sea Turtle, Jellyfish, and Sea Horse. Bin sizes are 21 x 17 3/4 x 17 3/4 inches. Canvas sizes are 77 1/2 x 26 inches. Mixed media on canvas, wood frame, and grommets, 2011-‐13. Collection of the artist.
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Ideally, MoTAP bins would be set out during collection periods for plastic pick-‐up,
creating a curbside gallery. Distin argues, “ . . . just as the course of genetic evolution
has been shaped by its ultimate reliance on DNA, so the course of cultural evolution
must ultimately be dependent on the nature of the information that is being
selected” (18). A curbside gallery is a spectacle to attract the attention of passing
traffic. Perhaps creating a meme-‐like desire to have a curbside gallery in one’s own
neighborhood. Bins and curbside collection are behavior we are familiar with.
MoTAP bins build on accepted recycling behavior. Through images and color they
attract attention in an effort to be desired and selected.
The aquatic animals painted on MoTAP canvases are all affected by plastic pollution.
To create consistency between the various canvases, all are “tagged,” in a manner
similar to graffiti, with block prints. Block prints are a traditional printing process in
which an image is carved into a wood or linoleum surface. Ink is then rolled on, and
the image is transferred to another surface. Block prints add both a propaganda and
graffiti effect to MoTAP canvases with images of plastic bottles, swirling water, and
the mantra, “make art, not trash.” Block prints provide an instantly recognizable
type of branding for the project, which functions like a meme. Applying meme
theory to MoTAP transformed the project into a concentrated approach to the
audience.
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Social Enterprise
The Environmental Protection Agency research of plastic pollution taught me that
less than ten percent of plastic is recycled, and often what is collected to be recycled,
is actually shipped to developing countries where it is incinerated (Van Jones).
These are dismal facts when one is confronted with the lack of plastic-‐free options
available in the average supermarket. My research into plastic pollution
demonstrated the need to create consumer alternatives capable of competing with
plastic products and packaging.
Paul Hawken, author of Blessed Unrest describes social entrepreneurs as “innovative
risk takers who use ideas, resources, and opportunities to tackle problems and
produce social benefit” (151). Tom’s Shoes is a well-‐known social enterprise. For
every pair of shoes Tom’s sells, they donate another pair to a child in need, thereby
creating a business model that creates social benefit. The sale of artwork has never
been a motivating factor for MoTAP, however the philosophy driving social
enterprises inspired one MoTAP solution to reduce plastic packaging.
The MoTAP alternative to plastic packaging is reusable jars intended as containers
for bulk purchases. The jars are reclaimed glass food containers, which are cleaned,
embellished with porcelain paints, and baked in the oven – similar to firing a clay
pot. After baking, the paint is permanent and dishwasher safe. MoTAP jars are
intended to be fun to use and convenient, while adding a unique piece of art to
pantry shelves rather than repetitive labels touting their wares. MoTAP jars reduce
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plastic packaging with a fun utilitarian piece of art that empowers consumers to
take control of their shopping.
MoTAP jars reduce pollution by reusing existing containers. Reusing the containers
eliminates the resources required to produce energy to recycle the glass and turn it
into new products. MoTAP jars also reuse the jar’s lids, most of which are not
recycled properly. I purchase cooking oil in bulk, refilling my attractive MoTAP jar
approximately once a month. That is a reduction of twelve containers a year. When
combined with other bulk purchases I make, such as peanut butter, soy sauce,
laundry detergent and several others, MoTAP jars significantly reduce containers
that would be recycled or discarded. Additionally, the products purchased in bulk
are less expensive and often healthier alternatives for myself, and the environment.
Based on compliments and questions regarding MoTAP jars when I take them
shopping, they possess meme possibilities. Similar to the way Tom’s shoes are
fashionable as a statement by the wearer that they contribute to social welfare.
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Figure 4. Tanya Gravening. MoTAP Jars. Pictured from left to right: Dirty Laundry, Greek Key, Black-‐Eyed Susans. Jars are various sizes with porcelain paint, 2012-‐13. Jars pictured are in private collections.
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Chapter Five
MoTAP Construction and Exhibition
MoTAP artworks have been exhibited on three occasions between May 2011 and
November 2012, culminating in an exhibition of the complete body of work at the
University of Minnesota’s Ralph Rapson Library in the School of Architecture, from
February till March 2013. MoTAP is an artist-‐funded project. All the artwork was
created in my modest basement studio, which doubled as a plastic trash storage
facility during collection periods. In most cases, MoTAP art was created for specific
exhibitions.
First Exhibition – Plastic Obelisk
The Mexi-‐Minne Marlin and Plastic Obelisk were exhibited at the 2011, Tenth Annual
Living Green Art Expo. The Living Green Expo is a two-‐day event at the Minnesota
State Fair Grounds offering environmentally sustainable products and services. It
attracts an audience who share eco-‐minded values. I was invited to participate by
Roslye Ultan, curator of the art exhibit. The Mexi-‐Minne Marlin and Plastic Obelisk
were created for the exhibit. The audience appeared much more interested in Plastic
Obelisk than The Mexi-‐Minne Marlin. This personal observation is based on people
taking photos with and of Plastic Obelisk; along with the extended periods of time
people spent looking at the sculpture. For me, this confirmed earlier concerns that
The Mexi-‐Minne Marlin lacked the scale necessary to attract attention and convey
the urgency of the plastic pollution crisis.
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Plastic Obelisk is constructed with plastic
trash glued, zip-‐tied, and screwed together
in the form of an obelisk. There is order to
the chaos, which upon close inspection may
reveal inside jokes about trash-‐y concepts
(Florida’s tourism and pink flamingos),
references to art history (a shark in a
“vitrine” offers my opinion of Damien
Hirst’s art), and allusions to the
consequences of plastic pollution (a broken
hour glass, an oversized fly). It is of note,
that the hourglass broke after the obelisk
was constructed.
Plastic Obelisk is built in four separate
sections to accommodate scale and
limitations of my studio, which has a six-‐
foot ceiling and entrance with a low-‐
winding staircase. The internal structure of
Plastic Obelisk’s base section is two wooden
speaker stands providing weight at the
bottom to support the height of the
sculpture. The second section is built to
Figure 5. Tanya Gravening. Plastic Obelisk. 12 x 2 x 2 foot sculpture made from plastic trash, 2011. Collection of the artist.
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anchor the upper sections of the obelisk. The four corners and center of the second
section use stacked food containers, such as sour cream tubs. The stacked
containers support and distribute the weight from above. The center stack has holes
cut through the bottom of each container, creating an insert for the skeletal
structure of the third section. The third, and largest section, has a two-‐inch by two-‐
inch by eight-‐foot lumber stud that forms the internal structure. Plastic containers
are screwed to the lumber and then more plastic objects are glued to those
containers to create the exterior surface of the obelisk. The top and bottom of the
third section has two-‐feet of exposed lumber that fits into holes cut in to the
adjoining second and fourth sections. The first time I stacked Plastic Obelisk to its
full twelve-‐foot height was at The Living Green Art Expo. It was an enormous relief
when it stopped swaying, and stood on its own.
The positive response to Plastic Obelisk motivated me to begin a second collection
process. The next sculpture would be a pyramid, after a prototype I built to test
adhesives. The prototype was small, and built of clear, consistently sized containers
– maybe baby food. The translucency of the containers let light through, and allowed
me to entomb a discarded children’s toy within the pyramid. The toy is a plastic
action-‐figure most likely a villain based on its appearance, and was probably
discarded because of a missing arm. I collected it while walking my dog. The chance
to entomb a plastic villain in a monument of plastic trash offered symbolism I could
not pass up. There is also a wind-‐up plastic dancing figure on top of the prototype
pyramid to mimic ritual dances performed around monuments.
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Second Exhibition – Plastic Pyramid
The second MoTAP exhibit was at the Eleventh Annual Living Green Art Expo in
2012. This exhibit featured MoTAP bins and canvases, along with a large-‐scale
sculpture from the second participant collecting process. The sculpture, Plastic
Pyramid, was constructed of plastic trash collected from fifty households over the
course of five months. Most people who collected plastic for the obelisk also
collected for the pyramid. Many recruited their friends and family for the second
project.
During the collection and construction of Plastic Obelisk and Plastic Pyramid, I
shared my studio with growing piles of plastic trash. People collecting plastic for the
projects left bags on my porch, loaded it in my car at gatherings with friends, and I
collected it in my neighborhood via bicycle with trailer. Collection of plastic for both
sculptures was anonymous because I always accumulated several bags of plastic
before sorting it by color, shape, and size – anything that created some semblance of
order. The time span between collecting plastic and building Plastic Obelisk was
approximately three months. I sorted the plastic in piles on the floor, leaving a
central workspace to construct the obelisk. This process gave me the opportunity to
see the materials all the time, which may reflect the more playful use of materials in
Plastic Obelisk.
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Figure 6. Sorted plastic trash for Plastic Pyramid stored in room adjacent to studio. The cardboard boxes on the left and the coolers on the right were not part of the collected plastic. However, this photo was taken before the end of the collection period. 2012.
The five-‐month collection process for Plastic Pyramid meant a lot more plastic piling
up, so it became necessary to store plastic in a room adjacent to my studio. While
the obelisk was constructed from the contents of approximately fifty paper grocery
bags filled with plastic, I lost track of the number of bags for the pyramid because
the plastic trash had to be constantly sorted to make space in my studio. With the
pyramid I kept the majority of the sorted plastic in the storage room, bringing out
manageable quantities of plastic to use during construction. The pyramid is less
playful than the obelisk and embodies an emphasis on sorting, evident by separation
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of objects and colors. It was during collection and construction of the pyramid,
surrounded by piles of plastic, that I developed an aversion to the odor of plastic.
The first exhibit of Plastic Pyramid was somewhat disappointing for me. Plastic
Pyramid uses the Maya pyramid at Tikal in Guatemala for scale and form. The Tikal
pyramid is a stepped-‐pyramid, meaning sections concentrically get smaller towards
the top. Due to exhibition obligations and time-‐restraints I was unable to finish an
entire step on Plastic Pyramid. Each step is a one-‐foot in height. Therefore the
overall height was reduced to five feet tall as opposed to the intended six. The
second disappointment came from my decision to display the pyramid on the
landing of a staircase in the exhibition space, which was the southwest corner of the
Minnesota State Fair Education Building. I hoped the space would create a division
between my project and the rest of the exhibit and add height to the unfinished
pyramid, but it took it out of the line of traffic and made it impossible to walk the
around the pyramid and get a close look at all the trash.
Third Exhibition – Plastic Obelisk (revisited)
In November 2012 Plastic Obelisk was exhibited at Midtown Global Market for the
Green Gifts Art Fair, which is organized by Do It Green. Midtown Global Market is a
community of food vendors, grocers, artisans, and services located in the renovated
Sears building at the intersection of Lake Street and Chicago Avenue in South
Minneapolis. Due to its location, it attracts a socially diverse variety of visitors. The
mission of Do It Green is to educate and motivate Minnesotans to make
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environmentally sustainable decisions. Do It Green’s headquarters are located in
Midtown Global Market. The Green Gifts Art Fair is an annual event that takes place
before the Christmas holiday season. It offers environmentally sustainable
alternatives to wrapping paper and other disposable holiday traditions, along with
artisans selling recycled/reclaimed wares, such as mittens sewn from old clothes.
Plastic Obelisk was exhibited at the Green Gift Art Fair as a result of an unusual chain
of events stemming from my continuous search for potential collaborators. A close
friend, who owns a barbershop near Midtown Global Market, was making small talk
while cutting a gentleman’s hair. The gentleman, who was involved with Do It Green,
mentioned they were looking for a ways to reduce trash at Midtown Global Market.
Their conversation led to a string of e-‐mails between Do It Green employees and
myself, resulting in the inclusion of Plastic Obelisk at the Green Gift Art Fair.
Plastic Obelisk was exhibited near the Lake Street entrance. It is a high traffic
location next to Do It Green’s storefront, yet separate from Green Gift Art Fair
vendors. The obelisk was displayed next to a supermarket within Midtown Global
Market. It was an ideal location due to the food industry’s massive use of plastic
packaging, which composes much of Plastic Obelisk. As I was setting up the obelisk, a
group of Somali teens entered the building. One of the boys paused to look at the
partially raised obelisk. He pulled a brand new iPhone out of his pocket and held it
towards me joking; “you could add this.” I suggested he get more use out of it before
it becomes trash. He laughed and caught up to his friends. His response to the
35
artwork after a five second glance was right on, and ironic based on Apple’s
reputation for planned obsolescence (Bilton).
The positive audience response to Plastic Obelisk at Midtown Global Market and
Living Green motivated me to rebuild Plastic Pyramid as I envisioned it. To my
surprise, the pyramid offered more challenges in construction than the obelisk, due
to its size and the size limitations of my studio. Plastic Pyramid is built in seven
sections, each less than two-‐foot wide to make it through my studio entrance. Plastic
Pyramid is constructed very different than the obelisk. The pyramid does not
include a skeletal structure, and it is fastened together using rivets. The base
consists of four, three-‐foot by three-‐foot square sections placed on the floor to
create a six-‐foot by six-‐foot square. The height of the base is two-‐feet, and creates
the bottom two steps of the pyramid. The next section is centered and stacked on
the six-‐foot square; it also includes two steps. The third section is a single step with
a pink children’s bicycle helmet in the center. For the top, I used the small prototype
pyramid mentioned earlier. The pyramid is constructed of a lot of clamshell
containers that held berries. These containers are filled with other plastic trash to
provide support for the stacked weight. The positive aspect of my studio limitations,
which required me to build both sculptures in sections, made them easier to
transport.
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Fourth Exhibition – Monuments of Trash Art Project
Plastic Pyramid was completed and displayed with art from the entire art project at
the University of Minnesota’s Rapson Library in the School of Design in early 2013.
The culmination of two years dedication to making MoTAP art included two large
sculptures: Plastic Obelisk and Plastic Pyramid, two MoTAP bins: Shark! and Sea
Turtle, three MoTAP canvases: Sea Horse, Jellyfish, and Albatross, two collages: The
Mexi-‐Minne Marlin and Laysan Albatross, and twenty-‐five MoTAP jars. Exhibiting all
the MoTAP art in a single location provided a comprehensive context for the project.
During planning for the Rapson exhibition, one breakthrough trash-‐reducing
concept occurred to me. After discussing brochures for the exhibit with curator,
Deborah Boudewyns, I was conflicted with the idea that most people would
eventually discard the brochure. The energy and resources required to create the
brochure would therefore be wasted. I still had a few bags of trash left over from the
second collection period, one of which was entirely filled with plastic lids – the size
that fit sour cream tubs. The lids could be transformed into mementos for the
exhibit and provide directions to a brochure online. The memento challenged those
who took one home to find a way to reuse them. However, even if people discarded
the mementos, the lids had been destined for the trash in the first place.
To transform the lids into mementos, I chose a combination of painting, block-‐
printing, and ink-‐jet printing. One side of the lid is a printed and numbered edition
of art, while the other side has an ink-‐jet paper print insert explaining how the
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memento functions and gives the website address to the online brochure. There are
two editions of thirty-‐five MoTAP mementos. Both editions have five stripes of color
painted on one side. The colors red, yellow, white, blue, and green, are five of the
most common colors found on flags around the world. The selection of colors
reflects plastic pollution as a global problem, which requires a global response. The
two separate editions are defined by the block prints. Thirty-‐five are a map image of
the Pacific Ocean side of the globe, while the other thirty-‐five are the Atlantic Ocean
side of the globe. On the flip side of each edition, the ink-‐jet print features the
opposite oceanic global map with white text.
Figure 7. Tanya Gravening. MoTAP Mementos. 5 x 5 inches. Mixed media on plastic lids, 2013.
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A second breakthrough concept that came about in the process of setting up the
Rapson exhibit was my decision to recycle the pyramid at a closing event for the
exhibition. Three months after the collection process for the pyramid, Hennepin
County changed its recycling policy to include accepting a greater variety of plastic
and a single sort system. Recycling the pyramid at the end of the exhibit presented a
unique opportunity to compare how much of the plastic was now recyclable. In
addition, transporting MoTAP sculptures required large vehicles, and time spent
reattaching pieces that fall off during transportation. I had moved the pyramid
twice, sacrificed space in my studio and garage to store it, and lived with the awful
smell of the plastic . . . I was definitely ready to be rid of all that plastic.
Because I am not a recycling expert and Plastic Pyramid was constructed of a lot of
different plastic trash, I looked for an expert to help deconstruct the pyramid. After
several e-‐mail attempts to various organizations, Nancy Lo from Hennepin County
Environmental Services graciously agreed to oversee the recycling of the pyramid.
Nancy helped sort plastic and brought fliers on ways to reduce trash, fix-‐it clinics,
and other valuable services offered by Hennepin County.
A University of Minnesota recycling expert and employee named Dana also
contributed to sorting the plastic to be recycled. For objects that did not display a
recycling number, Dana burned a corner of the plastic and smelled the smoke to
determine the variety of plastic. I was familiar with this technique from a lecture I
watched online with Van Jones, former Environmental Advisor to the Obama
39
administration. However, many people who were present at the pyramid recycling
commented on Dana’s peculiar behavior later. Van Jones did not recommend
burning plastic as a healthy means of determining its chemical make-‐up (Jones).
Thanks to Nancy and Dana, and Hennepin County’s new recycling policies, ninety
percent of the plastic used in the six foot by six foot by six foot Plastic Pyramid was
recycled.
While searching for a recycling expert, I learned about a Master Recycler and
Composter program offered through Hennepin County Environmental Services. To
become a Master Recycler/Composter requires six classes and thirty hours of
community service. The program appealed to me for the information it offered and
as a way to become more active in reducing trash in my community. Artist, Mierle
Ukeles-‐Lauderman, has been New York City’s Sanitation Department artist-‐in-‐
residence since 1977. Her 1969 Maintenance Manifesto asked, “after the revolution,
who’s going to take out the trash?” (Ryan). Forty years later she describes
maintenance art as “trying to listen to the hum of living . . . this repetitive thing that
as much as you chafe at the boredom of the repetition is as important as the other
parts” (Ryan). My goal is to get people interested in trash through art, by adding
expertise as a Master Recycler/Composter, I hope to offer an audience a variety of
solutions and options to reduce trash through fun and interesting projects.
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Figure 8. Tanya Gravening. Plastic Pyramid. 6 x 6 x 6 foot sculpture made from plastic trash, 2013. Plastic Pyramid was deconstructed and recycled March 8, 2013.
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Construction of both the pyramid and the obelisk involved a lot of trial and error.
Plastic Obelisk is held together by a variety of adhesives, many of which did not hold.
My criteria for adhesives were they dry fast, possess flexibility to accommodate
movement, and must be clear in color. After several failed attempts, I contacted 3M
to ask for suggestions on adhesives. The employee from 3M told me there are many
different chemical compositions of plastics, all of which include petroleum and repel
adhesives. 3M generously mailed me free samples to experiment with, but in the end
hot glue was the most successful solution. Plastic Pyramid was constructed
primarily with rivets and some zip-‐ties.
The majority of funding for MoTAP was covered by the artist, and mainly includes
adhesives and rivets. Adhesives are expensive, must be used in a well-‐ventilated
area (which my studio is not) and do not hold plastic together permanently. Rivets
are inexpensive, non-‐toxic, and a stronger fastener. Funding for a larger studio
would have enhanced construction of the sculptures because I could have tested
how various sections fit together, which would have improved aesthetics and
engineering. A larger, more hospitable space (my studio does not have heat) would
have provided the opportunity for an audience to witness the pile of trash
transformed into a sculpture, or better yet participate in constructing the pyramid. I
had help riveting the pyramid from a number of participants. Two in particular
developed considerable riveting skills and an understanding of the plastic material.
Eventually, both were able to provide direction for others willing to help construct
the pyramid.
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The greatest funding hurdle is dry erase paint for the lids of MoTAP jars. Dry erase
paint would be used to paint lids, providing a space to temporarily write product
codes for bulk items. Lids would also include a permanent area displaying the
weight of the container, eliminating the need to weigh the container before filling it.
Dry erase paint would create consistency, a more finished product, and more
importantly convenience for the user. As of this writing, the prohibitive price of the
paint places this concept out of reach. Ideally, MoTAP jars would have matching bags
– in images and/or colors – with pockets for glass containers and dry erase pens.
These are considerations for the future.
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Chapter Six
Connecting Art, Economics, Plastic Pollution, and Science
When we try to pick out anything by itself, we find it hitched to everything in the universe.
-‐-‐John Muir
MoTAP uses the model of systems thinking, an inter-‐contextual approach relating
various elements to increase understanding. MoTAP art engages an audience in
dialogs about plastic pollution and the environment, while offering a whimsical, yet
critical perspective of the economic impact on the environment. Connecting
environmental and economic concepts through art provides an audience with
alternative ways of viewing familiar concepts, which may evolve a more complete
picture.
In the book, Marx and Nature, Paul Burkett offers an interpretation of Karl Marx’s
warnings on the dangers of a capitalist economy to the environment. Burkett points
out, “quantitatively, capitalism only ascribes value to nature insofar as its
appropriation requires commodity-‐producing labor, even though nature’s
contribution to production – and to human life more generally – is not materially
reducible to this labor of appropriation” (80). When plastic was introduced as a
cheap, disposable alternative to glass or aluminum cans in the 1970s, consideration
for how to get rid of it was suspended in favor of economic gain.
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A brief reflection on how the economy functions through the sale of products –
evident by all the objects cluttering our lives – demonstrates why businesses and
politicians support policies that pollute the environment. Production of goods
creates jobs, which generates income, which creates demand for goods -‐-‐ the more
goods in circulation, the stronger the economy (Burkett 95).
However, the raw materials extracted and transported to construct goods, and the
energy used to reclaim or incinerate them when they no longer possess human
value, causes enormous amounts of pollution. Extraction of raw materials and
disposal of products is obscured from consumers, whether in remote landfill
locations or windowless buildings like the Hennepin County Energy Recovery
Center (HERC), located in downtown Minneapolis. HERC recovers energy by
indiscriminately incinerating garbage, which is producing documented levels of
dangerous air pollution causing health-‐related problems in the suburbs surrounding
Minneapolis (Hornstein). Energy Recovery makes HERC sound like a positive
service to the community, but fails to mention their connection to garbage or air
pollution.
Technology makes the “big picture” so complex, it is impossible step back and “see”
it all; especially in this age which places value on instant gratification and
convenience. For scientists and artists, stepping back and focusing on a particular
concept or approach is part of the process. Both fields involve individuals
45
experimenting with the ideas and materials of their age. Genius and innovation in
both fields can lead to transitions in human values and behavior.
Charles Darwin’s theory of evolution in nature is my favorite example of how
science and art came together. Darwin traveled around the world on a three-‐year
expedition as a naturalist on the ship, The Beagle. In an age just prior to the
invention of the camera, Darwin documented plant and animal life by making
meticulously detailed drawings. Darwin’s drawings created a visual journal for him
to compare species around the world. Accurately drawing a plant or animal requires
a high level of concentration and attention to minute details. Darwin’s
documentation process demonstrated to him the similarities between species, such
as young donkeys in South America who displayed stripes similar to Zebras in
Africa. Darwin’s, The Origin of Species, methodically challenged the religious beliefs
of his age and for many, permanently displaced man as the center of Earth. The
process of drawing helped Darwin think through the concept of evolution.
Figure 9. Charles Darwin. Darwin's Finches, 1835.
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Sian Ede, author of Art and Science looks at the similarities and differences between
art and science, from process to funding. She notes that, “artists don’t ‘do’
prettification, product or propaganda for the public understanding of science. But
they can engage with it and create images which suggest alternative ways of seeing”
(3). MoTAP art offers alternative ways of seeing plastic pollution. MoTAP sculptures
do not attempt to make plastic trash pretty, as some artists working with trash
inadvertently do. However, MoTAP does attempt to increase public understanding of
the science behind plastic pollution through familiar images, objects, and concepts.
Ordovician Pore is a sculpture by Tony Cragg, who was trained as a scientist. It is an
artistic commentary that relies on scientific knowledge of geological time to
demonstrate the dangers of nuclear power. For many years I found the aesthetic of
Ordovician Pore uninteresting until I learned what it was about. Now it is one of my
favorite pieces in The Minneapolis Sculpture Garden. A trained artist is schooled in
speaking to an audience though images. Would Ordovician Pore be more
aesthetically enticing if an artist created it? No two people would express a concept
the same way, but the question suggests collaborations between artists and
scientists could make a clearer and more visually compelling statement.
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Figure 10. Ordovician Pore. 96 x 90 x 124 inches, sculpture is made of granite and steel, 1989. By Tony Cragg. Collection of the Walker Art Center.
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Chapter Seven
Conclusion: The Monuments of Trash Art Project
Now the question is. Are you ready for the real revolution, which is the evolution of the mind…this is a call to all you sleeping souls. WAKE UP and be in control of your own cycle. “He Got Game” lyrics by Public Enemy
This Creative Project and Process Paper describes my ongoing series of artworks
titled Monuments of Trash Art Project. MoTAP art is my effort to introduce an
audience to plastic pollution with images constructed to provoke reflection. MoTAP
art builds on familiar concepts, from the objects of plastic trash used to construct
the sculptures, the monumental forms, and the aquatic animals painted on MoTAP
bins, which are an evolution familiar behavior. Sculptures are at the heart of the
project as a representation of a community effort to gather discarded trash, which is
reconfigured into art that reveals the quantity of plastic pollution. The repetitive act
of collecting plastic trash requires participants to pay attention to what is thrown
away. This activity is intended to focus attention on the use and lifecycle of plastic
products and packaging. Collecting trash offers first-‐hand experience that enables
participants to critically consider the value of products and identify plastic trash
while it is still in product form.
From January to May 2012 I took the plastic-‐free challenge, which was a pledge not
to purchase any new plastic products or packaging. The experience demonstrated
that supermarkets are the most difficult places to avoid plastic. Going plastic-‐free at
the supermarket is complicated and requires planning. Purchasing items in bulk is
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the easiest way to avoid plastic packaging, but that means remembering to bring
containers for bulk products and bags for produce and baked goods. Tortilla shells,
which I usually buy pre-‐made and packaged in a plastic bag led to a string of
problems. To avoid the plastic bag, I had to find a recipe for flour tortillas, visit two
supermarkets for ingredients in plastic-‐free packaging, and make time to prepare
the tortillas. My lone attempt to make tortilla shells was such a colossal failure I just
stopped eating them. I went back to buying tortillas in a plastic bag after my plastic-‐
free challenge. However, the Plastic-‐Free Challenge made me acutely conscious of
my purchases and provided experience and solutions I could share with others.
The burden of avoiding plastic products and packaging, the inconvenience of it, is
the reason it is necessary for people to understand the harm plastic pollution
causes. Reducing plastic pollution means caring and rethinking the way we do
things now, before rescuing the environment becomes a last-‐ditch effort. The
severity of the plastic pollutions crisis led me to believe all attempts to reduce,
reuse, recycle, and refuse plastics are worthwhile efforts. There are artists and
scientists around the world working on ideas to raise awareness and reduce the
problem of plastic pollution. At the time of this writing, nineteen-‐year-‐old Boyan
Slat, is working on an award-‐winning prototype for a device that may be capable of
extracting plastic from the ocean with minimal harm to aquatic species (Singh).
Artist, Angela Haseltine Pozzi, is making large-‐scale sculptures of aquatic animals
out of trash collected from Oregon beaches by a community the artist engaged. Pozzi
50
is trying to take her art, The Washed Ashore Project, global to reach a larger audience
(Pozzi).
Chris Jordan is an example of an artist whose work augments the facts and figures of
science. His large-‐scale photographic images depict the quantity of a specific
product consumed by humans during a specific period of time. Jordan’s series
Running the Numbers: An American Self-‐Portrait, includes a piece called, Caps Seurat,
which looks like George Seurat’s Sunday Afternoon on the Island of Grande Jatte.
However, Jordan’s image is composed of 400,000 plastic bottle caps, or the
equivalent of plastic bottles consumed in the United States every minute (Jordan).
While MoTAP art also shows consumption over time, it offers a tactile experience of
actual objects as opposed to photos. MoTAP art also includes the odor of plastic
trash. The familiar objects, images, and associated habits are elements used to
expand facts and figures related to the pollution caused by plastic material and the
role we play in contributing to it.
It is not my intention to dismiss Chris Jordan’s art or facts and figures related to
science which can be difficult for many to comprehend. The overwhelming statistics
about plastic pollution in the oceans is not a pleasant topic for contemplation or
conversation. Art can make a difficult topic more approachable and comprehensible.
Artists who study facts and figures are better able to express a specific issue through
their art. When people become aware of an issue and understand how their
51
behavior and habits contribute to the problem, they are empowered to find
alternatives.
Figure 11. Tanya Gravening. Laysan Albatross. 26 x 77 1/2 inches, oil and block-‐print on canvas, 2013. Collection of the artist.
As of this writing, the most recently completed piece of MoTAP art is an oil painting,
a medium that I have returned to. The painting, Laysan Albatross, shows an
albatross looking at the viewer as he floats in the sea surrounded by red plastic
bottles. An albatross often mistakes red plastic trash as a favorite food, an error that
leads to starvation for many (Moore 123). During the artistic process of MoTAP, I
read Capt. Charles Moore’s account of his travels through the Pacific Garbage Patch.
I watched lectures by scientists such as M. Sanjayan and Iain McGilchrist,
oceanographer Julia Whitely, and environmental advisor Van Jones to name only a
few. I searched for artists whose work addressed pollution and/or the environment.
Finally, I lived with a lot of plastic trash during the collection and construction
process of MoTAP sculptures. The combination of these experiences, and the
resources from my MLS seminars increased my understanding and focused my
52
attention so I now am able to paint a compelling and meaningful image of plastic
pollution. In fact, I have more ideas than time to execute them.
Art about plastic pollution engages the spectator through visual encounters that
stimulate emotional facets that go beyond scientific explanation and open a dialog
that may lead to changes in behavior. Through conversations with those collecting
plastic trash for the project, I learned that many are trying to avoid plastic products
and packaging by transporting plastic to proper recycling facilities, carrying
reusable bags, and refusing plastic bags. Artists can be change-‐makers, challenging
what is acceptable, reflecting the world around them, and expressing ideas through
the creative act. The aesthetic appeal of an art object draws an audience and offers a
more instinctual-‐experience in comparison to the cool factual detailed observations
of science.
To quote Charles Moore, a sea captain who has sailed through the Pacific Ocean
Garbage Patch several times, and is investing his own time and money to raise
awareness of plastic pollution:
Once artists have created the abstraction that reveals the awful reality, and
the media has done its “reveal” with the help of scientists and experts, it is up
to activists to initiate change. What needs to be done battles with what can be
done within the political given, and movements to contain the plastic
monster, small but widespread, develop (314).
53
MoTAP evolved from a small collage into an expanded artistic search and expressive
direction. This art project gave me the freedom to explore other mediums. Art is no
longer something I do, but has become part of my everyday experience. When I walk
my dogs, I bring a bag and pick-‐up garbage on the street to make art. I post recycling
tips learned from my Master Recycler/Composter class on the MoTAP Facebook
page. This gesture has received an overwhelmingly positive response from MoTAP
fans and others. For an artist, the creative process increases understanding and
appreciation for the subject of the art. Inviting a community to participate in the
process provides an opportunity to share deeper understanding. MoTAP taught me
that people look for alternatives to plastic products and packaging when they
understand the detrimental impact on the environment. Artists are active agents in
raising consciousness and influencing responses for action on social issues – an
expression of extreme value to the planet and every living species on it.
54
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