This week I’m feeling very appreciative of art, and in particular the role of art in opening up social possibilities, new mindsets, and courage. In a moment where the sustainability community—and, to be fair, much of “awake” humanity—is focused on the COP28 Summit, a nexus and possible inflection point for science and diplomacy, it strikes me that I often underestimate the power of art to stimulate change.

Two recent experiences reminded me of this power. I was invited to the prizegiving event for the Art for Change prize at the Saatchi Gallery in London. The artworks on display, showcasing six regional winners from over 3,000 global entries, were responding to the competition theme of Regeneration, chosen by the M&C Saatchi LIFE team led by my host, Tom Firth. The art covered an extraordinary range of thematic interpretation and media, from textiles to video to sculpture and photography. A panel discussion featuring professionals from the arts world, including sculptor Amy Stephens and Justine Simons, London’s Deputy Mayor for Culture and the Creative Industries, greatly helped me to connect the gallery contents to the wider responsibilities and power of art to shape societal narratives. 

At the weekend, I took the time-limited opportunity to see Maestro at our local independent theatre before it vanishes behind the Netflix paywall. This is a special film for my wife, an American cellist and music teacher on whom Leonard Bernstein exerted a powerful influence during her early training and playing career. And it didn’t disappoint: even a musical muggle like myself could appreciate the inner and outer struggles of the flawed creative genius. It’s beautifully and sensitively made, and again the advantage of an informed interpreter proved extremely valuable: Bradley Cooper’s conducting in the musical scenes was, I am told, extraordinarily convincing. Do see it, ideally while it’s still in the theatres.

These experiences highlight the multiple powers of art, especially public art: to convene society around important ideas; to challenge and expand our understanding of ideas; to inspire and create fellowship around social goals. Obviously, the more accessible (outside, free to visit, contextualised by someone articulate), the greater the coefficient of these powers. Often society has to take media proxies (headline-grabbing auction results, occasional news reports of exhibitions) in lieu of direct experience as their measure of impact, so we should all engage directly where we can, by viewing (/touching/reading/listening…)*, creating, and financially supporting art. 

[Incidentally, my wife’s current knitting project reminds me to shout out to all the crafters, homesteaders, picklers and canners, gardeners and woodworkers out there enjoying the flow state, living their post growth truth].

Many climate and sustainability educators actively blend the arts into their professional as well as personal lives, and for good reason: the arts amplifies what makes us the best of ourselves, and produces almost entirely ‘good growth’ when it is shared. A few good examples include my University of Surrey teachers Dr. Zoe Harris (theatre) and Prof. Tim Jackson (radio plays). Recognising that shifting public attitudes and behaviours is a hearts-and-minds exercise, not merely one of shouting facts ever more loudly, climate scientists are seeing the power of visual imagery to convey complex phenomena, albeit less directly as acts of artistic creation. A great example is climatologist Prof. Ed Hawkins’ now famous ‘warming stripes’ image that became a cultural meme expressing rising temperatures in a strikingly visual way. Whatever their medium, artists force us to confront difficult truths and engage with alternative realities. 

There is an analogy to innovation also: legendary inventor and PARC/SRI Research Fellow Mark Stefik describes innovation as a dance between two questions: ‘What’s needed?’ and ‘What’s possible?’. The two challenge and inform each other; technical possibilities need markets, problems to solve, and vice versa. Not every combination succeeds, but as Mark puts it, “the magic of the dance” brings together the combined expertise and imagination to find and implement new solutions. 

A similar dance often happens between art and science: think of the role of art in shaping major social upheavals and geopolitical events. I hope the COP28 delegates are feeling some of the magic in the UAE.

* If you thought “consuming” was a better word here, you have not been paying attention. See me after class ;)

Read all my posts about sustainable strategy at: world.hey.com/jeremy.clark/