Meditation Ocean | Wexner Center for the Arts
Meditation Ocean, installation view at the Wexner Center for the Arts. Photo: Stephen Takacs. Image courtesy of Hope Ginsburg.
MEDITATION OCEAN
meditation ocean constellation
Wexner center for the arts
February 10 - july 9 2023Introduction
There was much to learn from our first CIR, first and foremost that conversations about sustainability must be woven into exhibition planning and project workflow from the start with all parties invested in and committed to the process and outcome. For a larger institution just beginning this work in earnest, the challenge of incorporating a new approach to materials and sustainability practices was significant but not insurmountable. Working together with colleagues (and with an artist open to exploring alternative solutions) the Wex intentionally abandoned vinyl didactics and graphics almost entirely for the first time in the center’s history. While Meditation Ocean was the only exhibition of the three on view at the Wexner Center to do a formal Climate Impact Report, the other exhibitions committed to use paper board wall labels, hand-painted title wall graphics, and intro text printed on coated card stock.
Typically, the Wexner Center galleries rotate three times annually. However, the rotation for Meditation Ocean and the three other exhibitions was extended over a period of two Wexner rotations. While reducing climate emissions was not the sole reason for this decision, it did indeed reduce the waste, shipping, travel, etc. that would have come with an additional rotation of exhibitions. The longer rotation had the additional benefit of increasing awareness of the exhibition and engagement with the community and region.
During the process of exhibition planning, we had conversations with another artist who will also be creating a CIR through Artist’s Commit. Feeling a sense of community with other artists and institutions was helpful throughout the process although, looking back, we could have taken better advantage of Artist’s Commit’s resources during moments when we had questions or challenges.
Video stills: Meditation Ocean Constellation, M.O. Turtlegrass Meadow, 2023 (still), Six-channel video installation with ambient score, guided meditations, seating, public programming 67 minutes, looped. Image courtesy of Hope Ginsburg.
Wexner Center / The Ohio State University’s Climate Statement
Link to OSU’s plan: https://si.osu.edu/Campus
The Ohio State University has made a commitment to achieve climate neutrality by 2030. Responding to the scientific community’s demonstration that carbon reductions need to accelerate before severe climatic conditions are locked in, Ohio State's current Climate Action Plan details how the university could address 55% of its 2019 emissions by 2030. Some of that work is already underway, including increased energy efficiency targets for university building projects, transforming the Columbus campus energy system, and increased carbon neutral electricity procurement.
Ohio State is a recognized leader in developing durable solutions to the pressing challenges of sustainability and in evolving a culture of sustainability through collaborative teaching, pioneering research, comprehensive outreach, and innovative operations, practices, and policies.
Artist Climate Statement
The intention to exchange knowledge around environmental issues has guided Meditation Ocean artist/director Hope Ginsburg’s art practice since it began in the late 1990s. Early projects involved multispecies kinships with honeybees, sheep, and composting redworms; a later long-term project added sea sponges and marine life to those relations. A 2001–2002 installation made while working at textile company Designtex—which supplied the fabric for Meditation Ocean—promoted a completely biodegradable upholstery product. Jolly Green Giant, 2004 questioned industrial food production and perceptions of what is healthy and “green.”
Recent projects have all made climate-related proposals, from practicing present-moment awareness with equanimity as a strategy for coping with the climate crisis in Land Dive Team (2014–2020) videos, workshops, and performances; to the analogy of amphibiousness for cultivating multispecies kinship in Land Dive Team: Amphibious James (2018); and laboring with communities of hard corals for shared survival in the collaborative, multichannel video Swirling (2019). All projects in the exhibition Sponge Exchange (2020) at the University of South Florida Contemporary Art Museum were entirely collaborative, proposing the ecological premise of sharing resources, ideas, and opportunities.
Commitment to equitable practices and collaboration drive Meditation Ocean, credited to the Meditation Ocean Constellation. M.O. works for climate justice through oceanic meditations and responsive terrestrial actions. The project emphasizes the connection between individual and community well-being, the interrelatedness of human and more-than-human thriving, and the nonduality of the social and the environmental.
Throughout the production of M.O. Turtlegrass Meadow, climate impacts were evaluated, with efforts made to minimize project carbon, optimize materials and resources for sustainability, eliminate waste, foster dialog with institutional partners, and proceed equitably and inclusively with regard to human and more-than-human collaborators. Meditation Ocean is an iterative, long-term artwork; this is only the beginning of the project’s climate initiatives. At this culminating moment of the first iteration of Meditation Ocean, and as the M.O. artist/director, Ginsburg is committed to the near-term drafting and sharing of an artist climate policy that will apply to each of her works ongoing. At the time of this writing, she has made a commitment through Artist Commit to a climate-conscious future by evaluating her impact, speaking up, and making herself known.
Carbon Emissions: 10.5800 tCO2e
Carbon Emissions from Travel (tCO2e): 4.62
Carbon Emissions from Shipping (tCO2e): 0.1300
Carbon Emissions from Energy Use (tCO2e): 5.7100
Carbon Emissions from printing (tCO2e): 0.12
Emissions Calculation Details
This report was generated after the close of the exhibition. In addition to calculating exhibition install and opening related travel, we chose to track and calculate all program-related travel, which was an integral part of the exhibition. We also calculated the shipping and energy use of most of the major installation components.
We calculated energy use for the primary elements of the exhibition installation, which included the major electrical components (projectors, players, computers). The elements that we did not calculate were the smaller electrical components like the 10 speakers and 2 Bluetooth receivers that powered the in-wall speakers. Due to staff turnover, supply chain issues, and a protracted timeline for purchasing the various equipment and materials, we were unable to calculate the emissions generated by the shipping for every purchased item from every vendor/manufacturer to Columbus.
By driving between Columbus and Richmond in all but one instance, Artist/Director Hope Ginsburg reduced her overall travel-related emissions by 0.21 tCO2e.
Waste Report
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Reuse: to be reused for the same purpose as the original use |
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Repurpose: to be kept, sold, or donated and used for a different purpose in the future |
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Storage: items sent to storage, but without a clear plan for immediate reuse or repurpose |
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The custom built-in seating had to be completely deconstructed in order to remove it from the gallery. The one seat that was not built around a column was taken to the Film/Video Studio where it will be kept and used as seating. We have thoughts to re-purpose the foam at our visiting artist apartment, where it can be used as a mattress topper to extend the life of an aging mattress. The additional fabric and cotton batting will be kept in the F/V Studio. |
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Refused: item was not used at all and therefore potential waste was avoided |
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We elected not to paint the gallery walls a dark color, which would be customary for a video installation. This decision was made intentionally to avoid not only the use of paint to make the space dark but also the multiple coats of paint that would have been needed to return the space to gallery white. We elected to not use vinyl for exhibition didactics and title wall text—hand painting and printed paper signs were used instead. |
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Recycle: items placed in the recycling bin |
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Landfill items sent to a landfill |
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One very small partial wall was built to aid with light blocking. |
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Consumable: “consumed” during the exhibition |
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T-shirts were produced with organic cotton and water-based inks. They were manufactured in Richmond, VA and delivered by Ginsburg on one of her drives to Columbus. Menu at exhibition opening was intentionally vegetarian. |
Meditation Ocean, installation view at the Wexner Center for the Arts. Photo: Stephen Takacs. Image courtesy of Hope Ginsburg.
Workers
Encouraged climate-minded thinking within our team. Set an achievable scope and timeline for the project. Paid transparent, living wages to workers. Ensured diversity of representation in our team and collaborators. Created spaces free of racism, harassment and other forms of inequity for our team. Prioritized working with vendors who support climate action. Prioritized working with small, cooperatively-owned, under-represented, and/or local businesses. Implemented strategies for inclusion and accessibility to our audiences.
We encouraged a climate minded approach to all aspects of the exhibition within the project team and, when needed, assisted colleagues in researching alternative materials and sustainable solutions. The hand-painted title walls that were designed for all three exhibitions were painted by a Columbus muralist. The custom furniture was designed and manufactured by a local, independent upholsterer. We identified and began a partnership with Designtex, a design and manufacturing company in New York dedicated to the research and development of textiles with reduced environmental impact.
Community
Collective Action - Checklist
Completed a Climate Impact Report (CIR). Encouraged other artists or presenting partners to do a CIR. Offered support to others who want to do a CIR for the first time. Participated in other organizations or networks doing climate, climate justice, or equity work.
A component of Meditation Ocean was to connect the two seemingly disparate environments of Ohio and Florida’s Biscayne National Park. One strategy for this was to engage with local artists, meditation practitioners, scientists, and craftspeople. Two of the meditation scripts that were used in the installation in print and recorded were authored by three Columbus-based practitioners. Additionally, programs were developed with a local high school, Ohio State’s Byrd Polar Research Center, and with the general public that drew connections between the ocean environment of Biscayne National Park, Ohio’s watershed, and the planet’s glaciers.
An artist and collaborator on Mediation Ocean will be making a climate impact report for their exhibition next year and their host institution is considering doing the same. We have had a preliminary meeting with the artist, giving them advice on how to begin and to build sustainability into the exhibition planning workflow. Knowing that this work is new and an added consideration for artists and institutions, Ginsburg and Lange have committed to be available as a resource for others.
Conclusion
Other Sustainability Notes
Exhibition Publication:
printed on 100% post-consumer waste recycled paper derived from rapidly renewable sources, chlorine-free
electricity used in paper manufacturing is 100% matched with renewable energy credits from wind power projects
printed with soy-based ink
self-cover (no additional paper sourced for cover)
Exhibition Title Wall and Gallery Didactics:
Instead of vinyl, which is traditionally used by the Wexner Center for exhibition title wall graphics and intro text, we substituted coated paper board for the intro text panels and hand-painting for the title wall graphics.
All gallery didactics and labels were printed and assembled in-house on uncoated paper mounted to white matboard.
Carpet:
We made a decision to re-use existing in-house stock of Flor brand carpet tiles. In order to fill the space, we purchased additional tiles to match. All the tiles will be kept at the Wex and re-used in future exhibitions. Flor has a program to recycle carpet tiles when they are beyond their useful life.
Custom seating and cushions:
A decision was made to make furniture and meditation cushions as sustainably as possible. Rather than use our typical suppliers for seating, who use synthetic foam, we sourced natural latex foam, organic undyed cotton muslin, and organic wool felt for the built in seating. The moveable meditation cushions were made from undyed cotton filling and undyed cotton muslin.
For the upholstery, we sourced a textile called SEAQUAL, which is made from 10% Marine plastic (from collected plastic marine litter) and 90% post-consumer polyester from land sources.
We worked with a small, local upholster to support local business.
Electricity consumption:
Unfortunately, due to staff turnover, a decision was made to leave the installation running 24 hours a day, 7 days a week. That decision was revisited multiple times throughout the run of the exhibition but could not be changed. We could have cut the installation’s electricity consumption by half had we been able to power down when the galleries were closed.
As a result, there is a mandatory clause in the tour proposal that the installation should be powered down completely when the galleries are closed.
Additional Thoughts, Takeaways, Reflections
There was much to learn from our first CIR, first and foremost that conversations about sustainability must be woven into exhibition planning and project workflow from the start with all parties invested in and committed to the process and outcome. For a larger institution just beginning this work in earnest, the challenge of incorporating a new approach to materials and sustainability practices was significant but not insurmountable. Working together with colleagues (and with an artist open to exploring alternative solutions) the Wex intentionally abandoned vinyl didactics and graphics almost entirely for the first time in the center’s history. While Meditation Ocean was the only exhibition of the three on view at the Wexner Center to do a formal Climate Impact Report, the other exhibitions committed to use paper board wall labels, hand-painted title wall graphics, and intro text printed on coated card stock.
Typically, the Wexner Center galleries rotate three times annually. However, the rotation for Meditation Ocean and the three other exhibitions was extended over a period of two Wexner rotations. While reducing climate emissions was not the sole reason for this decision, it did indeed reduce the waste, shipping, travel, etc. that would have come with an additional rotation of exhibitions. The longer rotation had the additional benefit of increasing awareness of the exhibition and engagement with the community and region.
During the process of exhibition planning, we had conversations with another artist who will also be creating a CIR through Artist’s Commit. Feeling a sense of community with other artists and institutions was helpful throughout the process although, looking back, we could have taken better advantage of Artists Commit’s resources during moments when we had questions or challenges.
Meditation Ocean, installation view at the Wexner Center for the Arts. Photo: Stephen Takacs. Image courtesy of Hope Ginsburg.
Credits
This report was prepared by Jennifer Lange (Curator) and Hope Ginsburg (Artist) using a template from Artists Commit. Artists Commit CIR Mentor, Jessica Gath offered guidance and editing support. Many Wexner Staff members as well as Fabricators, and Vendors were engaged in our process.
Link to exhibition page: https://wexarts.org/exhibitions/meditation-ocean-constellation-meditation-ocean https://www.meditationocean.com/