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In Iceberg Free-State, the artists directly link the industrial growth of the early twentieth century to contemporary climate change. Not coinciden- tally, the installation’s themes of profiteering and Similarly, Nicholas Kahn and Richard Sele- snick (British and American, both born 1964) appropriate Arctic imagery for commentary on contemporary issues. In their art installation Eis- bergfreistadt (Iceberg Free-State, 2008), they critique greed and materialism and their connection with cli- mate change. Known for their montaged panoramic photographs shot on location, the artists insert them- selves into compositions by assuming the personas

Figure 47 In Iceberg Free-State, the artists directly link the industrial growth of the early twentieth century to contemporary climate change. Not coinciden- tally, the installation’s themes of profiteering and Similarly, Nicholas Kahn and Richard Sele- snick (British and American, both born 1964) appropriate Arctic imagery for commentary on contemporary issues. In their art installation Eis- bergfreistadt (Iceberg Free-State, 2008), they critique greed and materialism and their connection with cli- mate change. Known for their montaged panoramic photographs shot on location, the artists insert them- selves into compositions by assuming the personas

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Since the last ice age, vast reserves of plant and animal matter have been locked up in frozen arctic soil, or permafrost. However, as temperatures rise, permafrost is thawing, and the gooey carbon-rich soil is becoming food for microbes. As they consume this ancient carbon, they respire methane and carbon dioxide, potent greenhouse gases. The amount of carbon stored in Arctic permafrost is estimated to be 1,500 gigatons—double what is currently in our atmosphere.
Since the last ice age, vast reserves of plant and animal matter have been locked up in frozen arctic soil, or permafrost. However, as temperatures rise, permafrost is thawing, and the gooey carbon-rich soil is becoming food for microbes. As they consume this ancient carbon, they respire methane and carbon dioxide, potent greenhouse gases. The amount of carbon stored in Arctic permafrost is estimated to be 1,500 gigatons—double what is currently in our atmosphere.
FIGURE 5 Jean-Antoine Linck, Vue prise de la votite nommé le Chapeai du glacier des Bois et des Aiguilles du Charmoz (View of the Glacier des Bois and the Needles of Charmoz from the arch, called the Cap), 1799, colored etching.
FIGURE 5 Jean-Antoine Linck, Vue prise de la votite nommé le Chapeai du glacier des Bois et des Aiguilles du Charmoz (View of the Glacier des Bois and the Needles of Charmoz from the arch, called the Cap), 1799, colored etching.
FIGURE 7
FIGURE 7
The medial moraine resulting from their junction rises like an immense ridge from in between these two glaciers. The hut shown here was originally built by Hugi at the foot of the rock called Abschwung, which forms the separating wall between the two glaciers. It is now located 4,600 feet away and has been displaced that far by the continuous down slope movement of the glacier... Joseph Bettannier, Hugi’s hut on a medial moraine of the lower Aar glacier, from Louis Agassiz, Etudes sur les glaciers (Studies on Glaciers), lithograph, 1840.
The medial moraine resulting from their junction rises like an immense ridge from in between these two glaciers. The hut shown here was originally built by Hugi at the foot of the rock called Abschwung, which forms the separating wall between the two glaciers. It is now located 4,600 feet away and has been displaced that far by the continuous down slope movement of the glacier... Joseph Bettannier, Hugi’s hut on a medial moraine of the lower Aar glacier, from Louis Agassiz, Etudes sur les glaciers (Studies on Glaciers), lithograph, 1840.
Claude-Sebastien Hugard de la Tour, Mont Blanc, 1853, oil on canvas, School of Mining, Paris.
Claude-Sebastien Hugard de la Tour, Mont Blanc, 1853, oil on canvas, School of Mining, Paris.
FIGURE 9 Jean Charles Joseph Rémond, Cimes calcaires du Wetterhorn et glacier de Rosenlaui (Limestone Peak of the Wetterhorn and Rosenlaui Glacier), 1842, oil on canvas, Museum of Natural History, Paris.
FIGURE 9 Jean Charles Joseph Rémond, Cimes calcaires du Wetterhorn et glacier de Rosenlaui (Limestone Peak of the Wetterhorn and Rosenlaui Glacier), 1842, oil on canvas, Museum of Natural History, Paris.
FIGURE 11 Bisson Fréres (Bisson brothers: Louis-Auguste Bisson and Auguste-Rosalie Bisson), Ascension au Mont Blanc (Ascent of Mont Blanc), 1860, albumen print.
FIGURE 11 Bisson Fréres (Bisson brothers: Louis-Auguste Bisson and Auguste-Rosalie Bisson), Ascension au Mont Blanc (Ascent of Mont Blanc), 1860, albumen print.
Thomas Hart Benton, Trail Riders, 1964-65, oil on canvas.
Thomas Hart Benton, Trail Riders, 1964-65, oil on canvas.
FIGURE 16 £4 Nne iV Albert Bierstadt, Mount Sir Donald, Asulkan Glacier, c. 1890, oil on canvas.
FIGURE 16 £4 Nne iV Albert Bierstadt, Mount Sir Donald, Asulkan Glacier, c. 1890, oil on canvas.
Chris Jordan, Denali Denial, 2006, archival inkjet print. FIGURE 19
Chris Jordan, Denali Denial, 2006, archival inkjet print. FIGURE 19
FIGURE 20
FIGURE 20
FIGURE 21
FIGURE 21
FIGURE 25 Jyoti Duwadi, Red Earth-Vanishing Ice (detail), 2008, mixed- media installation, Sundaram Tagore Gallery, New York. site-specific installation at the Sundaram Tagore Gallery in New York City (fig. 25). The artist suspended a block of ice from a water pipe in the gallery’s ceiling that he wrapped in yak-hair rope. Each day, the ice was replenished and left to slowly melt on a rock from the Narmada River. It was nestled within a sculptural assemblage of hand- made wooden containers, copper cauldrons, and brass vessels with flowers floating on water from Kathmandu and New York. A fifteen-foot, draping canvas painted with Guggul, turmeric, and earth pigments represented nature’s regenerative powers. The installation symbolized the purity of water, its scarcity as a natural resource, and the meltdown of glaciers around the world. the reverence toward the Himalayas that attracts pilgrims to circumambulate the base of such impor- tant peaks as Mount Kailash.
FIGURE 25 Jyoti Duwadi, Red Earth-Vanishing Ice (detail), 2008, mixed- media installation, Sundaram Tagore Gallery, New York. site-specific installation at the Sundaram Tagore Gallery in New York City (fig. 25). The artist suspended a block of ice from a water pipe in the gallery’s ceiling that he wrapped in yak-hair rope. Each day, the ice was replenished and left to slowly melt on a rock from the Narmada River. It was nestled within a sculptural assemblage of hand- made wooden containers, copper cauldrons, and brass vessels with flowers floating on water from Kathmandu and New York. A fifteen-foot, draping canvas painted with Guggul, turmeric, and earth pigments represented nature’s regenerative powers. The installation symbolized the purity of water, its scarcity as a natural resource, and the meltdown of glaciers around the world. the reverence toward the Himalayas that attracts pilgrims to circumambulate the base of such impor- tant peaks as Mount Kailash.
Nicholas Roerich, Tibet Himalayas, 1933, tempera on canvas.
Nicholas Roerich, Tibet Himalayas, 1933, tempera on canvas.
Eirik Johnson, La Cordillera Colquepunko, Peru, from the series Snow Star, 2004, archival pigment print.
Eirik Johnson, La Cordillera Colquepunko, Peru, from the series Snow Star, 2004, archival pigment print.
David Breashears, West Rongbuk Glacier, 227°59'17"N, 86°55'31"E, 2008, inkjet print on canvas. Location: Northern Slope of Mount Everest, 29,028 ft. (8847.7 m) Tibet, China Range: Mahalangur Himal Elevation of glacier: 17,300-20,341 ft. (5,273-6,200 m); averé vertical glacier loss: 341 ft. (104 m), 1921-2008
David Breashears, West Rongbuk Glacier, 227°59'17"N, 86°55'31"E, 2008, inkjet print on canvas. Location: Northern Slope of Mount Everest, 29,028 ft. (8847.7 m) Tibet, China Range: Mahalangur Himal Elevation of glacier: 17,300-20,341 ft. (5,273-6,200 m); averé vertical glacier loss: 341 ft. (104 m), 1921-2008
Spencer Tunick, Aletsch Glacier #4, Switzerland, 2007, inkjet print on canvas.
Spencer Tunick, Aletsch Glacier #4, Switzerland, 2007, inkjet print on canvas.
Map of Antarctica (Landsat Image Mosaic of Antarctica) Courtesy of the US Geological Survey, National Science Foundation, National Aeronautics and Space Administratior and the British Antarctic Survey
Map of Antarctica (Landsat Image Mosaic of Antarctica) Courtesy of the US Geological Survey, National Science Foundation, National Aeronautics and Space Administratior and the British Antarctic Survey
Christian Houge, Winternight, 2001, digital C-print.
Christian Houge, Winternight, 2001, digital C-print.
Melted 4 (2008), one in a series of watercolors called Extremities, the artist reveals the formation beneath the waterline, making palpable the fact that the tip of the iceberg represents only one-eighth of its volume (fig. 40). Camlin presents a cross section of its inner core through a network of geometry that suggests the crystalline nature of freezing water. FIGURE 40 Cynthia Camlin, Melted 4, 2008, watercolor and acrylic on paper.
Melted 4 (2008), one in a series of watercolors called Extremities, the artist reveals the formation beneath the waterline, making palpable the fact that the tip of the iceberg represents only one-eighth of its volume (fig. 40). Camlin presents a cross section of its inner core through a network of geometry that suggests the crystalline nature of freezing water. FIGURE 40 Cynthia Camlin, Melted 4, 2008, watercolor and acrylic on paper.
Frederic Edwin Church, The Icebergs, 1861, oil on canvas.
Frederic Edwin Church, The Icebergs, 1861, oil on canvas.
Caspar David Friedrich, Das Eismeer (Sea of Ice), 1823-24, oil on canvas, OHamburger Kunsthalle. Art Resource, NY.
Caspar David Friedrich, Das Eismeer (Sea of Ice), 1823-24, oil on canvas, OHamburger Kunsthalle. Art Resource, NY.
Sir John Ross, Snow Cottages of the Boothians, illustration from Narrative of a Second Voyage in Search of a North-west Passage, and of a Residence in the Arctic Regions during the Years 1829, 1830, 1831, 1832, 1833. London: A.W. Webster, 1835.
Sir John Ross, Snow Cottages of the Boothians, illustration from Narrative of a Second Voyage in Search of a North-west Passage, and of a Residence in the Arctic Regions during the Years 1829, 1830, 1831, 1832, 1833. London: A.W. Webster, 1835.
The role of native people in the narrative of discovery has mostly been ignored. Until the twentieth century, regarded as the heroic age of polar exploration, most expedition crews refused to adopt indigenous clothing, food, transportation. and shelter that would have saved lives. FIGURE 46 Subhankar Banerjee, Caribou Migration from Oil & the Caribou, 2002, color photograph from Arctic National Wildlife Refuge: Seasons of Life and Land, 2003.
The role of native people in the narrative of discovery has mostly been ignored. Until the twentieth century, regarded as the heroic age of polar exploration, most expedition crews refused to adopt indigenous clothing, food, transportation. and shelter that would have saved lives. FIGURE 46 Subhankar Banerjee, Caribou Migration from Oil & the Caribou, 2002, color photograph from Arctic National Wildlife Refuge: Seasons of Life and Land, 2003.
Tiina Itkonen, Uummannaq 6, 2010, C-print.
Tiina Itkonen, Uummannaq 6, 2010, C-print.
FIGURE 47 Admiral Richard Brydges Beechey, Captain Markham’s most northerly encampment, 1877, oil on paper, 22.8 x 34.3 em, National Maritime Museum, Greenwich, London.
FIGURE 47 Admiral Richard Brydges Beechey, Captain Markham’s most northerly encampment, 1877, oil on paper, 22.8 x 34.3 em, National Maritime Museum, Greenwich, London.
FIGURE 48 Isaac Julien, Untitled (True North series), 2004, cibachrome laminated on aluminum.
FIGURE 48 Isaac Julien, Untitled (True North series), 2004, cibachrome laminated on aluminum.
PLUK 47 William Bradford, Caught in the Ice Floes, c. 1867, oil on canvas.
PLUK 47 William Bradford, Caught in the Ice Floes, c. 1867, oil on canvas.
FIGURE 50
FIGURE 50
FIGURE 51
FIGURE 51
David Buckland, Burning Ice, 2004-5, archival inkjet print of a projection on the wall of a glacier.
David Buckland, Burning Ice, 2004-5, archival inkjet print of a projection on the wall of a glacier.
FIGURE 54 Nerys Levy, Arctic Sketchbook, Hornsund, Spitzbergen, Norway, July 2009, watercolor and water soluble ink.
FIGURE 54 Nerys Levy, Arctic Sketchbook, Hornsund, Spitzbergen, Norway, July 2009, watercolor and water soluble ink.
FIGURE 60
FIGURE 60
FIGURE 63
FIGURE 63
——v ee ee Paul D. Miller (aka DJ Spooky), Manifesto for a People’s Republic of Antarctica, 2011-2012, archival inkjet print.
——v ee ee Paul D. Miller (aka DJ Spooky), Manifesto for a People’s Republic of Antarctica, 2011-2012, archival inkjet print.
Chris Drury, Above and Below Cararra Nunatac, Sky Blu, Antarctica, 2006-7, inkjet print, including an echogram from under the ice in East Antarctica.
Chris Drury, Above and Below Cararra Nunatac, Sky Blu, Antarctica, 2006-7, inkjet print, including an echogram from under the ice in East Antarctica.
Jean de Pomereu, Fissure 2 (Antarctica) from Sans Nom, 2008, archival inkjet print.
Jean de Pomereu, Fissure 2 (Antarctica) from Sans Nom, 2008, archival inkjet print.
FIGURE 72 Xavier Cortada, Astrid, 2007, sea ice from Antarctica’s Ross Sea, sediment from the Dry Valleys, and mixed media on paper.
FIGURE 72 Xavier Cortada, Astrid, 2007, sea ice from Antarctica’s Ross Sea, sediment from the Dry Valleys, and mixed media on paper.
Sie eR Lita Albuquerque, Stellar Axis, Constellation 1, 2006, archival inkjet print by Jean de Pomereu.
Sie eR Lita Albuquerque, Stellar Axis, Constellation 1, 2006, archival inkjet print by Jean de Pomereu.
Arctic Sea Ice Minimum Extent, 1979 Courtesy NASA/Goddard Scientific Visualization Studi
Arctic Sea Ice Minimum Extent, 1979 Courtesy NASA/Goddard Scientific Visualization Studi
Olaf Otto Becker, River 2, 07, Position 1, Greenland Icecap, Melting area, Altitude 931m, from Above Zero, 2008, archival pigment print on Hahnemuhle Photo Rag.
Olaf Otto Becker, River 2, 07, Position 1, Greenland Icecap, Melting area, Altitude 931m, from Above Zero, 2008, archival pigment print on Hahnemuhle Photo Rag.
FIGURE 73 Sa a a ey Camille Seaman, Grand Pinnacle Iceberg, East Greenland, from the Last Iceberg, 2006, Ultrachrome archival inkjet print
FIGURE 73 Sa a a ey Camille Seaman, Grand Pinnacle Iceberg, East Greenland, from the Last Iceberg, 2006, Ultrachrome archival inkjet print
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Cultural HistoryEarth SciencesGlaciologyArt HistoryHistory of IdeasClimate ChangePolar StudiesEnvironmental StudiesHistory of ScienceIce Ages
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