How often do we consider the camera when looking at climate change art? What about the socio-ecological footprint of its materials? In the essay below, I aim to explore how the dependency on extraction to produce devices that produce art, complicates our understanding of the medium, its ability to depict the climate crisis, and viewer reception.
The Mutanda copper mine in Katanga province, Democratic Republic of Congo, in 2012.Photographer: Simon Dawson/Bloomberg. CC BY -NY
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