Art and activism have often gone hand in hand throughout history. From the radical Dadaists to the thought-provoking works of Ai Weiwei, art has frequently been used as a means of challenging the status quo and igniting social change. The latest example of this comes in the form of dramatic protests staged by climate activists in renowned art institutions, acts which have generated headlines around the world.
The Valuable yet Vulnerable Masterpiece
The recent actions have targeted some of the most famous and valuable paintings in existence. Most notably, a work by the celebrated Spanish artist Diego Velázquez hanging in the National Gallery in London. ‘Rokeby Venus’, a 17th century nude depiction of the Roman goddess Venus, is considered one of Velázquez’s greatest masterpieces. However, this work holds the dubious honor of having been vandalized more than once in the name of activism.
In 1914, the painting was slashed seven times by suffragette Mary Richardson, who attacked it to protest the imprisonment of fellow women’s rights activist Emmeline Pankhurst. Over a century later, in 2022, the work was struck repeatedly by hammers wielded by activists from the climate action group Just Stop Oil. Though the painting itself seems to have escaped unscathed thanks to its protective glass covering, the force of the hammer blows did cause some minor damage to the surface.
A Dramatic Stand for Climate Justice
On November 6th 2022, Just Stop Oil members Harrison Donnelly, 20, and Hanan, 22, entered the National Gallery around 10:45am equipped with safety hammers. Smashing the glass shielding the Rokeby Venus, the pair issued a statement declaring their act to be in the name of climate justice. They drew comparisons to the defiant deeds of the suffragettes, saying the time had come for bold moves not just words.
The two young activists demanded an immediate halt on all new oil and gas licensing in the UK, this coming just months after the government had controversially approved further North Sea drilling. Over 100 Just Stop Oil supporters were arrested in London that day for related protests. The group has vowed to continue civil disobedience until their demands are taken seriously.
Not the First Art Attack
The Velázquez painting is not the first artwork to be dramatically targeted by Just Stop Oil. Their attention-grabbing actions have focused on some of the most iconic works housed in British museums. In July 2022, two activists notoriously glued themselves to John Constable’s masterpiece ‘The Hay Wain’ at the National Gallery. Then in October, tomato soup was hurled over Vincent Van Gogh’s ‘Sunflowers’, also part of the National Gallery collection. And in 2021 a Vincent van Gogh painting was loaned from the Netherlands was daubed with soup by Italian climate protesters.
Fortunately, the soup and glue attacks did no damage to the works themselves. But they thrust climate activism into the global spotlight more powerfully than ever. The protestors know these celebrated artworks, though legally just canvases and paint, hold immense cultural meaning. Attacking them provokes a visceral response from the public, shining a spotlight on their cause.
A Global Movement Utilizing Dramatic Tactics
Just Stop Oil are just one cell of the sprawling environmental movement Extinction Rebellion. Their flashy tactics are part of a coordinated global effort by young activists to force climate change to the top of the agenda. Drastic moves like targeting iconic art aim to push the climate crisis into the public consciousness.
There are signs it may be working. The UK government’s approval of new North Sea oil drilling triggered Just Stop Oil’s latest action. But two weeks later, in an apparent reversal, the new drilling licenses were temporarily frozen in response to legal challenges. The spotlight provided by throwing tomato soup on a Sunflowers may well have been a factor.
Still, there are also signs of a public backlash against damaging culturally important works, no matter how well-protected they may be. The protests have polarized opinion around climate activism. But they have undeniably ignited a global conversation about how far activists should be willing to go for their cause.
The Ongoing Battle Between Art and Activism
From the radical suffragettes to Just Stop Oil, attacking art has proven a tactic that garners instant notoriety for a cause. But where should the line be drawn? Should irreplaceable works be potential collateral damage in activism’s war against the establishment? Critics condemn the perceived entitlement of ‘damaging culture’ to make a point. Yet we must consider the vastly more catastrophic loss of human culture already underway due to climate inaction.
This existential debate seems set to intensify as climate activism responds to the desperate urgency of the planetary crisis. As activists become more extreme in tactics, how will museums react? Will masterpieces be preemptively locked away out of reach? That may only fuel accusations of elitism and irrelevance in the face of global disaster.
One thing is clear – the standoff between climate action and cultural conservation is escalating. We face unsettling questions about the true purpose and priorities of our institutions in an era of impending climate catastrophe. These challenges will force museums and galleries to reconsider their role in society like never before.
