Climate Change Images


This is a 2014 chart from The National Climate Assessment that shows the impact that climate change will have on our water sustainability. The Assessment is the product of hundreds of experts and scientists, organized by the U.S. Global Change Research Program. They claim it’s “the most comprehensive, authoritative, transparent scientific research report on U.S. climate change impacts ever generated.” I am planning on using this image for my topic because it shows the current and future climate change impacts for the U.S. and it comes from a valid source. 











Henry, Terrence. “More Drought, Heat and Water Wars: What Climate Change Already Means for Texas.” State Impact NPR. NPR, 6 May 2014. Web. 30 Mar. 2017.

This diagram shows some of the effects that climate change has already had on our planet as well as some solutions that have already been implemented to help slow down this process. This image comes from the Pew Center for Global Climate Change. It is based on data from 2008-2012. I will be using this image for my topic because it comes from a reliable source and shows the effects as well as the solutions for climate change.











Director, Kelly Trout Communications. “Climate Change.” Chesapeake Climate Action Network. Chesapeake Climate Action Network, n.d. Web. 30 Mar. 2017.

This is a sequence of four time-lapse photos of Grinnell Glacier in Glacier National Park and how much it has receded from 1938-2006. This image is from the United States Geological Survey. I will be using this image for my topic to coincide as evidence with some of the points given by Nicholas Mirzoeff in his chapter pertaining to climate change from his book How to See the World.

Butler, Bill. “Is Global Warming a Hoax/Fraud/Scam?” Is Global Warming a Hoax/Fraud/Scam? N.p., n.d. Web. 30 Mar. 2017.




How do we shape the natural world?

For our second assignment I picked Topic 4: “How do we shape the natural world?” After skimming the other topics and their corresponding chapters, this one stuck out to me the most. Namely, the impact we as humans have on the environment. In chapter 6 “The Changing World” from the book How to See the World Nicholas Mirzoeff discusses climate change and the impact that it is currently having on our world and as well as its future impacts.

Mirzoeff talks about one way in how we try and show the visible changes that climate change is having on the Earth is through the use of comparative formats such as time-lapse photography (215). This type of photography for example shows how rapidly the glaciers and ice are disappearing due to the warming of the Earth. Later in the chapter Mirzoeff shows how we as a whole have let ourselves be anesthetized to the effects of climate change and have accepted them as normal. For example, George Wesley Bellows painting Forty-Two Kids (1907) shows a group of naked children getting ready to swim into the black water of the East River in New York. At the time of this paint the bodily waste of 6 million people living around New York Harbor was being piped straight into the water. Mirzoeff proposes that “the desire to live in the modern city was so great that it anesthetized the sense, or at least allowed people to disregard what they saw and smelled in the water” (234). The idea of our society being anesthetized to climate change never really occurred to me prior to reading this chapter, but now reflecting on our world I can see how it is a reoccurring theme.

One of the additional resources I chose was the video of a workshop led by Nicholas Mirzoeff: “How to See Climate Change.” I thought it would be interesting to see how he relates what he writes in his book to what he discusses in person. In his lecture, Mirzoeff brings up the idea of the visual commons and how it is a commons because nobody owns it, it is a common sensation or view. Visual commons is not abstract; it requires you to be there (perezartmuseum). Because of this visual commons we all have a mental picture of what Earth looks like from outer space. Mirzoeff is referring to the “Blue Marble” photograph of Earth that he also talks about in the first chapter of How to See the World. This is the most downloaded and reproduced photograph of all time. Mirzoeff refers again to anesthesia and how it was done with the black water in New York as well as the smog in London. People just accepted the change in the physical environment and expected it to be that way. I believe that we as a society will most likely always be anesthetized to the changing climate and the repercussions that brings because we want to be blind to the fact that it is all of our faults.

I also viewed the video by CEPImperial: “Climate Change in the Anthropocene.” Anthropocene is a word that I heard throughout Mirzoeff’s lecture but wasn’t able to grasp a concrete definition of until watching this video. Anthropocene is the new geological epoch that we have entered, one that is dominated by humanity (cepimperial). Similar to the idea of our society being anesthetized it is discussed that we now have a “new normal.” How the current dramatic weather events such as storms, droughts, and fires, all due to climate change are considered normal. I know personally that I don’t question when there is an earthquake or tsunami, I just assume these are part of Earth’s natural process. However, we are in fact altering Earth’s natural cycles so much that we have made a whole in the ozone layer. A solution given is that we all need to bear in mind both the current and future impacts of climate change.

I am looking forward to delving deeper into this topic and doing some outside research of my own as to how climate change is currently affecting Earth, how it will affect Earth in the future, and what we can actively do to save our planet.

Works Cited:

Mirzoeff, Nicholas. How to see the world. Great Britain: Pelican, 2015. Print.

Perez Art Museum Miami, FL. “Workshop Led by Nicholas Mirzoeff: “How to See Climate Change”.” YouTube. YouTube, 21 July 2015. Web. 26 Mar. 2017.

CEPImperial. “Climate Change in the Anthropocene.” YouTube. YouTube, 22 Dec. 2013. Web. 26 Mar. 2017.

Looking with fresh eyes: A New Endeavor

Three weeks ago I read in the course guide that we were required to attend the Cindy Sherman exhibit at the City Gallery Wellington. I typically think of exhibits as uninteresting. I pictured myself with a group of my peers standing in front of various art works, not really looking at them, just giving the illusion of analyzing the art.

On the day we were to attend the exhibit I found myself standing outside the gallery with my class, wearing a blue band that granted me all day access to the gallery. I made a decision before entering that I was going to try and let myself really experience an art exhibit for the first time.

I walked straight into the enormous mural showcasing a multitude of different characters being represented by Cindy Sherman. This main room was full of other students and visitors all trying to get intimate with the photographs as well as attempt to digitally capture a sole image of the photograph without any outside interference. I knew with the crowdedness I would not have an adequate amount of time to analyze the mural. In Isaac Kaplan’s blog he writes about how generally as a whole we are not looking at works of art long to fully experience the work and for it all to be consumed thoughtfully (Kaplan).

I was intrigued when out of the corner of my eye I saw a flash of a ridiculous photograph of what appeared to be a clown, followed by a storm of color from the room to the left of the mural. The explanation of Art the Clowns series revealed to me that Sherman created it after the 9/11 attacks. The clowns’ expressions represent the various emotions felt by everyone. These photographs ignited a memory of me leaving school early that day and my mother anxiously waiting for a phone call from New York, for my father to tell us that he was safe. The exhibit elicited a surprising amount of emotions from me as well as a new connection between the visual art and the outside world.

After the exhibit I thought of the introduction from the Mirzoeff book as well as the reading by Michael Clarke and their discussion of visual culture. Mirzoeff explains that how through social media and technology, we have altered our idea of visual culture (Mirzoeff, 13). Because I was able to personally experience the gallery I know that I would have had a much different reaction to the exhibit if I ‘d looked up the images online. Clarke recognizes that an interpretation is never simple and can never be conclusive (Clarke, 26). Someone will presumably interpret the Clowns series and its representation differently than I do.

Reflecting on these past three weeks since the course began I have a new perspective on how art and design can play an important role in my life, and my connection to the visual world. I am looking forward to seeing what the rest of the semester holds for this class.

cindy sherman 11

Photograph taken by Michelle Davey (myself) is part of the Clown series in Cindy Sherman exhibit at the City Gallery Wellington. I thought that this photograph most accurately showcased the many emotions felt by the 9/11 terrorist attacks. Everyone reacts to tragedy in his or her own way.


Works Cited:

Mirzoeff, Nicholas. How to see the world. Great Britain: Pelican, 2015. Print.

Kaplan, Isaac. “Https://Www.Artsy.Net/Article/Artsy-Editorial-Long-Work-Art-It”. Artsy Editorial. N.p., 2017. Print.

Clarke, Michael. “Language and Meaning.” Verbalising the Visual: Translating Art and Design into Words. Lausanne, Switzerland: AVA Publishing, 2007. 20-27. Print.

Linking Cindy Sherman


The first image is one from Cindy Sherman’s Clowns series in the City Gallery. I appreciate this photograph in particular because of all the psychedelic, melting colors that are used to create sort of a “down the rabbit hole” type of feeling. The three clown faces, all expressing different emotions immediately reminded me of the film Killer Klowns from Outer Space. This film has over the top creatures and is always thrilling to watch. It coincides with the quote from the Cindy Sherman lecture: “Through her skillful masquerade, she has created an astonishing body of work that amuses, titillates, disturbs and shocks. The background in this photograph is dissipating away just as the World Trade Center did. This photograph to me shows that we as humans feel an infinite array of emotions and that they can shift from one to another in a split second and that in the face of tragedy we all react differently.

The type of art that really interests me and captures my attention is art that isn’t obvious. Art that makes you think and re-think. I love art that is out of the ordinary. Anything that stimulates the mind. Cindy Sherman does a great job of this, especially with her Clowns series. Her art communicates to me that while she is completely aware of what she is doing and what she wants to say, she lets the audience find their own meaning within the madness. She does this by not putting descriptions under a lot of her photographs and simply leaving them Untitled #…

Reflecting Cindy Sherman

The moment that I saw the clown double photograph that I previously described in “Experiencing Cindy Sherman” was the most significant experience that I had throughout the whole exhibit. Before that moment I was mindlessly wandering through the gallery just taking pictures, not really reading the descriptions or looking for a deeper meaning behind the photographs.

After going back and reading the description on the wall about why Sherman created her Clowns series and what it represented, it touched me even more. These were her first creations after the 2001 attack on the World Trade Center. The clowns through their body language and facial expressions convey all of the different emotions that were felt by this tragedy. The photograph resonated with me even more because even though I was young, I remember that day very well because my Father was in New York at the time. I remember being pulled out of school early and my Mom frantically calling my Father until he answered and assured her that he was safe. It took him four days to rent a car and drive back to our home in Texas due to no planes flying in or out.

After my experience with those peculiarly wonderful clowns I walked around a fresh pair of eyes and a new perspective. I began to really look at the photographs and compare them to what I thought Cindy Sherman was trying to portray. I wanted to take my time going through the rest of the rooms and even found myself in the upstairs library area listening to a tape of Sherman talk about all of her galleries her process and influence for her creations. This experience showed me that even though my coming there was for a school assignment doesn’t mean that it can’t be an enlightening, enjoyable experience. It gave me more of an appreciation for artwork and how a simple picture can say an endless amount of things and have a much greater influence than I initially thought. I enjoyed the gallery much more than I initially thought I would and look forward to returning soon.

Experiencing Cindy Sherman

I am in the main gallery room when you first walk into the exhibit with the the mural that stretches from floor to ceiling with a multitude of different characters all being portrayed by Cindy Sherman. The first room is the most crowded and I am not able to analyze the mural as closely as I would like as well as take the proper photographs.

I move on to the second room in the exhibit and am immediately intrigued. Every corner of the room is full of dark, fantastic caricatures of clowns. I am halfway through this gallery when one photograph caused me to stop and do a double take. It is a double photograph of a two clowns. They are in two separate frames facing away from each other. The clown on the left appears to be distraught and gazing off into the distance. He is holding a balloon animal and the makeup on its face make it appear as if he is crying. It is not clear if the clown on the right is a man or a woman. It appears to me as if it s a man playing a woman. He is sitting defiantly with its arms crossed and eyes closed. His makeup makes his mouth form into one straight, un-smiling line.

This specific photograph caught my eye because it is one of the only double portraits that I saw throughout the whole gallery. More importantly, this photograph made me want to know the background story of these bizarre characters. It elicited an emotion of empathy for the clown on the left and curiosity as to what the other clown was so resistant to.

cindy sherman 13

How to See the World: Introduction

The author, Nicholas Mirzoeff, begins the book by recounting how many people believed that seeing the image of “Blue Marble” significantly changed their lives. That they were finally able to see the world as a whole and because of this they were all linked to one another.

Later on in the introduction Mirzoeff talks about how in 2012 another photograph of the world was produced. This “Blue Marble” seems as if it was taken from one place in space like the original was, but this is not accurate. The image was composed of many different pictures of the earth from different angles and assembled to look as if was just one. Mirzoeff says, “It is a good metaphor of how we see the world visualized today. We assemble a world from pieces, assuming that what we see is both coherent and equivalent to reality. Until we discover it is not” (Mirzoeff, 10).

Mirzoeff goes on to explain the concept of visual culture and the mental model that we all create based off of what we previously know to be true. The world of social media and more evolved media outlets over the years has altered this concept of social media. “The difference between the concept of visual culture in 1990 and the one we have today is the difference between seeing something in a specific viewing space, such as a museum or a cinema, and in the image-dominated network society” (Mirzoeff, 13).

The introduction to this book was intriguing and I am anxious to learn more and to continue moving forward in this class.

Works Cited: Mirzoeff, Nicholas. How to see the world. Great Britain: Pelican, 2015. Print.