Condescension and Conviction through Artistic Medium

Puzzlement descends on most observers as they enter the WSU Art Gallery and their eyes rest on the nearest piece. Strategically facing the entrance of the room, it appears to consist of a mountain range and a nearby lake in grayscale. Looking closer, one can see that it is made up of miniscule rectangles. Those in the upper half are printed with the word “Denali,” while the lower half is covered with similar rectangles with the accusing “Denial.” The plaque off to the side lessens the initial confusion by informing the reader that the piece consists of 24,000 logos from the GM Yukon Denali, representing the number sold in the U.S. during a six-week period in the year 2004. The exhibit entitled “Running the Numbers” has just presented a staggering figure of U. S. expenditure. The question arises: what is Chris Jordan trying to tell us about the elements included in this piece; our consumption rates, denial, and nature?

The artist’s intention begins to elucidate itself after one peruses a few more pieces and pauses at “Toothpicks.” Its innocuous scene of clouds and a tan ground that fades off into the horizon communicates no straightforward message upon first glance. Closer examination reveals that the “ground” in the artwork consists of one hundred million toothpicks, representing the number of trees that are cut down in the U.S. annually to provide paper for junk mail. You might ask yourself, what does this mean, and how does it relate to me? At this point, Jordan has you right where he wants you. The confusion he creates upon the first viewing of his artwork is designed to transform you, the observer, into a representation of his message. You are the stupid American, ignorant of both the meaning of his art and what you, and those like you, are doing to the planet. Take a look at his art, like Lichtenstein’s “self-portrait,” and you will see at least some part of yourself reflected in it. Both “Denali Denial” and “Toothpicks” do a fine job of completing this task through their initial beauty. Perhaps Jordan is utilizing Conniff’s claim that we as human beings are innately drawn to such natural beauty, and are therefore lured in with ease, before being visually assaulted with the cold, hard facts.

In the former piece, the U.S. culture of capitalism comes under attack, and we are bluntly made aware of our ignorance of its difficulties. The latter speaks to a division of business in this country that harms the environment; and challenges us as a nation to pay attention. Jordan is also obviously communicating his political and social views; as the “aware,” to us, the “unaware.” No other piece makes this clearer than a work entitled “Ben Franklin,” which demonstrates, through 125,000 one hundred dollar bills, the amount that the U.S. spent per hour on the war in Iraq. Several other pieces presented examples of the loss of life related to our country’s habits and lifestyles, such as a depiction of 29,569 guns representing the same number of gun-related deaths in 2004. He makes it clear what he thinks of this country’s spending and consumption, as well as the foci of this spending and consumption.

After experiencing this exhibit, one might pose the question of who Chris Jordan is to cast these judgments on his country. It is highly unlikely that he has not contributed to the 320,000 kilowatt hours wasted every minute in the U.S., or many of the other statistics presented in his exhibit. He states that he hopes to “raise some questions about the roles and responsibilities of the individuals in a society that is increasingly …incomprehensible” (http://www.chrisjordan.com/). There is no question that the numbers presented here, as well as others need to decrease, but is raising awareness enough? Only time, as well as our observations of the environment, will reveal the truth.