The central question of the anthology Plastics, edited by Anne Gunnison and David Joselit, is intriguing: “What insights can we gain about plastics when viewed through the lens of art?” Co-editor Caroline Fowler introduces this question, highlighting the complexity of answers due to the versatile nature of plastic in artistic contexts. The book explores plastics through a series of academic case studies, collectively indicating that humanity remains largely unaware of our intricate relationship with this material.
In the anthology’s most detailed chapter, art historian Joselit challenges the conventional “medium-based account” of artistic development, positioning plastic as a medium defined by its ability to “give, receive, and destroy form.” Drawing on theorists like Catherine Malabou and artists such as Marcel Broodthaers, he discusses ecological theorist Thomas Princen’s idea of “distancing,” which describes the gaps between resource extraction and cultural use. This concept highlights how the book aims to bridge these divides by emphasizing plastic’s ubiquity in art and everyday life.
Conservation chapters take a detailed approach, exemplified by Elena Torok’s use of a nondestructive “X-ray fluorescence spectrometer” to analyze a Naum Gabo sculpture at the Princeton Art Museum. Torok notes the “yellowing and discoloration” of the piece, while design studies scholar Bess Williamson examines a child’s orthotic brace at the Smithsonian’s National Museum of American History, discussing plastic’s significant role in the lives of people with disabilities through everyday devices.
Several contributors echo a common theme: while excessive plastic production harms the environment, the material is also crucial for human well-being. Susan Heald and Kelly McHugh from the National Museum of the American Indian discuss the dilemma of conserving a material that harms the communities they represent. Sociologist Jennifer Gabrys describes the “sustainability paradox” of plastic, noting that it’s considered necessary for transitioning to more sustainable practices. Joselit succinctly states, “plastic mitigates the very risk that its toxicity exacerbates.”
Despite its challenges, plastic offers philosophical puzzles akin to those found in extreme sports. The anthology references a variety of works, from Roland Barthes’s essay in Mythologies to contemporary scholars like Heather Davis. Gabrys’s chapter on “particle ecologies” effectively synthesizes modern research, noting geologist Jan Zalasiewicz’s observation that plastics lack a clear geological signature due to their pervasive microplastic presence. The book concludes with artist Kevin Beasley’s account of using plastic in his work, emphasizing its practical and overlooked importance in everyday artistic practice.
