The central question posed in the art conservation anthology Plastics, edited by Anne Gunnison and David Joselit, is intriguing: "What insights do we gain about plastics when viewed through the artistic lens?" This inquiry, introduced by co-editor Caroline Fowler, reveals a complex relationship, as the artistic applications of plastic are as versatile as the material itself. The book explores plastic through various academic case studies, indicating that humanity often remains unaware of its deep-seated connection with this ubiquitous substance.
In one of the most comprehensive chapters, art historian Joselit contends that plastic does not adhere to a traditional "medium-based account" of artistic evolution. He references theorists like Catherine Malabou and Zakiyyah Iman Jackson, alongside artists such as Marcel Broodthaers and Arthur Jafa, to characterize plastic by its ability to "give, receive, and transform form." Joselit also mentions ecological theorist Thomas Princen's idea of "distancing," which highlights the gaps--both geographical and psychological--between resource extraction and its cultural applications. This concept subtly underscores the anthology's aim to bridge these distances by emphasizing the material's omnipresence in art and beyond.
The conservation-focused sections adopt a meticulous approach, exemplified by Elena Torok's use of a nondestructive "X-ray fluorescence spectrometer" to analyze the plastic components of Naum Gabo's delicate sculpture, "Constructed Head No.2" (1923-24). Torok notes the sculpture's yellowing and deformation, showcasing the challenges faced in art preservation. Bess Williamson, a design studies scholar, discusses a child's orthotic ankle brace at the Smithsonian's National Museum of American History, exploring the "significant relationship to plastic" in the lives of individuals with disabilities.
Several contributors echo Williamson's observation that plastic presents a dual nature: while its overproduction adversely affects the environment, it also offers essential benefits to humanity. Conservators Susan Heald and Kelly McHugh highlight the "tension between caring for a material whose production harms the communities we serve." Sociologist Jennifer Gabrys points out the sustainability paradox of plastic, noting that many researchers argue that a shift towards sustainable practices is unfeasible without plastics. Joselit succinctly states, "plastic mitigates the very risk that its toxicity exacerbates."
Plastic's flexibility presents philosophical dilemmas that resonate with academic theorists, akin to the thrill that extreme sports enthusiasts find in challenging their limits. The anthology traces an art-centric plastic studies narrative, referencing influential works from Roland Barthes to contemporary scholars like Heather Davis and Amanda Boetzkes. Gabrys's chapter on "particle ecologies" effectively synthesizes recent findings, including geologist Jan Zalasiewicz's observation that plastics "do not create a legible material signature" in geological records, as microplastics can infiltrate deep into the earth, complicating detection.
While theoretical discussions often veer into abstraction, the anthology wisely concludes with a chapter by artist Kevin Beasley. His sculptures, which blend found textiles with vibrant resin, not only detail the various plastics he employs but also include a refreshing perspective: "There are [plastic] buckets everywhere in my studio. I use and reuse them a lot... they are among the most essential items in my workspace." This candid remark serves as a poignant reminder of how artists translate theoretical concepts into tangible practices, exploring the multifaceted roles of plastics in their work.
Plastics by Anne Gunnison and David Joselit (2025) is published by Princeton University Press and is available in bookstores and online.
