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Notes
1 There are many important examples of such initiatives: see, for example: (Julie’s Bicycle, n. date); (Museums in the climate crisis: Survey results and recommendations for the sustainable transition of Europe, 2022); (Harrison and Sterling, Citation2021); (Newell, Citation2020); (‘Museums & Climate Change Network ’ 2023); (Fine Citation2023); (Harrison and Sterling Citation2021); (‘Climate Heritage Network ’ n. date). ICOM has itself published a relevant statement (ICOM 2019) and by the time this special issue has been published, a dedicated handbook will be available (Merriman Citation2023).
2 The Sustainability System for the Arts is an initiative of AEA Consulting, developed by the author with input from Natalia Vartapetova and Buro Happold.
3 See the full SDGs here: https://sdgs.un.org/goals.
4 See the full resolution here: Culture and Sustainable Development (un.org).
5 This is not to suggest that other SDGs might not be relevant to specific museum organisations. SDG 14 (Life under Water) and SDG 15 (Life on Land) for example, may be important for museums that operate on waterfronts, or within large open spaces or rural areas.
6 Art-making and exhibition materials, digital, procurement, food, water and waste are not included in this total, owing to a lack of data.
7 The embodied carbon of a building includes emissions from materials, the construction process, the fixtures and fittings, as well as the emissions that result from decommissioning it at the end of its lifecycle.
8 Available tools are primarily focused on environmental issues. See Museums for climate action (Museums for Climate Action n. date), for example.
9 The most extensively used sustainability reporting standards across the globe are the GRI Standards (2021). The European Union has developed its own European Sustainability Reporting Standards (EFRAG 2023).
Additional information
Notes on contributors
Christos Carras
Christos Carras completed a degree in Philosophy at Cambridge University and then earned his PhD, also in Philosophy, from the University of Paris I – Sorbonne (1989). From 2009 to 2022 he was the Executive Director of the Onassis Cultural Centre (Onassis Stegi). He is currently a Senior Consultant for Sustainability for the Onassis Foundation. Since 2022 he has been a Senior Associate at AEA Consulting, a global firm serving the cultural and creative industries. His research interests include the aesthetics of contemporary sonic art, the role of art within broader networks and fields, the politics of cultural production and consumption, and sustainability for the cultural and creative sectors.