Article
Spiral Jetty, geoaesthetics, and art: Writing the Anthropocene
The Anthropocene Review
(2019)
Abstract
Despite the call for artists and writers to respond to the global situation of the Anthropocene, the ‘people disciplines’ have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a ‘geological agent’ in 1972. We suggest that Smithson’s land art sculpture Spiral Jetty could be the first marker of the Anthropocene in art, and that, in addition, his creative writing models narrative modes necessary for articulating human relationships with environmental transformation. Presented in the form of a braided essay that employs the critical devices of metaphor and geoaesthetics, we demonstrate how Spiral Jetty represents the Anthropocenic ‘golden spike’ for art history, and also explore the role of first-person narrative in writing about art. We suggest that art and its accompanying creative modes of writing should be taken seriously as major commentators, indicators, and active participants in the crafting of future understandings of the Anthropocene.
Keywords
- Anthropocene,
- art history,
- art writing,
- creative nonfiction,
- environmental humanities,
- geoaesthetics,
- land art,
- postmodernism,
- Robert Smithson,
- Spiral Jetty
Disciplines
Publication Date
April 8, 2019
DOI
10.1177/2053019619839443
Publisher Statement
This article was published in The Anthropocene Review, 2019, and can also be found online at this link.
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Copyright © 2019, SAGE Publications
Citation Information
Susan P Ballard and Liz Linden. "Spiral Jetty, geoaesthetics, and art: Writing the Anthropocene" The Anthropocene Review (2019) ISSN: 20530196 Available at: http://works.bepress.com/liz-linden/62/