This paper picks up the call from the particular discipline of visual art. Castree notes that claims are made ‘upon’ the arts and humanities ‘to address the looming planetary crisis’ ( 2017: 161), but there are no clear guidelines on how we might do so. Castree notes that despite efforts to make global change science visible, and better known to non-scientists and those of us outside the STEM disciplines, there remains a remarkable lack of understanding of what the disciplines of humanities and arts can specifically contribute to the discussion. Geographer Noel Castree (2016, 2017) examines how the ‘people disciplines’ have opened up the broader social and ‘human’ ramifications of climate change, whilst at the same time raising critical questions of how society understands itself. Novelist and literary theorist Amitav Ghosh (2016) outlines the risks of didacticism when the realities of climate change are approached within fiction writing. Historian Dipesh Chakrabarty (2009: 205) demonstrates how thinking about climate change brings together natural histories and human histories. Recently a call has been issued for the arts and humanities to participate in the debates surrounding the articulation and communication of the urgent planetary issue of global environmental transformation known as the Anthropocene. 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. 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 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. 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. This essay approaches the Anthropocene from a new perspective: that of art. All subjects Allied Health Cardiology & Cardiovascular Medicine Dentistry Emergency Medicine & Critical Care Endocrinology & Metabolism Environmental Science General Medicine Geriatrics Infectious Diseases Medico-legal Neurology Nursing Nutrition Obstetrics & Gynecology Oncology Orthopaedics & Sports Medicine Otolaryngology Palliative Medicine & Chronic Care Pediatrics Pharmacology & Toxicology Psychiatry & Psychology Public Health Pulmonary & Respiratory Medicine Radiology Research Methods & Evaluation Rheumatology Surgery Tropical Medicine Veterinary Medicine Cell Biology Clinical Biochemistry Environmental Science Life Sciences Neuroscience Pharmacology & Toxicology Biomedical Engineering Engineering & Computing Environmental Engineering Materials Science Anthropology & Archaeology Communication & Media Studies Criminology & Criminal Justice Cultural Studies Economics & Development Education Environmental Studies Ethnic Studies Family Studies Gender Studies Geography Gerontology & Aging Group Studies History Information Science Interpersonal Violence Language & Linguistics Law Management & Organization Studies Marketing & Hospitality Music Peace Studies & Conflict Resolution Philosophy Politics & International Relations Psychoanalysis Psychology & Counseling Public Administration Regional Studies Religion Research Methods & Evaluation Science & Society Studies Social Work & Social Policy Sociology Special Education Urban Studies & Planning BROWSE JOURNALSĭespite 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.
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