The Anthropocene concept stimulates much debate among geographers. This wider conversation often neglects the role that visual imagery plays in shaping geographical imaginations of the Anthropocene. This article examines artist Hannah Rothstein’s revisionist collection National Parks 2050 to better understand the intersections of visual imagery and the Anthropocene. Rothstein’s collection draws on Works Progress Administration–style artwork to visualize a bleak future. In particular, her artwork mobilizes the aesthetic of the toxic sublime. To assess National Parks 2050’s use of the toxic sublime, we conducted a visual analysis that found Rothstein’s use of the concept innovative in two important ways. First, Rothstein’s toxic sublime is derived from deeper traditions of the romantic sublime, which diverges from existing understandings of the toxic sublime as the counterpart to a technological sublime. Second, it brings two underexamined themes of the toxic sublime to the fore. The first theme is death and disappearance; the second is scale and the toxic. We argue that Rothstein’s toxic sublime re-instills Burkean sublime’s heightened awareness—here understood as horror and despair—into the romantic natural sublime of U.S. national park wilderness landscapes.

人类世概念引起了地理学家的广泛争论。这种更广泛的对话常常忽略了视觉图像在塑造人类世的地理想象力中的作用。本文考察了艺术家汉娜·罗斯斯坦（Hannah Rothstein）的修正主义收藏品《2050年国家公园》，以更好地理解视觉影像与人类世的交集。Rothstein的作品集借鉴了Works Progress Administration风格的艺术品来形象地展现出黯淡的未来。特别是，她的作品动员了有毒的崇高美感。评估2050年国家公园在对有毒物质的使用上，我们进行了视觉分析，发现罗斯斯坦在两个重要方面对这种概念的使用具有创新性。首先，Rothstein的有毒升华源自于浪漫升华的更深传统，这种传统与对技术升华的对应物对有毒升华的现有理解有所不同。其次，它带来了有毒的升华的两个未经充分审查的主题。第一个主题是死亡和消失。第二个是水垢和有毒物质。我们认为，Rothstein的有毒的崇高精神再次将Burkean崇高的意识（这里理解为恐怖和绝望）重新灌输到美国国家公园荒野景观的浪漫自然崇高中。