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.

中文翻译：

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螺旋码头，地球美学和艺术：人类世

尽管呼吁艺术家和作家对人类世的全球形势做出回应，但是关于“人类学科”的报道很少在全球环境变化的主要期刊上发表和听到。本文从新的视角探讨人类世：艺术的视角。我们以美国土地艺术家罗伯·史密森（Robert Smithson）的作品为例，他作为作家和雕塑家，于1972年宣布自己是“地质代理人”。我们建议史密森的土地艺术雕塑“螺旋码头”可能是人类世世的第一个标志。艺术，此外，他的创造性写作为叙事模式提供了必要的叙事模式，以阐明人类与环境变化之间的关系。以编织论文的形式呈现，该论文运用了隐喻和地球美学的关键手段，我们演示了螺旋码头如何代表艺术史上人类文明的“金色高峰”，并探讨了第一人称叙事在艺术写作中的作用。我们建议，应将艺术及其伴随的创造性写作方式作为主要评论员，指标和积极参与未来人类世世代代的理解。