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Anthropocene Effects: Revisiting Land and Water in Canadian and Mexican Art Histories

dc.provenanceEl documento original impreso/digital se encuentra en resguardo del Centro de Investigaciones sobre América del Norte de la Universidad Nacional Autónoma de México. Proyecto CISAN, Memoria Institucional
dc.rights.licensehttp://ru.micisan.unam.mx/page/terminos
dc.creatorSloan, Johanne
dc.date.accessioned2025-05-03T00:57:42Z
dc.date.available2025-05-03T00:57:42Z
dc.date.issued2024
dc.identifier.issn0186-9418
dc.identifier.urihttps://ru.micisan.unam.mx/handle/123456789/1509
dc.formatapplication/pdf
dc.format.extentpp. 49-55
dc.language.isoeng
dc.publisherUniversidad Nacional Autónoma de México, Centro de Investigaciones sobre América del Norte
dc.relation.isformatofprint
dc.relation.requiresLector de PDF
dc.titleAnthropocene Effects: Revisiting Land and Water in Canadian and Mexican Art Histories
dc.rights.holderUniversidad Nacional Autónoma de México
dc.audienceEstudiantes
dc.audienceMaestros
dc.audienceInvestigadores
dc.coverage.placeofpublicationMéxico
dc.description.extractToday’s Anthropocene forces us to look skeptically at the water, clouds, soil, plants, animals, and other natural phenomena that surround us, because the damage inflicted on environments, ecosystems, and living organisms is not always visible. Extending this critical gaze into the realm of art history, this essay considers how the nonhuman world of nature appears in historical works of art. In both Canada and Mexico, paintings of land and water have the status of national treasures: in the early 20th century the Canadian artists known as the “Group of Seven” turned their backs on urban life, to create vivid tableaux of natural scenery, while a few decades earlier José Maria Velasco made some of his most majestic landscape compositions, featuring the Valley of Mexico and other regions of the country. (Fig. 1) Does it matter whether the bodies of water these artists painted were polluted then, or if they are polluted now? If environmentally-damaging practices had already been set in motion, at the moment the artworks were made, should that influence how we regard these artworks today? These are some of the questions prompted by the apocalyptic teleology of the Anthropocene (p. 50).
dc.educationlevelMedio superior
dc.educationlevelSuperior
dc.educationlevelPosgrado
dc.identifier.bibliographiccitationSloan, Johanne, “Anthropocene Effects: Revisiting Land and Water in Canadian and Mexican Art Histories”, Voices of Mexico, Universidad Nacional Autónoma de México, Centro de Investigaciones sobre América del Norte, 2024, no. 123, (summer): 49-55.
dc.identifier.cisanVOM_2024_0123_0049
dc.identifier.orcidhttps://orcid.org/0000-0002-6241-5688
dc.relation.issue123
dc.subject.unamHumanidades
dc.type.spaartículo
dc.view.accesslevelEmbargo
dc.type.coarhttp://purl.org/coar/resource_type/c_6501
dc.relation.hasPartVoices of Mexico


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