Saturation

Anonymous German Artist
Travel Altar with the Mocking of Christ
ca. 1600
oil on silver (center panel) and oil on copper (wings)
Bayerisches Nationalmuseum, Munich

Rimma Zanevskaya
Die Sonne
1963
screenprint
Hirshhorn Museum, Washington DC

Victor Moscoso
The Chambers Brothers at Matrix, San Francisco
1967
lithograph (poster)
Smithsonian American Art Museum, Washington DC

Burhan Dogançay
Walls V-III
1969
lithograph
Amon Carter Museum, Fort Worth, Texas

Robert Crandall
Drugs and the Young
1969
C-print
(commissioned by Time magazine)
National Portrait Gallery, Washington DC

Anonymous Printmaker
Funds for Life not Death
1973
screenprint
(poster for Vietnam War protest march)
National Museum of American History, Washington DC

Barbara Jones-Hogu
When Styling Think Of Self-Determination, Liberation
1973
screenprint
Smithsonian American Art Museum, Washington DC

Anonymous Photographer
Stable Block, Doe Run, Unionville, Pennsylvania
ca. 1983
Kodachrome slide
Archives of American Gardens, Washington DC

Henry Pearson
Six Blacks and Two Olives
1985
oil on linen
Portland Museum of Art, Maine

Francisco Alvarado-Juarez
Mythological Creatures
1985
acrylic on canvas
Smithsonian American Art Museum, Washington DC

Mendell & Oberer (Munich)
Plastics & Design - Die Neue Sammlung, Munich
1998
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

Franck Gohier
The Bamboo Lounge
2000
screenprint (poster)
National Gallery of Australia, Canberra

Sol LeWitt
Wall Drawing #1113
2003
acrylic on wall surface
Hirshhorn Museum, Washington DC

Neil Winokur
X
(from series, A-Z)
2007
C-print
Art Institute of Chicago

Tauba Auerbach
Plate Distortion I
2011
aquatint with chine collé
Whitney Museum of American Art, New York

Judy Chicago
A Butterfly for Pomona
(from portfolio, On Fire)
2012
inkjet-print-
Smithsonian American Art Museum, Washington DC

Mathew Cerletty
Shelf Life
2015
oil on linen
Whitney Museum of American Art, New York

from Agamemnon:

[The chorus recall Helen's flight]

Like a dream through sleep, she glided

    Through the silent city gate,

By a guilty Hermes guided

On the feather'd feet of Theft;

Leaving between those she left

And those she fled to lighted discord,

    Unextinguishable hate;

Leaving him whom least she should,

Menelaus brave and good,

Unbelieving in the mutter'd

Rumour, in the worse than utter'd

    Omen of the wailing maidens,

Of the shaken hoary head:

Of deserted board and bed.

    

    For the phantom of the lost one

Haunts him in the wonted places;

Listening, looking, as he paces

    For a footstep on the floor,

    For a presence at the door;

As he gazes in the faces

Of the marble mute Colossi,

    Each upon his marble throne,

Yearning gazes with his burning

    Eyes into those eyes of stone,

    Till the light dies from his own.

But the silence of the chambers,

    And the shaken hoary head,

And the voices of the mourning

Women, and of ocean wailing,

Over which with unavailing

Arms he reaches, as to hail

The phantom of a flying sail –

    All but answer, Fled! fled! fled!

    False! dishonour'd! worse than dead!

At last the sun goes down along the bay,

And with him drags detested Day.

He sleeps; and, dream-like as she fled, beside

His pillow, Dream indeed, behold! the Bride

Once more in more than bridal beauty stands;

But, ever as he reaches forth his hands,

Slips from them back into the viewless deep,

On those soft silent wings that walk the ways of sleep.

    

– Aeschylus (525-456 BC), translated by Edward Fitzgerald (1865)