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| Berenice Abbott Portrait of Princess Marthe Bibesco 1927 gelatin silver print Clark Art Institute, Williamstown, Massachusetts |
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| Max Beckmann Still Life with Telescope 1927 oil on canvas Neue Pinakothek, Munich |
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| Pierre Bonnard Flowers on a Mantel at Le Cannet 1927 oil on panel Musée des Beaux-Arts de Lyon |
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| Gerald Brockhurst The Black Silk Dress (Anaïs) 1927 etching Blanton Museum of Art, Austin, Texas |
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| Ludwig Hohlwein Summer in Germany 1927 offset print (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Hasui Kawase Tennoji Temple in Osaka 1927 color woodblock print Clark Art Institute, Williamstown, Massachusetts |
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| Julius Klinger Japanese Art 1927 watercolor and gouache on paper (print study) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Oskar Kokoschka Giant Tortoises 1927 oil on canvas Kunstmuseum, The Hague |
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| Anton Kolig Self Portrait in Blue Jacket 1927 oil on canvas Leopold Museum, Vienna |
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| André Lhote Portrait of a Lady 1927 oil on canvas Art Institute of Chicago |
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| Jean Metzinger Still Life with Green Head 1927 oil on canvas Kröller-Müller Museum, Otterlo, Netherlands |
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| Piet Mondrian Composition with Yellow, Red and Blue 1927 oil on canvas Menil Collection, Houston |
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| Dirk Hidde Nijland Rotterdam Dockyard 1927 oil on canvas Kröller-Müller Museum, Otterlo, Netherlands |
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| Alexander Rodchenko Lilya Yuryevna Brik on Balcony 1927 gelatin silver prints Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Rudolf Schlichter Portrait of writer Egon Erwin Kisch 1927 oil on canvas Kunsthalle Mannheim |
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| Franz Sedlacek The Flight into Egypt 1927 oil on panel Leopold Museum, Vienna |
I Am Not a Camera
Photographic life is always either trivial or already sterilised.
– Eugen Rosenstock-Huessy
To call our sight Vision
implies that, to us,
all objects are subjects.
* * *
What we have not named
or beheld as a symbol
escapes our notice.
* * *
We never look at two people
or one person twice
in the same way.
* * *
It is very rude to take close-ups and, except
when enraged, we don't:
lovers, approaching to kiss,
instinctively shut their eyes before their faces
can be reduced to
anatomical data.
* * *
Instructive it may be to peer through lenses:
each time we do, though, we should apologise
to the remote or the small for intruding
upon their quiddities.
* * *
The camera records
visual facts: i.e.,
all may be fictions.
* * *
Flash-backs falsify the Past:
they forget
the remembering Present.
* * *
On the screen we can only
witness human behavior:
Choice is for camera-crews.
* * *
The camera may
do justice to laughter, but must
degrade sorrow.
– W.H. Auden (1969)