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| Groupe Objectal (Claude Pougny & Bernard Dreyfuss) Pudeur déshabillée, Portraits intermittents 1982 acrylic on canvas Musée des Beaux-Arts de Pau |
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| Gilbert and George Cabbage Worship 1982 hand-colored photomontage North Carolina Museum of Art, Raleigh |
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| Richard Anuszkiewicz Untitled 1982 screenprint McNay Art Museum, San Antonio, Texas |
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| Charles Arthur Arnoldi Untitled 1982 oil on paper Menil Collection, Houston |
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| Leonard Baskin Paula Modersohn-Becker 1982 lithograph Wichita Art Museum, Kansas |
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| James Brooks Eastern 1982 lithograph San Diego Museum of Art, California |
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| Squeak Carnwath Fire and Striped Night 1982 oil and alkyd on canvas San Jose Museum of Art, California |
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| Jo Alison Feiler #53 1982 C-print Los Angeles County Museum of Art |
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| Janet Fish Barry 1982 oil on canvas Portland Museum of Art, Maine |
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| David Hockney Studio - Hollywood Hills House 1982 gouache on paper Los Angeles County Museum of Art |
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| Elizabeth Matheson Wilson, North Carolina 1982 gelatin silver print North Carolina Museum of Art, Raleigh |
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| Robert Mapplethorpe Fay Gold 1982 gelatin silver print Los Angeles County Museum of Art |
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| Robert Mapplethorpe Lee Krasner 1982 gelatin silver print Los Angeles County Museum of Art |
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| Robert Mapplethorpe Lisa Lyon 1982 gelatin silver print Los Angeles County Museum of Art |
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| Sherry Markovitz Tiger Chase 1982 lithograph Seattle Art Museum |
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| Helen Frankenthaler Sea Change 1982 acrylic on canvas Dayton Art Institute, Ohio |
from Metalogue to The Magic Flute
(Lines composed in commemoration of the Mozart Bicentenary, 1956. To be spoken by the singer playing the role of Sarastro.)
Relax, Maestro, put your baton down,
Only the fogiest of the old will frown
If you the trials of the Prince prorogue
To let Sarastro speak this Metalogue,
A form acceptable to us, although
Unclassed by Aristotle or Boileau.
No modern audience finds it incorrect,
For interruption is what we expect
Since that new god, the Paid Announcer, rose,
Who with his quasi-Ossianic prose
Cuts in upon the lovers, halts the band,
To name a sponsor or to praise a brand.
Not that I have a product to describe
That you could wear or cook with or imbibe;
You cannot hoard or waste a work of art:
I come to praise but not to sell Mozart,
Who came into this world of war and woe
At Salzburg just two centuries ago,
When kings were many and machines were few
And open Atheism something new.
(It makes a servantless New Yorker sore
To think sheer Genius had to stand before
A mere Archbishop with uncovered head:
But Mozart never had to make his bed.)
* * *
How seemly, then, to celebrate the birth
Of one who did no harm to our poor earth,
Created masterpieces by the dozen,
Indulged in toilet-humor with his cousin,
And had a pauper's funeral in the rain,
The like of whom we shall not see again:
How comely, also, to forgive; we should,
As Mozart, were he living, surely would,
Remember kindly Salieri's shade,
Accused of murder and his works unplayed,
Nor, while we praise the dead, should we forget
We have Stravinsky – bless him! – with us yet.
Basta! Maestro, make your minions play!
In all hearts, as in our finale, may
Reason & Love be crowned, assume their rightful sway.
– W.H. Auden (1955)