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| James Bishop Avant le Jour 1986 oil on canvas Art Institute of Chicago |
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| Hermès International (Paris) Jacket and Skirt 1986 wool, linen and silk Texas Fashion Collection, Denton |
-Shadow-1986-pigment-print-North-Carolina-Museum-of-Art-Raleigh.jpg) |
| Carolyn DeMeritt Mark / Shadow 1986 pigment print North Carolina Museum of Art, Raleigh |
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| John Divola Cyclone #1 1986 gelatin silver print Los Angeles County Museum of Art |
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| Jedd Garet Slide 1986 lithograph Los Angeles County Museum of Art |
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| Howard Finster Angel 1986 oil on panel New Orleans Museum of Art |
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| William Eggleston Untitled 1986 C-print Memphis Brooks Museum of Art, Tennessee |
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| Helen Frankenthaler Captain's Watch 1986 acrylic on canvas North Carolina Museum of Art, Raleigh |
-1986-watercolor-on-paper-McNay-Art-Museum-San-Antonio-Texas.jpg) |
| Jim Dine Costume Design for the Executioner in Richard Strauss's opera Salome 1986 watercolor and ink on paper McNay Art Museum, San Antonio, Texas |
-1986-A-gouache-on-paper-McNay-Art-Museum-San-Antonio-Texas.jpg) |
| Jim Dine Projection Design for Strauss's Salome 1986 gouache and ink on paper McNay Art Museum, San Antonio, Texas |
-1986-C-gouache-on-paper-McNay-Art-Museum-San-Antonio-Texas.jpg) |
| Jim Dine Projection Design for Strauss's Salome 1986 gouache and ink on paper McNay Art Museum, San Antonio, Texas |
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| Cora Meek Quilt 1986 pieced and embroidered cotton Art Institute of Chicago |
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| Willem De Kooning Stowaway 1986 oil on canvas Pinakothek der Moderne, Munich |
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| Linda Blackburn Carolina Landscape 1986 vitreograph print New Britain Museum of American Art, Connecticut |
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| Linda Blackburn Carolina Still Life 1986 vitreograph print New Britain Museum of American Art, Connecticut |
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| Roger Brown Navy Pier 1986 lithograph and screenprint Art Institute of Chicago |
from Bucolics
I know a retired dentist who only paints mountains,
But the Masters rarely care
That much, who sketch them in beyond a holy face
Or a highly dangerous chair;
While a normal eye perceives them as a wall
Between worse and better, like a child, scolded in France,
Who wishes he were crying on the Italian side of the Alps:
Caesar does not rejoice when high ground
Makes a darker map,
Nor does Madam. Why should they? A serious being
Cries out for a gap.
And it is curious how often in steep places
You meet someone short who frowns,
A type you catch beheading daisies with a stick:
Small crooks flourish in big towns,
But perfect monsters – remember Dracula –
Are bred on crags in castles. Those unsmiling parties,
Clumping off at dawn in the gear of their mystery
For points up, are a bit alarming;
They have the balance, nerve,
And habit of the Spiritual, but what God
Does the Order serve?
A civil man is a citizen. Am I
To see in the Lake District, then,
Another bourgeois invention like the piano?
Well, I won't. How can I, when
I wish I stood now on a platform at Penrith,
Zurich, or any junction at which you leave the express
For a local that swerves off soon into a cutting? Soon
Tunnels begin, red farms disappear,
Hedges turn to walls,
Cows become sheep, you smell peat or pinewood, you hear
Your first waterfalls,
And what looked like a wall turns out to be a world
With measurements of its own
And a style of gossip.
– W.H. Auden (1952)