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| Kenneth Price Red Top 1979 glazed whiteware Menil Collection, Houston |
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| Reginald Rowe Oracle I 1979 acrylic and collage on canvas McNay Art Museum, San Antonio, Texas |
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| Otmar Thormann Still Life, after Paul Outerbridge 1979 gelatin silver print Los Angeles County Museum of Art |
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| Donald Sultan Hats 1979 graphite and ink on paper, mounted on panel Delaware Art Museum, Wilmington |
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| Philip Pearlstein Tintern Abbey (series, Ruins and Landscapes) 1979 aquatint NSU Art Museum, Fort Lauderdale, Florida |
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| Mary Peck Stoa, Samothrace 1979 gelatin silver print Art Institute of Chicago |
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| Mario Algaze Carretas, Guatemala 1979 gelatin silver print Lowe Art Museum, University of Miami |
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| Max Yavno Imperial Hotel, Jerusalem 1979 gelatin silver print Los Angeles County Museum of Art |
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| Katherine Porter Five Tornadoes and Full Moon 1979 oil on canvas North Carolina Museum of Art, Raleigh |
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| James Granberry Davis Oracle II: Incident in the Desert 1979 oil on canvas Phoenix Art Museum, Arizona |
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| Phyllis Sloane Women in Red Room 1979 screenprint Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Joel Sternfeld Rustic Canyon, Santa Monica, California 1979 C-print Blanton Museum of Art, Austin, Texas |
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| Eve Arnold Wrestlers, Inner Mongolia 1979 dye transfer print San Diego Museum of Art |
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| Don Shields Sinking Blue Dirigible 1979 oil on canvas Dallas Museum of Art |
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| Cindy Sherman Untitled Film Still #44 1979 gelatin silver print Institute of Contemporary Art, Boston |
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| Cindy Sherman Untitled Film Still #50 1979 gelatin silver print Art Institute of Chicago |
Nocturne
Appearing unannounced, the moon
Avoids a mountain's jagged prongs
And sweeps into the open sky
Like one who knows where she belongs.
To me, immediately, my heart:
"Adore Her, Mother, Virgin, Muse,
A Face worth watching Who can make
Or break you as Her fancy choose."
At which the reflex of my mind:
"You will not tell me, I presume,
That bunch of barren craters care
Who sleeps with or who tortures whom."
Tonight, like umpteen other nights,
The baser frankness wins of course,
My tougher mind which dares admit
That both are worshippers of force.
Granted what both of them believe,
The Goddess, clearly, has to go,
Whose majesty is but the mask
That hides a faceless dynamo;
And neither of my natures can
Complain if I should be reduced
To a small functionary whose dreams
Are vast, unscrupulous, confused.
Supposing, though, my face is real
And not a myth or a machine,
The moon should look like x and wear
Features I've actually seen,
My neighbor's face, a face as such,
Neither a status nor a sex,
Constant for me no matter what
The value I assign to x;
That gushing lady, possibly,
Who brought some verses of her own,
That hang-dog who keeps coming back
For just a temporary loan;
A counter-image, anyway,
To balance with its lack of weight
My world, the private motor-car
And all the engines of the State.
– W.H. Auden (ca. 1951)
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