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| Mitch Epstein Untitled (New York City, NY) 1997 C-print Los Angeles County Museum of Art |
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| Julian Opie Baroque Tower V 1997 painted wood Denver Art Museum |
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| Roy Lichtenstein Interior with Chair 1997 screenprint Dallas Museum of Art |
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| Philip Treacy for Chanel Hat 1997 point d'esprit netting and feathers Denver Art Museum |
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| Luis Vega Alguien Nos Mira 1997 acrylic on canvas Lowe Art Museum, University of Miami |
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| Rosemarie Trockel Bibliothek Babylon 1997 screenprint on mylar Seattle Art Museum |
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| James Rosenquist The Flame Still Dances on Leo's Book 1997 lithograph (for Castelli's 90th birthday) Dallas Museum of Art |
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| Neo Rauch Lichtspiele 1997 oil on canvas Denver Art Museum |
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| Ralph Gibson Untitled 1997 gelatin silver print San Diego Museum of Art |
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| Radcliffe Bailey By the River 1997 mixed media on panel Blanton Museum of Art, Austin, Texas |
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| Maria Lassnig Die Oberen and die Unteren 1997 oil on canvas Hall Collection, Schloss Derneburg, Germany |
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| Monique Prieto GOP 1997 acrylic on canvas Los Angeles County Museum of Art |
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| Evelyn Hofer Oaxaca Jar with Cherries, New York 1997 dye transfer print Kunstmuseum, The Hague |
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| Robert Stivers Face #2, Statue 1997 gelatin silver print Akron Art Museum, Ohio |
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| Comme des Garçons (Japan) Jacket and Skirt 1997 nylon stretch-gingham with padding Denver Art Museum |
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| Comme des Garçons (Japan) Blouse and Skirt 1997 cotton-nylon net (blouse) and paper (skirt) Los Angeles County Museum of Art |
from Part One of The Age of Anxiety
Emble was thinking:
Estranged, aloof,
They brood over being till the bars close,
The malcontented who might have been
The creative odd ones the average need
To suggest new goals. Self-judged they sit,
Sad haunters of Perhaps who after years
To grasp and gaze in get no further
Than their first beholding, phantoms who try
Through much drink by magic to restore
The primitive pact with pure feeling,
Their flesh as it felt before sex was
(The archaic calm without cultural sin
Which her Adam is till his Eve does),
Eyeing the door, for ever expecting
Night after night the Nameless One, the
Smiling sea-god who shall safely land
Smiling sea-god who shall safely land
Shy and broad-shouldered on the shore at last,
Enthusiastic, of their convenient
And dangerous dream; while days away, in
Prairie places where no person asks
What is suffered in ships, small tradesmen,
Wry relatives on rocking-chairs in
Moss-grown mansions, mothers whose causes
For right and wrong are unreal to them,
Grieve vaguely over theirs; their vision shrinks
As their dreams darken; with dulling voice
Each calls across a colder water,
Each calls across a colder water,
Tense, optative, interrogating
Some sighing several who sadly fade.
– W.H. Auden (1944-46)