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| Berenice Abbott From Elizabeth McCausland's Window at 50 Commerce Street, New York ca. 1935 gelatin silver print Clark Art Institute, Williamstown, Massachusetts |
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| John Coates Browne View from Parlor Window, Presqu'ile ca. 1864-65 albumen silver print Getty Museum, Los Angeles |
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| Avigdor Arikha The Big Studio Window 1971 etching Los Angeles County Museum of Art |
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| Frederick H. Evans Kelmscott Manor Open Window in the Tapestry Room 1896 lantern slide Getty Museum, Los Angeles |
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| Iwao Yamawaki Untitled (Interior, Bauhaus, Dessau) ca. 1930-32 gelatin silver print Tate Gallery |
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| William David Interior, Speke Hall ca. 1854-70 oil on canvas Walker Art Gallery, Liverpool |
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| Neil Feldman Dunes Landscape with Window 1995 oil on canvas Nottingham Trent University, Nottingham |
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| Charles Donker Studio Window, Utrecht ca. 1967-71 etching Rijksmuseum, Amsterdam |
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| Bruce Davidson Woman with Windmill outside Window ca. 1957 gelatin silver print Phillips Collection, Washington DC |
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| Saul Leiter Snow Window 1959 silver dye-bleach print Art Institute of Chicago |
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| Fernando La Rosa Window, La Perla, Peru 1978 gelatin silver print Princeton University Art Museum |
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| Christopher Nevinson From an Office Window 1918 mezzotint Museum of Fine Arts, Boston |
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| Bryan Organ Sicilian Window 1975 lithograph Tate Gallery |
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| Théodore Roussel A Window seen through a Window 1897 etching and aquatint British Museum |
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| Edward Wadsworth The Open Window ca. 1914 woodcut Museum of Fine Arts, Boston |
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| Mark Strizic Untitled ca. 1959 gelatin silver print National Gallery of Victoria, Melbourne |
I Love You More Than All the Windows in New York City
The day turned into the city
and the city turned into the mind
and the moving trucks trumbled along
like loud worries speaking over
the bicycle's idea
which wove between
the more armored vehicles of expression
and over planks left by the construction workers
on a holiday morning when no work was being done
because no matter the day, we tend towards
remaking parts of it – what we said
or did, or how we looked –
and the buildings were like faces
lining the banks of a parade
obstructing and highlighting each other
defining height and width for each other
offsetting grace and function
like Audrey Hepburn from
Jesse Owens, and the hearty pigeons collaborate
with wrought iron fences
and become recurring choruses of memory
reassembling around benches
we sat in once, while seagulls wheel
like immigrating thoughts, and never-leaving
chickadees hop bared hedges and low trees
like commas and semicolons, landing
where needed, separating
subjects from adjectives, stringing along
the long ideas, showing how the cage
has no door, and the lights changed
so the tide of sound ebbed and returned
like our own breath
and when I knew everything
was going to look the same as the mind
and the city turned into the mind
and the moving trucks trumbled along
like loud worries speaking over
the bicycle's idea
which wove between
the more armored vehicles of expression
and over planks left by the construction workers
on a holiday morning when no work was being done
because no matter the day, we tend towards
remaking parts of it – what we said
or did, or how we looked –
and the buildings were like faces
lining the banks of a parade
obstructing and highlighting each other
defining height and width for each other
offsetting grace and function
like Audrey Hepburn from
Jesse Owens, and the hearty pigeons collaborate
with wrought iron fences
and become recurring choruses of memory
reassembling around benches
we sat in once, while seagulls wheel
like immigrating thoughts, and never-leaving
chickadees hop bared hedges and low trees
like commas and semicolons, landing
where needed, separating
subjects from adjectives, stringing along
the long ideas, showing how the cage
has no door, and the lights changed
so the tide of sound ebbed and returned
like our own breath
and when I knew everything
was going to look the same as the mind
I stopped at a lively corner
where the signs themselves were like
perpendicular dialects in conversation and
where the signs themselves were like
perpendicular dialects in conversation and
I put both my feet on the ground
took the bag from the basket
so pleased it had not been crushed
by the mightiness of all else
that goes on and gave you the sentence inside.
took the bag from the basket
so pleased it had not been crushed
by the mightiness of all else
that goes on and gave you the sentence inside.
– Jessica Greenbaum (2012)