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| Robert Frank Charlie Chaplin in Paris 1947 gelatin silver print Los Angeles County Museum of Art |
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| Louis Faurer New York, N.Y. 1947 gelatin silver print Milwaukee Art Museum |
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| Louis Faurer New York ca. 1948 gelatin silver print Milwaukee Art Museum |
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| Louis Faurer Family, Times Square, New York City 1948 gelatin silver print Minneapolis Institute of Art |
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| Louis Faurer Times Square, New York, N.Y. ca. 1948 gelatin silver print Milwaukee Art Museum |
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| Minor White Tom Murphy, San Francisco 1947 gelatin silver print Minneapolis Institute of Art |
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| Minor White Untitled 1947 gelatin silver print Minneapolis Institute of Art |
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| Minor White Nude 1948 gelatin silver print Minneapolis Institute of Art |
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| Minor White Untitled 1948 gelatin silver print Minneapolis Institute of Art |
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| Minor White Warehouse Area, San Francisco 1949 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Carl Van Vechten Marlon Brando in A Streetcar Named Desire 1948 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Carl Van Vechten Tyrone Power and Judith Anderson in John Brown's Body 1950 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Saul Leiter Ladies ca. 1948 C-print Milwaukee Art Museum |
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| Harry Callahan Old Town ca. 1949 gelatin silver print Art Institute of Chicago |
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| Irving Penn Fashion Model with Umbrella 1950 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Philippe Halsman Gloria Swanson 1950 gelatin silver print Victoria & Albert Museum, London |
24/7
The one cashier is dozing –
head nodding, slack mouth open,
above the cover girl spread out before her on the counter
smiling up
with indiscriminate forgiveness
and compassion for everyone
who isn't her.
Only the edge
is visible of the tightly spooled
white miles
of what is soon
to be the torn off
inch by inch receipts,
and the beam of green light in the black glass
of the self scanner
drifts free in the space that is the sum
of the cost of all the items that tonight
won't cross its path.
Registers of feeling too precise
too intricate to feel
except in the disintegrating
traces of a dream –
panopticon of cameras
cutting in timed procession
from aisle to aisle
to aisle on the overhead screens
above the carts asleep inside each other –
above the darkened
service desk, the pharmacy, the nursery,
so everywhere inside the store
is everywhere at once
no matter where –
eternal reruns
of stray wisps of steam
that rise
from the brightly frozen,
of the canned goods and food stuffs
stacked in columns onto columns
under columns pushed together
into walls of shelves
of aisles all celestially effacing
any trace
of bodies that have picked
packed unpacked and placed
them just so
so as to draw bodies to the
pyramid of plums,
the ziggurats
of apples and peaches and
in the bins the nearly infinite
gradations and degrees of greens
misted and sparkling.
A paradise of absence,
the dreamed of freed
from the dreamer, bodiless
quenchings and consummations
that tomorrow will draw the dreamer
the way it draws the night tonight
to press the giant black moth
of itself against the windows
of fluorescent blazing.
–Alan R. Shapiro (2008)
