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| Anonymous Artist Big Brother and the Holding Company at The Ark, Sausalito 1967 lithograph (poster) Royal Ontario Museum, Toronto |
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| Iain Baxter Bagged DayGlo Oranges 1967 screenprint Art Gallery of Greater Victoria, British Columbia |
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| Byron Burford Mildred with Patriotic Tattooing 1967 screenprint Phoenix Art Museum, Arizona |
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| Paul Caponigro Stonehenge Overview 1967 gelatin silver print Farnsworth Art Museum, Rockland, Maine |
-Nature-et-Cin%C3%A9ma-1967-gouache-on-paper-NSU-Art-Museum-Fort-Lauderdale-Florida.jpg) |
| Corneille (Guillaume Cornelis van Beverloo) Nature et Cinéma 1967 gouache on paper NSU Art Museum, Fort Lauderdale, Florida |
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| Daniel Farber Red Maple Leaf 1967 dye imbibition print Art Institute of Chicago |
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| Nita Forrest Cycle 1967 oil on canvas Art Gallery of Greater Victoria, British Columbia |
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| Kathleen Haven Jackson Pollock, MOMA, New York 1967 offset print (exhibition poster) National Gallery of Australia, Canberra |
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| John Hoyland 8.7.67 1967 acrylic on canvas Art Gallery of South Australia, Adelaide |
-Grateful-Dead-Jefferson-Airplane-Canned-Heat-1967-screenprint-(poster)-from%20Art-Gallery-of-Ontario-Toronto.jpg) |
| Kaleidoscope Graphics (Los Angeles) Grateful Dead, Jefferson Airplane, Canned Heat 1967 screenprint (poster) Art Gallery of Ontario, Toronto |
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| René Magritte Mona Lisa (La Joconde) 1967 bronze Menil Collection, Houston |
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| David Blair Mayrs Mr & Mrs Teddington & Her Lover 1967 acrylic on canvas Art Gallery of Greater Victoria, British Columbia |
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| Lore Neissner Untitled 1967 screenprint Art Gallery of Greater Victoria, British Columbia |
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| Anton Rooskens Summer 1967 oil on canvas NSU Art Museum, Fort Lauderdale, Florida |
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| Norman Takeuchi Screen no. 1 1967 acrylic on linen Ottawa Art Gallery, Ontario |
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| Yves Saint Laurent Ensemble 1967 embroidered silk organdy and silk crepe Phoenix Art Museum, Arizona |
Like a Vocation
Not as that dream Napoleon, rumour's dread and centre,
Before whose riding all the crowds divide,
Who dedicates a column and withdraws,
Nor as that general favourite and breezy visitor
To whom the weather and the ruins mean so much,
Nor as any of those who always will be welcome,
As luck or history or fun,
Do not enter like that: all these depart.
Claim, certainly, the stranger's right to pleasure:
Ambassadors will surely entertain you
With knowledge of operas and men,
Bankers will ask for your opinion
And the heiress' cheek lean ever so slightly towards you,
The mountains and the shopkeepers accept you
And all your walks be free.
But politeness and freedom are never enough,
Not for a life. They lead
Up to a bed that only looks like marriage;
Even the disciplined and distant admiration
For thousands who obviously want nothing
Becomes just a dowdy illness. These have their moderate success;
They exist in the vanishing hour.
But somewhere always, nowhere particularly unusual,
Almost anywhere in the landscape of water and houses,
His crying competing unsuccessfully with the cry
Of the traffic or the birds, is always standing
The one who needs you, that terrified
Imaginative child who only knows you
As what the uncles call a lie,
But knows he has to be the future and that only
The meek inherit the earth, and is neither
Charming, successful, nor a crowd;
Alone among the noise and policies of summer,
His weeping climbs towards your life like a vocation.
– W.H. Auden (1939)