 |
| Frank Stella Los Alamitos 1972 screenprint National Gallery of Australia, Canberra |
 |
| Frank Stella Flin-Flon 1970 acrylic and fluorescent paint on canvas National Gallery of Australia, Canberra |
 |
| Frank Stella Egyplosis Relief 1996 color etching and aquatint National Gallery of Australia, Canberra |
 |
| Frank Stella Bonne Bay 1971 lithograph and screenprint National Gallery of Australia, Canberra |
 |
| Robert Rauschenberg Cardbird VI 1971 cardboard and printed paper collage Art Gallery of New South Wales, Sydney |
 |
| Robert Rauschenberg Booster 1967 lithograph and screenprint National Gallery of Australia, Canberra |
 |
| Robert Rauschenberg Banner 1969 lithograph National Gallery of Australia, Canberra |
 |
| Robert Rauschenberg and Susan Weil Fugue ca. 1950 cyanotype Menil Collection, Houston |
 |
| Claes Oldenburg Soft Screw 1976 cast elastomeric urethane National Gallery of Australia, Canberra |
-Fork-cutting-Slice-of-Cake-1966-watercolor-and-crayon-on-paper-National-Gallery-of-Australia-Canberra.jpg) |
| Claes Oldenburg Proposed Colossal Monument for Piccadilly Circus, London: Fork cutting Slice of Cake 1966 watercolor and crayon on paper National Gallery of Australia, Canberra |
 |
| Claes Oldenburg Nose Handkerchief 1968 screenprint on silk Walker Art Center, Minneapolis |
 |
| Claes Oldenburg Miniature Soft Drum Set 1969 assemblage of mixed materials National Gallery of Australia, Canberra |
 |
| Roy Lichtenstein Before the Mirror 1975 lithograph and screenprint Queensland Art Gallery, Brisbane |
-1976-screenprint-National-Gallery-of-Australia-Canberra.jpg) |
| Roy Lichtenstein Huh? 1976 screenprint National Gallery of Australia, Canberra |
 |
| Roy Lichtenstein Homage to Max Ernst 1975 screenprint National Gallery of Australia, Canberra |
 |
| Roy Lichtenstein Still Life with Picasso 1973 screenprint National Gallery of Australia, Canberra |
from New Year Letter
Who ever rose to read aloud
Before that quiet attentive crowd
And did not falter as he read,
Stammer, sit down, and hang his head?
Each one, so liberal is the law,
May choose whom he appears before,
Pick any influential ghost
From those whom he admires the most.
So, when my name is called, I face,
Presiding coldly in my case,
Presiding coldly in my case,
That lean hard-bitten pioneer
Who spoiled a temporal career
And to the supernatural brought
His passion, senses, will and thought,
By Amor Rationalis led
Through the three kingdoms of the dead,
In concrete detail saw the whole
Environment that keeps the soul,
And grasped in its complexity
The Catholic ecology,
Described the savage fauna he
In Malebolge's fissure found,
And fringe of blessed flora round
A juster nucleus than Rome,
Where love had its creative home.
Upon his right appears, as I
Reluctantly must testify
And weigh the sentence to be passed,
A choleric enthusiast,
Self-educated William Blake
Who threw his spectre in the lake,
Broke off relations in a curse
With the Newtonian Universe,
But even as a child would pet
The tigers Voltaire never met,
Took walks with them through Lambeth, and
Spoke to Isaiah in the Strand,
And heard inside each mortal thing
Its holy emanation sing,
While to his left upon the bench,
Muttering that terror is not French
Frowns the young Rimbaud guilt demands,
The adolescent with red hands,
Skilful, intolerant and quick,
Who strangled an old rhetoric.
The court is full; I catch the eyes
Of several I recognize,
For as I look up from the dock
Embarrassed glances interlock.
There Dryden sits with modest smile,
The master of the middle style,
Conscious Catullus who made all
His gutter-language musical,
Black Tennyson whose talents were
For an articulate despair,
Trim, dualistic Baudelaire,
Poet of cities, harbours, whores,
Acedia, gaslight and remorse,
Hardy whose Dorset gave much joy
To one unsocial English boy,
And Rilke whom die Dinge bless,
The Santa Claus of loneliness.
And many others, many times,
For I relapse into my crimes,
Time and again have slubbered through
With slip and slapdash what I do,
Adopted what I would disown,
The preacher's loose immodest tone;
Though warned by a great sonneteer
Not to sell cheap what is most dear,
Though horrible old Kipling cried
"One instant's toil to Thee denied
Stand all eternity's offence,"
I would not give them audience.
Yet still the weak offender must
Beg still for leniency and trust
His power to avoid the sin
Peculiar to his discipline.
– W.H. Auden (1940)