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| William Eggleston Untitled 1983 C-print Whitney Museum of American Art, New York |
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| William Eggleston Untitled (Baby Doll Cadillac) 1973 dye transfer print Whitney Museum of American Art, New York |
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| Joseph Cornell Celestial Fantasy with Tamara Toumanova ca. 1940 collage and tempera on board Smithsonian American Art Museum, Washington DC |
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| Joseph Cornell Marine Fantasy with Tamara Toumanova ca. 1940 collage and tempera on board Smithsonian American Art Museum, Washington DC |
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| Luca Giordano Susanna and the Elders ca. 1670 drawing British Museum |
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| Luca Giordano The Institution of the Eucharist ca. 1695 drawing British Museum |
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| Tracey Moffatt Doll Birth 1972 offset-print (photolithograph with letterpress) Guggenheim Museum, New York |
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| Tracey Moffatt Laudanum 1998 gelatin silver print Moderna Museet, Stockholm |
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| Mike Slack Shrubs of Death #0620 2014 inkjet print Los Angeles County Museum of Art |
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| Mike Slack Shrubs of Death #0638 2014 inkjet print Los Angeles County Museum of Art |
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| Richard Bosman Man Overboard 1981 color woodblock print Whitney Museum of American Art, New York |
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| Richard Bosman The Wave 1987 color woodblock print Whitney Museum of American Art, New York |
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| Gilbert and George to be with art is all we ask 1970 offset-print (book cover) Walker Art Center, Minneapolis |
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| Gilbert and George A Guide to Singing Sculpture 1973 offset-print (book cover) Walker Art Center, Minneapolis |
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| Laurie Simmons The Love Doll, Day 30 (Meeting) 2011 C-print Whitney Museum of American Art, New York |
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| Laurie Simmons Pushing Lipstick (Full Shadow) 1979 C-print Whitney Museum of American Art, New York |
from A Myth of Devotion
When Hades decided he loved this girl
he built for her a duplicate of earth,
everything the same, down to the meadow,
but with a bed added.
Everything the same, including sunlight,
because it would be hard on a young girl
to go so quickly from bright light to utter darkness.
Gradually, he thought, he'd introduce the night,
first as the shadow of fluttering leaves.
Then moon, then stars. Then no moon, no stars.
Let Persephone get used to it slowly.
In the end, he thought, she'd find it comforting.
* * *
He dreams, he wonders what to call this place.
First he thinks: The New Hell. Then: The Garden.
In the end, he decides to name it
Persephone's Girlhood.
A soft light rising above the level meadow,
behind the bed. He takes her in his arms.
He wants to say I love you, nothing can hurt you
but he thinks
this is a lie, so he says in the end
you're dead, nothing can hurt you
which seems to him
a more promising beginning, more true.
– Louise Glück (2006)