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| Conrad Felixmüller Soldier in Madhouse I 1918 lithograph Los Angeles County Museum of Art |
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| Leslie Machinist Riot 1988 acrylic on paper Smithsonian American Art Museum, Washington DC |
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| Mitchell Siporin Winter Soldiers 1946 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Kiki Smith Untitled (from Lot's Wife) 1993 C-print Whitney Museum of American Art, New York |
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| Rockwell Kent Wreck of the D.T. Sheridan ca. 1949-53 oil on canvas Portland Museum of Art, Maine |
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| Edward Hagedorn Depth Bomb ca. 1930 etching and drypoint Smithsonian American Art Museum, Washington DC |
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| Howard Finster There Shall Be Earth Quakes 1976 enamel on board Smithsonian American Art Museum, Washington DC |
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| Hans Ulrich Franck Scene of War ca. 1643-56 etching Graphische Sammlung, ETH Zürich |
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| Wim Wijnman Traffic Safety: Danger Threatens You ca. 1925 lithograph (poster in Dutch) Allard Pierson Museum, Amsterdam |
-Kimberely-Megan-and-Shane-34-Rumler-Road-Linfield-PA-1996-gelatin-silver-print-Amon-Carter-Museum-of-American-Art-Fort-Worth-Texas.jpg) |
| Tim Rice Memorial Day: Kimberly, Megan and Shane 34 Rumler Road, Linfield PA 1996 gelatin silver print Amon Carter Museum of Art, Fort Worth, Texas |
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| Peter Saul Criminal Being Executed 1964 oil on canvas Blanton Museum of Art, Austin, Texas |
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| Friedrich Philipp Reinhold Semira and Semin in Deluge (illustration to narrative by Salomon Gessner) ca. 1816 drawing Graphische Sammlung Albertina, Vienna |
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| Oliver Madox Brown Silas finding the Body of Godfrey Cass's Wife (illustration to Silas Marner by George Eliot) 1872 watercolor and gouache on paper Manchester Art Gallery |
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| Jacob Becher Kneeling Model expressing Horror ca. 1850 drawing (study for painting) Städel Museum, Frankfurt |
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| Clare Leighton Bread LIne, New York 1932 wood-engraving Blanton Museum of Art, Austin, Texas |
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| Rosalyn Drexler Marilyn pursued by Death 1963 acrylic paint over photograph Whitney Museum of American Art, New York |
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| William Rimmer The Falling Gladiator 1861 plaster modello Smithsonian American Art Museum, Washington DC |
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| Joel Sternfeld Ruins of the General Assembly Hall, Llano del Rio, Antelope Valley, California 1999 C-print Whitney Museum of American Art, New York |
from Foliage of Vision
As landscapes richen after rain, the eye
Atones, turns fresh after a fit of tears.
When all the foliage of vision stirs
I glimpse the plump fruit hanging, falling, fallen
Where wasps are sputtering. In the full sky
Time, a lean wasp, sucks at the afternoon.
The tiny black and yellow agent of rot
Assaults the plum, stinging and singing. What
A marvel is the machinery of decay!
How rare the day's wrack! What fine violence
Went to inject its gall in the glad eye!
The plum lies all brocaded with corruption.
* * *
I think of saints with hands pierced and wrenched eyes
Sensational beyond the art of sense,
As though whatever they saw was about to be
While feeling alters in its imminence
To palpable joy; of Dante's ascent in hell
To greet with a cleansed gaze the petaled sphere;
Of Darwin's articulate ecstasy as he stood
Before a tangled bank and watched the creatures
Of air and earth noble among much leafage
Dancing an order rooted not only in him
But in themselves, bird, fruit, wasp, limber vine,
Time and disaster and the limping blood.
– James Merrill (1951)