Structures

Sixten Haage
The Language of Power
1977
drypoint
Moderna Museet, Stockholm

Carol Cohen Burton
Industrial Yellow
1984
C-print
Amon Carter Museum, Fort Worth, Texas

Hanne Borchgrevink
House at Sunset
2007
acrylic on canvas
Lillehammer Kunstmuseum, Norway

Edward Hopper
Captain Gardner K. Wonson House
ca. 1923-28
drawing
Amon Carter Museum, Fort Worth, Texas

Erich Heckel
Manor House near Moritzburg
1910
oil on canvas
Museum Ludwig, Cologne

Max Liebermann
House in Hilversum
1901
oil on canvas
Alte Nationalgalerie, Staatliche Museen zu Berlin

Antonio Chichi
Scale Model of the Pantheon, Rome
ca. 1777-82
cork and wood
Museumslandschaft Hessen Kassel

Antonio Salamanca
Cutaway View of the Pantheon, Rome
before 1553
etching
Museum of Fine Arts, Budapest

Otto Sköld
Church Steeple seen through Skylight
1927
oil on canvas
Moderna Museet, Stockholm

Paul Caponigro
Stonehenge
1967
gelatin silver print
Moderna Museet, Stockholm

Herman Bergne
Reklamen tjänar Samhället
(Advertising serves Society)
ca. 1937
gelatin silver print
Moderna Museet, Stockholm

Jakob Alt
The Asinelli and Garisenda Towers in Bologna
1836
watercolor on paper
Graphische Sammlung Albertina, Vienna

Scott Hyde
Astor Place Lunch II
ca. 1970
offset lithograph
Amon Carter Museum, Fort Worth, Texas

Firmin Salabert
A Venerable Entranceway, Annecy
ca. 1850
oil on canvas
Musée des Beaux-Arts de Gaillac

Martin Parr
New Brighton
1984
gelatin silver print
Museum Folkwang, Essen

Espen Gleditsch
Palazzo della Civiltà Italiana #1
2017
pigment print mounted on aluminum
KORO (Public Art Norway), Oslo

Chorus of Theban Maidens: 

O beloved gods,

stand over our city to liberate it

and show how you love it,

take heed of the people's worship,

take heed, and defend them, 

and be mindful, I beg you,

of the city's loving sacrificial rites. 

Eteocles [re-entering]:  I ask you, you insufferable creatures, is this the best policy, does it help save our city, does it give confidence to our beleaguered population, to fall down before the images of the city's gods and cry and howl in a way any sensible person would abhor?  Whether in trouble or in welcome prosperity, may I not share my home with the female gender!  When a woman is in the ascendant, her effrontery is impossible to live with; when she's frightened, she is an even greater menace to family and city.  So now, with you running around in all directions like this, your clamour has spread panic and cowardice among the citizens, you are doing your very best to advance the cause of the enemy outside – the city is being sacked by its own people from within!  That's the sort of thing you'll get if you live with women!  Now then, if anyone fails to obey my command, whether a man or a woman or anything in between, a vote of death will be passed against them and there is no way they will escape execution by public stoning.  Out-of-door affairs are the concern of men; women are not to offer opinions about them.  Stay inside and do no harm!

[The Chorus makes no response.]

Did you hear me or not?  Or am I talking to the deaf?

Chorus:

Dear son of Oedipus, I was frightened when I heard

the sound of the rattle, the rattle of chariots,

and the noise of the whirling sockets of their wheels,

and when the fire-fashioned bits that are horses' steering-gear

howled in their mouths.

Eteocles:  So what?  A sailor can't, can he, when his ship is in distress in heavy seas, find an escape from danger by fleeing from the stern to the bows?

Chorus:

No, I rushed headlong to the ancient images

of the divine ones, trusting to the gods, when there came the noise

of the deadly blizzard of stones at the gates:

then, I rose up in fear to pray to the blest ones, that they

might spread their protection over the city.

– Aeschylus, from Seven Against Thebes (467 BC), translated by Alan H. Sommerstein (2008)