 |
| Eric Avery Blue Smallpox 1993 relief photo-engraving and linocut over monotype Blanton Museum of Art, Austin, Texas |
 |
| Poupee Boccaccio El Politico 1993 screenprint McNay Art Museum, San Antonio, Texas |
 |
| Lynne Cohen Spa 1993 gelatin silver print Ottawa Art Gallery, Ontario |
-New-Britain-Museum-of-American-Art-Connecticut.jpeg){kind=icon} |
| Elaine Duillo Arrow to the Heart 1993 acrylic on board (design for paperback cover) New Britain Museum of American Art, Connecticut |
 |
| Scott Gentling Wolfgang Amadeus Mozart 1993 watercolor and gouache on paper Amon Carter Museum Fort Worth, Texas |
 |
| Lorraine Gilbert Monty and Kelly, Invermere, British Columbia 1993 C-print National Gallery of Canada, Ottawa |
-before-1993-oil-on-canvas-San-Jose-Museum-of-Art-California.jpg) |
| Hisao Hanafusa Untitled (Subway Station at 14th St) 1993 oil on canvas San Jose Museum of Art, California |
 |
| Grace Hartigan Little Junk Shop 1993 oil on canvas Memphis Brooks Museum of Art, Tennessee |
 |
| Nathan Oliveira Stelae #10 1993 oil on canvas San Jose Museum of Art, California |
 |
| Kenneth Price Western Sunset 1993 screenprint Orange County Museum of Art, Costa Mesa, California |
 |
| Frank Stella Bower in Arsacides 1993 lithograph, etching, aquatint and collagraph North Carolina Museum of Art, Raleigh |
 |
| Frank Stella Extracts 1993 lithograph, screenprint, etching and aquatint North Carolina Museum of Art, Raleigh |
 |
| Frank Stella The Monkey Rope 1993 lithograph, etching, aquatint and screenprint North Carolina Museum of Art, Raleigh |
-North-Carolina-Museum-of-Art-Raleigh.jpg) |
| Kristina Rogers Untitled 1993 gelatin silver print (diptych) North Carolina Museum of Art, Raleigh |
-screenprint-(artists-in-clothing-by-Norma-Kamali-for-Esquire-Magazine)-Akron-Art-Museum-Ohio.jpg) |
| Alex Katz Pas de Deux Series 1993 screenprints (artists posed as couples modeling clothing by Norma Kamali for Esquire Magazine) Akron Art Museum, Ohio |
 |
| Becky Cohen Conical Topiary, Parc de Sceaux 1993 gelatin silver print San Diego Museum of Art |
from the Prologue to Part One of The Age of Anxiety
Looking up from his drink, Quant caught the familiar eye of his reflection in the mirror behind the bar and wondered why he was still so interested in that tired old widower who would never be more now than a clerk in a shipping office near the Battery.
More, that is, as a public figure: for as so often happens in the modern world – and how much restlessness, envy and self-contempt it causes – there was no one-to-one correspondence between his social or economic position and his private mental life. He had come to America at the age of six when his father, implicated somehow in the shooting of a landlord, had had to leave Ireland in a hurry, and, from time to time, images, some highly-colored, some violent, derived from a life he could not remember, would enter unexpectedly and incomprehensibly into his dreams. Then, again, in early manhood, when unemployed during the depression, he had spent many hours one winter in the Public Library reading for the most part – he could not have said why – books on Mythology. The knowledge gained at that time had ever since lain oddly around in a corner of his mind like luggage left long ago in an emergency by some acquaintance and never reclaimed.
– W.H. Auden (1944-46)