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Edward Hopper


thompsonkirk
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Yesterday I made my third trip to see the show on 'Hopper & Photography' at the Fraenkel Gallery in SF.

 

It's very well attended & I believe Jeffrey Frankel has already sold a number of the Walker Evans, Robert Adams, Steven Shore, Diane Arbus, William Eggleston, & Lee Friedlander prints that he's included in the show. (The Hoppers are NFS - they're on loan from private collections.)

 

Just 2 floors below I was stunned to come upon such a Hopper-like scene through the doorway of a large architecture & urban planning studio.

 

Kirk

 

M8 28 Summicron

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Kirk -

 

I agree with Virgil & Ivan, and add that the woman is remarkably like a woman from two Hopper's I've seen. Got any photos from the exhibition to show us, or since it was a special exhibit, did they forbid photography?

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Thank you Virgil, Ivan, Stuart, Martin, & Ben, for your encouraging responses.

 

Stuart, I didn't take any pictures of the show itself, but The Sunday NYT Arts section, a couple of weeks ago, had a full-page feature on it. And there's a book/catalog to go with the show:

 

Amazon.com: Edward Hopper & Company: Hopper's Influence on Photography: Edward Hopper, Jeffrey Fraenkel, Robert Adams, Diane Arbus, Harry Callahan, William Eggleston, Walker Evans, Robert Frank, Lee Friedlander, Stephen Shore: Books

 

(Unfortunately the BW reproductions are a shade too dark.)

 

The show is especially interesting & provocative because Jeffrey Fraenkel, in his selections & essay, leaves the question completely open: is he showing us influence, or just similarlty? In some cases, for example Robert Adams & Stephen Shore, the photographers were enthusiastic about Hopper's work & acknowledge direct influence. Walker Evans is an ambiguous case: he & Hopper had shows at MOMA about a year apart & perhaps (or probably?) saw one another's work, but there's no documentation of this. And some of the similarities are just that, with the photographs being older than similar Hopper works hanging near them. In these instances it's probably just a common interest in 'the American vernacular.'

 

I wish everyone could see this show; but I suspect the book is the only opportunity, because the Hopper drawings & paintings are all on loan from private collections & aren't likely to circulate to other venues.

 

K

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