British author Geoff Dyer once surmised that Edward Hopper "could claim to be the most influential American photographer of the twentieth century- even though he didn't take any photographs." What we see in Hopper's paintings when we look at them through the lens of photography, and how, in turn, the language of photography was influenced by Hopper's work, are the twin subjects of Edward Hopper & Company. Thoughtfully curated and edited by the respected San Francisco gallerist Jeffrey Fraenkel, seven paintings and three drawings by Hopper are here thematically interlaced with carefully selected photographs by eight of the masters of twentieth-century photography: Robert Adams, Diane Arbus, Harry Callahan, William Eggleston, Walker Evans, Robert Frank, Lee Friedlander and Stephen Shore. As Fraenkel writes in his introduction,"More than almost any American artist, Hopper has had a pervasive impact on the way we see the world-so pervasive as to be almost invisible. The photographs that follow are potent evidence of his legacy, each a revelation of how one mediummight point to unimagined new possibilities for another." In his intimate essay for this volume, photographer Robert Adams identifies the singularity of Hopper's influence when he writes that it was Hopper who enabled his artistic realization "One did not need to be ashamed of having a heart."
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About the Author
Robert Adams, born in California in 1937, has worked as a photographer of the changing American landscape over the past four decades. He has been awarded Guggenheim and MacArthur Foundation fellowships. His many books include What We Bought, Summer Nights, Los Angeles Spring and To Make it Home, as well as his Aperture titles Beauty in Photography, Why People Photograph and Along Some Rivers. His work is in the collections of The Museum of Modern Art, New York, San Francisco Museum of Modern Art and the J. Paul Getty Museum, Los Angeles.
During a relatively brief career, Diane Arbus created a distinctly personal style of portraiture that made her one of the great 20th-century photographers. Born in New York in 1923, by the 1950s she was supporting herself by working for magazines such as Vogue and Glamour. Two Guggenheim awards (1963 and 1966) allowed her to travel and undertake her own projects. The artist died in 1971. Retrospectives of her work have been shown at the Victoria and Albert Museum, London, and The Metropolitan Museum of Art, New York.
Harry Callahan (1912-1999) was born in Detroit, and began his career by joining the camera club at Chrysler Motors in 1938. He became one of the great innovators of twentieth-century American photography, and later taught at the Institute of Design in Chicago and then the Rhode Island School of Design in Providence, where he founded and directed the Graduate Program in Photography. He is known, not only for landscapes but also for his dynamic urban views, portraits of his wife, Eleanor, and extensive color work. All of this was widely published and exhibited during his lifetime, and was the subject of a major retrospective at the National Gallery of Art, Washington, D.C., in the late 1990s. Previous monographs include The Photographer at Work, Elemental Landscapes, Callahan in New England, Early Street Photography 1943-1945, Color 1941-1980, and New Color Photographs 1978-1987.
"William Eggleston was born in 1937 in Memphis, Tennessee. He took his first black-and-white photographs at age 18 and soon became serious about photography, though he never studied it formally. His first color work was shot in 1964 in color negative film, but in the late 60s he began to use color slides; it was some of those slides that he brought with him to New York in 1967, when he met Diane Arbus, Lee Friedlander, Garry Winogrand, and John Szarkowski. It was Szarkowski who curated Eggleston's landmark 1976 solo exhibition at The Museum of Modern Art, New York--a breakthrough in the perception of color photography as a serious form of fine art. The recipient of the 1998 Hasselblad Award, Eggleston's work was most recently seen in Documenta11 and in a major retrospective at the Fondation Cartier in Paris."
"More than any other artist, Walker Evans (1903-1975) invented the image of essential America that we have long since accepted as fact. Evans did most of his best work in the 1930s, and his pictures have been celebrated as documents of the Great Depression. But his concerns ranged far beyond the troubles of the 1930s, and his work has made its impact not only on photography but also on modern literature, film and the traditional visual arts."
Robert Frank was born in Zurich in 1924 to parents of Jewish descent. He immigrated to the United States two years after World War II ended, and since then he has produced work that changed the history of art and photography. Groundbreaking projects include The Americans, Lines of My Hand, Black White and Things, Pull My Daisy and Cocksucker Blues. Frank was the subject of a major retrospective organized by the National Gallery of Art, Washington, in 1994. He was the recipient of the Hasselblad Award in 1996. A major exhibition organized by The National Gallery of Art, Looking In: Robert Frank's "The Americans," will tour nationally in 2009, with stops in Washington, San Francisco and New York.
Born in 1934, Lee Friedlander is one of the world's most important living photographers. Among his previous books are the seminal Self Portrait and The American Monument, and more recently, American Musicians, Letters from the People, Little Screens, The Desert Seen and Sticks & Stones. His work was the subject of a major 2005 retrospective at The Museum of Modern Art, New York, which travels to SFMOMA in 2008.
The Fraenkel Gallery in San Francisco, founded in 1979 by Jeffrey Fraenkel, has established itself as one of the leading photography galleries in the United States by presenting the work of such seminal artists as Diane Arbus, Carelton Watkins and Garry Winogrand. Fraenkel has also produced some of the medium's finest catalogues and books, including Lee Friedlander: The Little Screens, Robert Adams: Turning Back and Richard Avedon: Made in France.
During a relatively brief career, Diane Arbus created a distinctly personal style of portraiture that made her one of the great 20th-century photographers. Born in New York in 1923, by the 1950s she was supporting herself by working for magazines such as Vogue and Glamour. Two Guggenheim awards (1963 and 1966) allowed her to travel and undertake her own projects. The artist died in 1971. Retrospectives of her work have been shown at the Victoria and Albert Museum, London, and The Metropolitan Museum of Art, New York.
Harry Callahan (1912-1999) was born in Detroit, and began his career by joining the camera club at Chrysler Motors in 1938. He became one of the great innovators of twentieth-century American photography, and later taught at the Institute of Design in Chicago and then the Rhode Island School of Design in Providence, where he founded and directed the Graduate Program in Photography. He is known, not only for landscapes but also for his dynamic urban views, portraits of his wife, Eleanor, and extensive color work. All of this was widely published and exhibited during his lifetime, and was the subject of a major retrospective at the National Gallery of Art, Washington, D.C., in the late 1990s. Previous monographs include The Photographer at Work, Elemental Landscapes, Callahan in New England, Early Street Photography 1943-1945, Color 1941-1980, and New Color Photographs 1978-1987.
"William Eggleston was born in 1937 in Memphis, Tennessee. He took his first black-and-white photographs at age 18 and soon became serious about photography, though he never studied it formally. His first color work was shot in 1964 in color negative film, but in the late 60s he began to use color slides; it was some of those slides that he brought with him to New York in 1967, when he met Diane Arbus, Lee Friedlander, Garry Winogrand, and John Szarkowski. It was Szarkowski who curated Eggleston's landmark 1976 solo exhibition at The Museum of Modern Art, New York--a breakthrough in the perception of color photography as a serious form of fine art. The recipient of the 1998 Hasselblad Award, Eggleston's work was most recently seen in Documenta11 and in a major retrospective at the Fondation Cartier in Paris."
"More than any other artist, Walker Evans (1903-1975) invented the image of essential America that we have long since accepted as fact. Evans did most of his best work in the 1930s, and his pictures have been celebrated as documents of the Great Depression. But his concerns ranged far beyond the troubles of the 1930s, and his work has made its impact not only on photography but also on modern literature, film and the traditional visual arts."
Robert Frank was born in Zurich in 1924 to parents of Jewish descent. He immigrated to the United States two years after World War II ended, and since then he has produced work that changed the history of art and photography. Groundbreaking projects include The Americans, Lines of My Hand, Black White and Things, Pull My Daisy and Cocksucker Blues. Frank was the subject of a major retrospective organized by the National Gallery of Art, Washington, in 1994. He was the recipient of the Hasselblad Award in 1996. A major exhibition organized by The National Gallery of Art, Looking In: Robert Frank's "The Americans," will tour nationally in 2009, with stops in Washington, San Francisco and New York.
Born in 1934, Lee Friedlander is one of the world's most important living photographers. Among his previous books are the seminal Self Portrait and The American Monument, and more recently, American Musicians, Letters from the People, Little Screens, The Desert Seen and Sticks & Stones. His work was the subject of a major 2005 retrospective at The Museum of Modern Art, New York, which travels to SFMOMA in 2008.
The Fraenkel Gallery in San Francisco, founded in 1979 by Jeffrey Fraenkel, has established itself as one of the leading photography galleries in the United States by presenting the work of such seminal artists as Diane Arbus, Carelton Watkins and Garry Winogrand. Fraenkel has also produced some of the medium's finest catalogues and books, including Lee Friedlander: The Little Screens, Robert Adams: Turning Back and Richard Avedon: Made in France.
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Connections,
By Conrad J. Obregon (New York, NY USA) - See all my reviews (VINE VOICE) (TOP 500 REVIEWER) (REAL NAME)
This review is from: Edward Hopper & Company: Hopper's Influence on Photography (Hardcover)
Too often photographers and photography viewers forget the links between photography and the other arts. Keeping these links in mind might lead to better vision and better understanding and appreciation of images.
"Edward Hopper & Company" is just the book to make and reinforce those links. Originally prepared as a catalogue of a show at the Fraenkel Gallery in San Francisco, the book consists of several paintings and drawings by Edward Hopper, a giant of twentieth century representational painting, and a collection of photographs by Robert Adams, Diane Arbus, Harry Callahan, William Eggleston, Walker Evans, Robert Frank, Lee Friedlander and Stephen Shore, all giants in the pantheon of photography. The book shows the connections between Hopper's form and content and that of the photographers. The written commentary in the book is negligible and that is appropriate, because the pictures in the book speak so clearly that further explanation would be redundant. Consider the first picture in the book, which depicts a store window in Duluth. Unless one knew every picture in Hopper's oeuvre and none of the work of Stephen Shore, one would be sure this was a Hopper painting, until one looked at the small label describing the photograph. This similarity to Hopper's work in both form and content is obvious in every image in the book. There is certainly food for thought here. Did the photographers see Hopper's work and try to copy it? Or was there something in the air that simultaneously developed the same vision in the painter and the photographers, like the similar work on evolution by Matthew, Wallace and Darwin. Although one can discuss the similarity of subject matter, I would propose that the photographers were as concerned with the palpability of light as Hopper, to a greater or lesser degree. (Interestingly, and probably apocryphally, when Hopper was asked how he had developed his use of light he answered "I just paint what I see." How wonderful to be able to see that way!). What other opportunities are there for photographiles to learn from other artists? Almost immediately I think of Gericault's use of color and handling of skies but the list of artists keeps growing as quickly as my mind can work. And what of the possibilities of learning from the non-visual arts. What does Mahler have to teach us about repetition and counterpoint? Aside from the wonderful images in this book, it should stir us to develop our artistic sensibilities from all the arts. As to the book itself, the paintings and photographs are well reproduced, and would be a pleasure to view, even without the theme. Each image appears alone on the right side of the spread with a small caption on the left so that there are no distractions from the viewed image. Altogether, this is a remarkable book for those interested in the arts, photographic or otherwise.
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