Edward Hopper
Jeffrey Fraenkel (Eds.)
Robert Adams (photographer)
Diane Arbus (photos)
Harry Callahan (photographer)
William Eggleston (photographer)
Walker Evans (photos)
Ph.D. Robert Frank (photographer)
Lee Friedlander (photos)
Prof. Stephen Shore (photographer)

Product: book
ISBN-10: 1-881337-26-X
ISBN-13: 9781881337263
Publisher: Fraenkel Gallery
Country:
Year: April 1, 2009
Size: 26.16 x 26.67 x 2.29cm
Number of pages: 120
Weight: 1,066gr
Binding: hardback

books by topics
Arts & Photography
Artists, A-Z
A-C
Callahan, Harry
D-F
Evans, Walker
G-I
Hopper, Edward
Photography
Collections, Catalogues & Exhibitions
How-to

Product Description
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.«

Connections
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.

• Collections, Catalogs, Exhibitions – General
• Individual artists
• Individual Artists – Art Monographs
• Photo Techniques
• Photography
• Photography – Collections, Catalogs, Exhibitions

0.) The Printed Picture
Richard Benson
Museum of Modern Art; 2008
hardback

1.) Into the Sunset
Eva Respini
The Museum of Modern Art, New York City; 2009
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2.) Photography After Frank
Philip Gefter
Aperture; 2009
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3.) Callahan, Siskind & Sommer
Keith F. Davis, Britt Salvesen
Radius Books; 2009
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4.) Looking In Robert Frank The Americans –- Expanded Edition
Sarah Greenough (Eds.), Ph.D. Robert Frank (photographer)
Steidl Verlag; 2009
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