design wire edited by Annie Block
CLOCKWISE FROM TOP: WHITNEY MUSEUM OF AMERICAN ART, NEW YORK; JOSEPHINE N. HOPPER BEQUEST P.2016.11. © 2022 HEIRS OF JOSEPHINE N. HOPPER/LICENSED BY ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; WHITNEY MUSEUM OF AMERICAN ART, NEW YORK; JOSEPHINE N. HOPPER BEQUEST 70.1098 © 2022 HEIRS OF JOSEPHINE N. HOPPER/LICENSED BY ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; WHITNEY MUSEUM OF AMERICAN ART, NEW YORK; JOSEPHINE N. HOPPER BEQUEST 70.1184. © 2022 HEIRS OF JOSEPHINE N. HOPPER/LICENSED BY ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
New York State of Mind Although Edward Hopper was born outside the city, in Nyack in 1882, he eventually moved to Manhattan in 1908. Five years later, and for the following five decades until his death in 1967, he lived and worked in a top-floor apartment at 3 Washington Square North, about a 20-minute walk from where the Whitney Museum of American Art stands today. Which makes it a fitting site for “Edward Hopper’s New York,” the institution’s
fall exhibition charting the artist’s enduring fascination with the city through more than 200 paintings, prints, sketches, and archival materials, as well as rarely seen watercolors of his home by his painter wife, Josephine Verstille Nivison. As for Hopper’s works, iconic ones, like Automat and Early Sunday Morning, are joined by such lesser-known compositions as City Roofs. Additionally noteworthy is the timelessness, and timeliness, of the exhibit, Hopper’s strokes capturing, and foreseeing, the repeating cycles of demolition and construction in New York—its ability, and hope, to reinvent itself again and again. Clockwise from top: “Edward Hopper’s New York,” at the Whitney Museum of American Art in the Meatpacking District, October 19 through March 5, 2023, features City Roofs, his 1932 oil on canvas, among some 200 other works. Manhattan Bridge, a 1926 watercolor and graphite pencil on paper, and Queensborough Bridge, a 1913 oil on canvas. OCT.22
INTERIOR DESIGN
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