The Virtual Hopper
Painting Between Dissemination and Desire
Bibliographic Data
| ID | 5808250 |
|---|---|
| Authors | F Lipi Ski (corresponding author) |
| Year | 2014 |
| Volume | 37 |
| Issue | 2 |
| Pages | 157-171 |
| Publication date | 2014-06-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Oxford Art Journal (JOURNAL) |
| Journal identifiers | ISSN: 0142-6540 • E-ISSN: 1741-7287 |
| Publisher | Oxford University Press (PUBLISHER • GB) |
| DOI | 10.1093/oxartj/kcu006 |
| OpenAlex | W2325153046 |
| Language | EN |
| Citations received | 2 |
The status of Edward Hopper is paradoxical.1 On the one hand, he is one of the world's most recognised and recognisable American painters; on the other hand, his popularity has discouraged scholars from theoretically rigorous analysis of the specific way his painting functions in contemporary visual culture: the manner in which the afterlife of these images is inextricably connected with their form and content.2 The authors of an ever-growing body of texts on Hopper tend simply to note his influence on younger painters, photographers, and filmmakers, or to discuss his place in pop culture. Hardly ever do they ask essential questions that transcend the much discussed Hopper mythology of solitude and melancholy, to search out what makes these images so attractive to viewers and artists, what makes them unexpectedly bring to mind other images and everyday situations.3 Are they merely passive objects which have been appropriated and used for various purposes, or is there some sort of agency on their part, as well
Afterlife · Popular culture · Popularity · Solitude · Aesthetic Perception and Analysis · Art, Politics, and Modernism · Visual Culture and Art Theory
| Citations per year | 0.33 |
|---|---|
| Citation span | 2020 - 2021 (2) |
| Highly cited | No |