'Edward Hopper and the American Hotel' at Newfields: a review

The exhibition provides an in-depth look into American artist Edward Hopper’s prolific painting career and his deep relationship with, and interest in, hotels, motels, and boarding houses throughout the U.S. and Mexico. 

The galleries greet patrons immediately with distinctive visual cues that echo the feel and ambiance present in hotels and motels across the country. Deep, bold paint colors adorn the walls while constructed recreations of check-in desks and waiting areas scatter the gallery spaces, immersing the viewer in a world that feels nostalgic and familiar. A life-sized recreation of Hopper’s 1957 painting, “Western Motel” lives within the gallery space, transporting visitors into a place of quiet contemplation.

Informational text on the wall gives context to the exhibition, detailing Hopper’s long-time connection with the lodging industry, and his frequent travels across the country with his partner Josephine “Jo” Nivison. Hopper’s fixation on the meaning and symbolism of these spaces is evident through the work included in the exhibition. Detailed studies and sketches span the galleries, giving the viewer a glimpse into the focused meditation these buildings and places provided for Hopper. Dynamic light and shadows create a cinematic quality in the atmosphere of his paintings while stoic figures sit or stand amongst simple, almost clinical, rooms, lost in thought. These unassuming characters provide a variety of emotional entry points for the onlooker; possibility, regret, escapism, and rebirth are all notions one can find in the work. The open interpretation of his work is particularly poignant, given the takeaways one might get from Hopper are just as varied as the lived experiences and viewpoints of Americans themselves.

While the meat of the exhibition focuses on Hopper’s masterfully executed paintings and sketches, I was also struck by the notes of intersectionality that weave the show into a fully-formed landscape of thought that touches upon the continued history of inequality present in America. The curators of the exhibition wisely chose to supplement Hopper’s idealized visions of American travel with works by other artists by focusing attention on the industry’s problematic history.

Viewers are keyed into these opposing narratives early in the exhibition. Richard Caton Woodville’s 1848 painting “War News from Mexico” greets you soon after you enter the show, depicting a group of miserly inn-owners, all white males, taking center stage in the image. Women and African American subjects are sidelined to the outskirts of the narrative, an indicator of the deep-seated inequities faced by minorities throughout the country.  These themes are punctuated by audio vignettes in which recorded interviews and commentary by the curators are presented through motion-activated floor lighting. When paired with selected artwork, the audio provides an effective and well-rounded view of the role hotels play in social and civil unrest in the United States. For example, Derrick Adams’ 2018 sculpture, “Beacon 3”, hauntingly and beautifully references The Green Book, a manual intended to aid African Americans in seeking safe lodging from the 1930s through the 1960s.

The role of women in the world of travel is also a touchpoint in the exhibition. Cindy Sherman’s “Untitled Film Stills” hang in the gallery space, calling to mind the romantic notions of early Hollywood starlets and their luxurious hotel accommodations. Conversely, the inclusion of audio excerpts from “Fair or No Fair: A Guide for the Woman Vacationist”, a 1939 book by Marjorie Hill, reminds us of the issues of safety and misogyny present in society for women both then and now.

By incorporating a variety of civil and cultural touchpoints from Hopper’s work, the exhibition succeeds in presenting large-scale and contemporary social issues through the lens of temporary lodging.  While the show provides a rich celebration of Hopper’s legacy on the subject, the audience is left with larger discourse to ponder. How has the hotel and travel industry influenced and shaped the country, for better or worse? How can these spaces be an escape or oasis for some, but a glaring symbol of inequity for others? While travel may be largely on pause for the country at the moment, a trip to this exhibition prompts thoughts on how the American hotel has shaped our landscape, and how we can make it more equitable in the future as we emerge into a new way of life.