Edward Hopper, Manhattan Bridge Loop, 1928

​Podcast: Look with Your Ears: The Addison at 90, Episode 3: Urban Sublime

In celebration of our 90th anniversary, the Addison Gallery of American Art invited Tamar Avishai, host of the award-winning podcast The Lonely Palette, to create a limited series, Look with Your Ears: The Addison at 90, that thematically explores works in the Addison’s collection. 

With episodes that focus on abstraction, the figure, and the urban sublime, Tamar looks at a selection of some of the most important and provocative objects in the Addison’s collection, and investigates what they mean to art history and to each other.

In the third episode, Tamar explores the relationship of human beings to their environments in American art, beginning with Winslow Homer’s Eight Bells. Observing that landscape images almost always have a deeper meaning, she then considers how 20th century artists Edward Hopper, Robert Frank, Berenice Abbott, Charles Sheeler, and Martin Wong, used urban landscapes to depict the city as sites of loneliness, energy, oppression, nostalgia, and comfort.

Images: Clockwise from top left: Charles Sheeler, Ballardvale, 1946, oil on canvas, museum purchase, 1947.21; Winslow Homer, Eight Bells, 1886, oil on canvas, gift of anonymous donor, 1930.379; Robert Frank, Hoboken, N.J., negative 1955, printed later, gelatin silver print, museum purchase, 1977.142; Martin Wong, Portrait of Miguel Piñero, 1982, acrylic on canvas, purchased as the gift of John P. Axelrod (PA 1964) in memory of the artist, Louis Wiley, Jr. (PA 1963), anonymous donor, James D. Marks (PA 1979) in memory of Abigail Bing (PA 1993) and her work combating AIDS, the Monette-Horwitz Trust, and The Paul and Edith Babson Foundation in honor of Richard L. Babson (PA 1976), and museum purchase, 2013.60; Edward Hopper, Manhattan Bridge Loop, 1928, oil on canvas, gift of Stephen C. Clark, Esq., 1932.17; Berenice Abbott, Canyon: 46th Street and Lexington Avenue, Looking West from Changing New York, 1936, gelatin silver print, museum purchase, 1978.100.