Whitney museum surveys Puerto Rican art in wake of Hurricane Maria

Javier Orfon, ‘Bienteveo,’ 2018-2022. Inkjet print, 97 by 176in. (246.4 by 447cm). Collection of the artist; courtesy Hidrante, San Juan
Javier Orfon, ‘Bienteveo,’ 2018-2022. Inkjet print, 97 by 176in. (246.4 by 447cm). Collection of the artist; courtesy Hidrante, San Juan
Javier Orfon, ‘Bienteveo,’ 2018-2022. Inkjet print, 97 by 176in. (246.4 by 447cm). Collection of the artist; courtesy Hidrante, San Juan

NEW YORK — The Whitney Museum of American Art has unveiled a new exhibition titled No Existe Un Mundo Poshuracan: Puerto Rican Art in the Wake of Hurricane Maria. It brings together more than 50 works by an intergenerational group of 20 artists from Puerto Rico and the diaspora whose art has responded to the transformation brought on by Hurricane Maria — a category four storm that hit Puerto Rico on September 20, 2017. The exhibition will be on view through April 23, 2023.

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Whitney exhibition examines Edward Hopper’s life in New York City

Edward Hopper, Manhattan Bridge, 1925–26. Watercolor and graphite pencil on paper, 13 15/16 × 19 15/16 in. (35.4 × 50.6 cm). 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

NEW YORK — Edward Hopper’s New York, on view at the Whitney Museum of American Art from October 19, 2022, through March 5, 2023, offers an unprecedented examination of Hopper’s life and work in the city that he called home for nearly six decades (1908–67). The exhibition charts the artist’s enduring fascination with the city through more than 200 paintings, watercolors, prints, and drawings from the Whitney’s preeminent collection of Hopper’s work, loans from public and private collections, and archival materials including printed ephemera, correspondence, photographs, and notebooks. From early sketches to paintings from his late in his career, Edward Hopper’s New York reveals a vision of the metropolis that is as much a manifestation of Hopper himself as it is a record of a changing city, whose perpetual and sometimes tense reinvention feels particularly relevant today.

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