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FeaturesSeptember 1996 Homer, Hopper & the critics On recent exhibitions of these artists' work & Edward Hopper: An Intimate Biography by Gail Levin What happens when a generation of art historians, schooled in the hagiography of modernism, turns its attention to art that is not modernist? To judge by the evidence of several recent exhibitions, they do well in certain limited channels, less well in others. In research and archival sleuthing, rigorous formal analysis, and use of social history, they are at their best. In appreciating the value or meaning of the art itself they are less certain, and are likely to turn to modernist criteria to validate art that they like. But in their understanding of American society and its commercial nature, and what this means for art, they are hopelessly at sea. And without their recognizing this, much of American art will remain in some fundamental way incomprehensible. In the past two years New York has seen three major exhibitions of American realists. Presented at prestigious venues and bolstered by prodigious new researc ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 15 September 1996, on page 74 Copyright © 2009 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/homerhopper-lewis-3505
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 The New Criterion is now optimized for Mobile Devices Already a print subscriber? click for online access On the moral consequences of relativism (from "The Dictatorship of Relativism.") Relativism as political absolutism On the dangers of relativism to the nation-state (from "The Dictatorship of Relativism.") Introduction: The dictatorship of relativism An introduction our symposium "The Dictatorship of Relativism: Who Will Stand Up for Western Values Now?” American art: the authorized version On American Encounters: Art, History, and Cultural Identity, by Angela L. Miller, Janet C. Berlo, Bryan Wolf, and Jennifer L. Roberts. On the ungainly fusion of architecture and celebrity. New from The New Criterion: ‘Free speech in 
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