Edward Hopper’s fear of heights

Plus: The Manchester Museum gets put on community service

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Morgan Falconer considers Edward Hopper's tense relationship with New York

Morgan Falconer on Hopper's tense relationship with New York

Towards the end of the Christmas movie favourite, It's a Wonderful Life, after George Bailey's guardian angel has done his worst, George stumbles down Main Street, Bedford Falls, horror-struck at what has befallen the place. Bright lights advertise tawdry amusements, cheap bars and dime-a-dance nightclubs line the street. The big bad city has come for the soul of the small town. It is a nightmare vision that distils many fears about modern life. It would have resonated with many in the period – and with Edward Hopper, for sure. The truth is that while Hopper is cherished as a painter of the American city, and of New York, he didn't much like it – didn't like where it seemed headed, at least.

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Digby Warde-Aldam wonders whether all forgotten artists need to be rediscovered

Digby Warde-Aldam gets lost in an obscure side of 1980s New York

Edward Brezinski, a Neo-Expressionist painter active in Manhattan's East Village in the early 1980s, was as peripheral as they come. So marginal, in fact, that even his family members seem miffed when Brian Vincent, the director of Make Me Famous, doorsteps them. 'I don't know how Edward could possibly be considered significant or important enough to warrant this type of inquiry into his past,' his cousin Ted exhales at one point.

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Tom Emery gets into the community spirit at the Manchester Museum

Following a £15 million transformation, the Manchester Museum has at last reopened to the public. The old entrance was tucked away, requiring some finding, while the new front doors open directly on to the main road. Where the old entrance used to stand there is now a two-storey extension built to house a temporary exhibition space and the brand new, permanent South Asia Gallery, which is dedicated to the experiences and histories of the South Asian diaspora communities that make up more than 11 per cent of the city's population. The South Asia Gallery is emblematic of the museum's developing philosophy, co-curated by 30 community members who have worked alongside the gallery's lead curator Nusrat Ahmed over the last five years. 'I've asked myself as a curator, "What is it that you care for?", and it wasn't objects. Objects never came to my mind, it was stories, and people and relationships,' comments Ahmed.

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In the studio with… Marc Camille Chaimowicz

'There is an acute triangle at one end of my salon, which is currently occupied by an enigmatic and what I presume to be an Aboriginal figure, carved from a piece of dark wood. She is naked, but decorated with earrings and has a wonderful big smile. She is perhaps awaiting to be reclaimed by her owner who left suddenly and without notice, but in the meantime, she makes for wonderful company.'

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Max L. Feldman on the deliberately difficult art of Pierre Dunoyer

'Rétrospective en 14 tableaux' at the Musée d'art moderne in Paris is the first solo museum survey for Pierre Dunoyer in more than 30 years. Though he's almost entirely unknown outside France, the Marseille-born abstract painter's influence on French contemporary art is pronounced, if subtle. He had a part in the small but highly influential group Janapa. However, Janapa deliberately isolated themselves from the art world, leading the importance of their work and exhibition to be rediscovered only later.

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In the current issue…

Matthew Walker considers how Christopher Wren built his reputation

Christopher Wren, who died 300 years ago this month, is England's most famous architect – the only one whose face has graced a banknote. Yet he remains an enigmatic figure, whose legacy continues to be contested by architectural historians. Some have seen him as a great scientist-architect – an English equivalent of Claude Perrault – who realised the triple dome of St Paul's Cathedral with its cubic-parabolic core. To others, he is the bridesmaid of the English baroque: the designer of monumental palaces and royal hospitals that, though impressive, don't go quite as far in terms of sheer invention as the buildings of his pupils Nicholas Hawksmoor and John Vanbrugh. There's also Wren the theoretician, his library full of copies of Vitruvius. For Lisa Jardine in her biography of 2002, Wren was a political agent, a Tory Royalist on a mission to obscure the memory of the Interregnum behind walls of white Portland stone.

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Edward Hopper’s fear of heights

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