Georgia O'Keeffe | MyGeorgiaOKeeffe.com

O’Keeffe: against interpretation

Georgia O’Keeffe may be the most egregiously over-interpreted artist of all time. The interpretations, and the narratives, have gotten so thick that it’s hard to see past them to the paintings. This 1935 review, one of my favorites, is a clear view to the paintings, “freed [ . . .] from literalism.” “So intensely felt […]

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Georgia O’Keeffe: 1945 woman of achievement

I’m making my way through the more than one thousand articles on Georgia O’Keeffe in The New York Times database. Lots of goodies! On February 10, 1946, the Times reported on the Women’s Press Club dinner in Washington, DC, attended by President and Mrs. Truman and 600 guests. Atom scientist Dr. Lise Meitner was presented […]

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Reading “My Faraway One”

Nearly two hundred pages into the correspondence* between Georgia O’Keeffe (in Canyon, Texas) and Alfred Stieglitz (in New York City), I’m feeling claustrophobic. On every page, another angst-filled stream-of-consciousness. Both O’Keeffe and Stieglitz feel like misfits — lonely, and needy. She is the aspiring artist needing affirmation. He is the aging man needing a shot […]

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Ghost Ranch | MyGeorgiaOKeeffe.com

Wild beauty

From the very beginning, Georgia O’Keeffe preferred rugged natural beauty to picturesque landscapes: Gaspe, Quebec; the Texas Panhandle Plains; and Northern New Mexico. Here’s an amazing birds-eye view of the colors and forms of two places she loved to paint: Ghost Ranch and the White Place.

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Photographing O’Keeffe being photographed

In her old age, Georgia O’Keeffe described photography sessions with Alfred Stieglitz as work. This rare photo of such a session in progress, one of several that sculptor Arnold H. Rönnebeck took in 1924 at Lake George, pulls back the curtain on the romance with which the world views Stieglitz’s portrait project of O’Keeffe. What […]

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Georgia O’Keeffe: changing the narrative

“Finally, a woman on paper!” That’s the legendary — and likely apocryphal — exclamation attributed to photographer and gallery owner Alfred Stieglitz when he first laid eyes on drawings by Georgia O’Keeffe. As the standard story unfolds (he exhibits her, photographs her, promotes her, marries her), this “aha” moment of recognition becomes a claim of […]

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How Georgia O’Keeffe wanted “The Eggplant” framed

I’m on my way to view the Georgia O’Keeffe retrospective at the Art Gallery of Ontario (AGO) this week, and as I was rooting around the museum’s website, I found this fabulous video. It shows (without audio) the reframing of “The Eggplant” (1924), the first Canadian-owned O’Keeffe painting. What makes this reframing significant is that […]

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But wait, there’s more about “Bear Lake”

Thanks to Georgia O’Keeffe researcher Joe Chase, who lives in Sun Prairie, Wis., where the artist was born, for sending along another image of “Mountain at Bear Lake — Taos” (1930) at the White House! He’s a leader at the Sun Prairie Historical Library & Museum, and generous with his knowledge. Apparently, Republicans were upset […]

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Ode to “Mountain at Bear Lake — Taos”

When last we met I told the story of how Hillary Clinton brought Georgia O’Keeffe’s “Mountain at Bear Lake — Taos” (1930) to the White House. Now I’d like to share videos by two young women paying homage to that painting. Lauren Blankenship and Natalia Gabrielsen were two of the winners of “This Art is […]

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Georgia O’Keeffe in the White House

Hard to believe, but 20 years ago the White House permanent art collection included no women. In 1997 First Lady Hillary Rodham Clinton convinced the Committee for the Preservation of the White House to accept “Mountain at Bear Lake — Taos” (1930) by Georgia O’Keeffe. Acquired under the title “Bear Lake, New Mexico,” the oil […]

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Stieglitz Key Set has arrived

Look what just arrived! Here are hurried and excited (and blurry) pictures of the Alfred Stieglitz | The Key Set, edited by Sarah Greenough. It is a complete record of his photographs, including all of the Georgia O’Keeffe portraits. In two hefty volumes. O’Keeffe selected the best print of every mounted photograph in Stieglitz’s possession […]

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