For those of us who don’t live in New Mexico, take a look at O’Keeffe’s Ghost Ranch home through the seasons. Beautiful! Georgia O’Keeffe’s Home at Ghost Ranch from Georgia O’Keeffe Museum on Vimeo.
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 […]
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 […]
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 […]
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 […]
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 […]
Look what I found sorting through my office. I brought this home from an event at the Georgia O’Keeffe Museum. Haven’t tried it out yet . . .
I love the stories that arrive right after I share that I’m writing a book on Georgia O’Keeffe. One woman recalls in detail the first time she saw an O’Keeffe painting. Another shares that her aunt was named after the painter. And another remembers the story, told in art school, of how the young O’Keeffe […]
If the Arts News review of the Texas watercolors exhibited in 1958 made the backhanded compliment that they were Georgia O’Keeffe’s best works — and that she had peaked early — other critics and historians chose to look forward, rather than backward. Could the artist’s primal abstractions, they wondered, be a precedent for the latest […]
Here’s an interesting take on Georgia O’Keeffe’s Texas watercolors (click here for my review of their current exhibition at the Georgia O’Keeffe Museum) when they were shown in 1958, for the first time in some 40 years: “.. an astonishing and, in many ways, touching group of watercolors now on view at the Downtown Gallery, […]
As a critic and cultural historian, I find myself more curious about an artist’s formative moments than her culminating masterworks. “Georgia O’Keeffe’s Far Wide Texas,” on exhibit at the Georgia O’Keeffe Museum through October 30, gives a rare and exhilarating glimpse into those several years, 1916 to 1918, in Canyon, Texas, when the artist forged […]
After the emotional overdrive of Hillary’s nomination last week, I’ve been wondering what Georgia O’Keeffe (1887 – 1986) would think – and feel, and say. One hundred years after the pioneering modern artist got her first group exhibit in New York City, O’Keeffe would likely be saying, “It’s about time.” Popularly recognized today as the […]
So much inanity has been written about Georgia O’Keeffe, from her first show to the current retrospective at the Tate Modern. But here, here, is perhaps the finest commentary ever made on her work. It’s by the artist Charles Demuth, and was published alongside the checklist of paintings of her 1927 exhibit at The Intimate […]
If you haven’t had the opportunity to visit O’Keeffe Country (or if you have, and want to make a return visit), check out this 360-degree video from the Tate Modern, to mark the O’Keeffe retrospective now on view. The video explores the Abiquiu home and New Mexico surrounds, as well as the retrospective gallery installation. […]
Note to (male) critics: A work of art can be “corporeal” without being “sexual.”