THE GEORGIA O’KEEFFE MUSEUM MAGAZINE
W I N T E R
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Discover hidden treasures while creating treasured memories.
Overflowing with beauty and art, Santa Fe is a city with its own unique style and an undeniable sense of place. Discover The City Different at santafe.org 2 0 17 WO R L D’ S B E S T AWA R DS 15 Cities Top in the U.S. 15 Cities #2 Top #11 World’s
GEORGIA O’KEEFFE MUSEUM BOARD OF TRUSTEES 2O17–18 Roxanne Decyk, Chair Chicago, IL; Santa Fe, NM
CONTENTS WINTER 2O18
Jack L. Kinzie, President Dallas, TX; Santa Fe, NM Jane C. Bagwell, Treasurer Santa Fe, NM; Dallas, TX Ramona Sakiestewa, Secretary Santa Fe, NM Ronald D. Balser Atlanta, GA; Santa Fe, NM Deborah A. Beck River Hills, WI; Santa Fe, NM Diane E. Buchanan Santa Fe, NM Felicitas Funke Ketchum, ID Susan J. Hirsch Dallas, TX; Santa Fe, NM Robert Holleyman Washington, DC; Santa Fe, NM Donald D. Humphreys Dallas, TX John L. Marion Fort Worth, TX; Santa Fe, NM
2 Celebrating Georgia O’Keeffe’s Birthday 3 From the Director 4 Museum Curator Carolyn Kastner Retires 6 Putting O’Keeffe in Context 8 Creative Activity 9 Georgia O’Keeffe at Home 10 Happening at the O’Keeffe 13 Members 16 On View
Deborah A. Peacock Albuquerque, NM Gary “Skip” Poliner Santa Fe, NM Barton E. Showalter Dallas, TX Carl Thoma Chicago, IL; Santa Fe, NM Joanna Lerner Townsend Dallas, TX; Santa Fe, NM
O’Keeffe Magazine is published for Members of the Georgia O’Keeffe Museum.
Robert A. Kret, ex officio Santa Fe, NM
Send correspondence to: Mara Christian Harris, Communications Manager 217 Johnson Street Santa Fe, New Mexico 87501 E-mail: mharris@okeeffemuseum.org
Laura Bush, Honorary Dallas, TX Saul Cohen, Honorary Santa Fe, NM Lee E. Dirks, Honorary Lahaina, HI; Santa Fe, NM Emily Fisher Landau, Honorary New York, NY; Palm Beach, FL
Winter 2018 Published by the Georgia O’Keeffe Museum. © 2018. No reproduction of images or content permitted.
Joann K. Phillips, Honorary Santa Fe, NM Juan Hamilton, Special Consultant to the Board Honolulu, HI; Abiquiú, NM; Santa Fe, NM Anne W. Marion, Chair Emeritus & Founder Fort Worth, TX; Santa Fe, NM Note: Board members can be reached through the Office of the Director at 505.946.1055. Updated October 27, 2017
ON THE COV ER : Georgia O’Keeffe. Autumn Trees – The Maple, 1924. Oil on canvas, 36 x 30 in. Georgia O’Keeffe Museum. Gift of The Burnett Foundation and Gerald and Kathleen Peters. © Georgia O’Keeffe Museum.
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CELEBRATING GEORGIA O’KEEFFE’S BIRTHDAY On Wednesday, November 15, the Museum celebrated O’Keeffe’s 130th birthday with cake-filled festivities. Visitors to the Museum galleries sang a spirited rendition of the birthday song before cutting into carrot cake. In the evening, O’Keeffe Donor Circle members enjoyed a reading of letters between O’Keeffe and her husband, Alfred Stieglitz, before a reception that featured a spectacular hand-painted cake.
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1. Happy birthday, Miss O’Keeffe! Carrot cake for all. 2,3,4. Dramatic reading of letters between Georgia O’Keeffe and Alfred Stieglitz, with Kathi Collins and Jonathan David Dixon in character. 5. Hand-painted cake by Maggie’s Cakes of Santa Fe. 6. Wine and champagne provided by Gruet. 7, 8. Reception for O’Keeffe Donor Circle Members.
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Photos © Georgia O’Keeffe Museum
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FROM THE DIRECTOR
Georgia O’Keeffe Museum Director Robert A. Kret with Board Chair Roxanne Decyk. Photo © James Edwards.
The year just ended, 2017, was one of great celebration. We marked a milestone of 20 years of being a local institution with a global reach with community events and thoughtprovoking programs. In acclaimed international exhibitions, Georgia O’Keeffe’s creations connected to more than one million people. We also welcomed the homecoming of these great works, some of which are now on view in our Museum’s galleries. In Abiquiú, the O’Keeffe Home and Studio had a record-breaking number of visitors. In Santa Fe, we were honored to receive the 2017 Mayor’s Arts Award for excellence in the visual arts. Of course, bright spots of every year are the arrivals of our research fellows, Art and Leadership participants, and garden interns. They spotlight the Museum’s role as a learning institution, and add to the community of creative thinkers in Santa Fe. This year, 2018, promises to be just as exciting. In the spring, the new visitor center in Abiquiú will open its doors. The Museum-produced documentary Memories of Miss O’Keeffe will continue to reach new audiences on the filmfestival circuit. (Be on the lookout for more about the film in the near future.) I look forward to our public programs in the upcoming weeks, including an insightful discussion between the Museum’s head of conservation and preservation, Dale Kronkright, and painter Sam Scott, whose watercolors are currently on view. For younger art lovers, we welcome the return of one of our most popular family events, the Museum scavenger hunt. Amid all these changes and arrivals comes an important departure. In February, after nine years with the Museum, curator Carolyn Kastner will retire. You can read about Carolyn and her curatorial experiences in the pages of this magazine. She is a wonderful teacher and mentor, as well as a great friend and colleague. I am thankful for her significant contributions, which have shaped the Museum we have today. Carolyn will always be a vital part of our story. As always, I also appreciate the loyalty and enthusiasm of you, our members. I look forward to sharing with you another amazing year at the Georgia O’Keeffe Museum.
Robert A. Kret Director, Georgia O’Keeffe Museum
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P E O P L E AT T H E O ’ K E E F F E
MUSEUM CURATOR CAROLYN KASTNER RETIRES “I was always a cranky curator. I never imagined how much I would love my job at the Georgia O’Keeffe Museum.” Carolyn Kastner, PhD, arrived at the Georgia O’Keeffe Museum in 2008 as a Research Center Fellow to finish her book Jaune Quick-to-See Smith: An American Modernist (UNM Press: 2013). During her fellowship, Kastner accepted an invitation to guest-curate an exhibition of Smith’s work in dialogue with works by Georgia O’Keeffe. Before the exhibition opened, Kastner accepted a position as Associate Curator. Director Rob Kret recalls, “Carolyn Kastner and I will always be connected as employees at the Georgia O’Keeffe Museum, since we started on the very same snowy day, October 26, 2009. We may be linked because we started on the same day, but I hope to keep this connection to a great friend and colleague.” In her newly created role, Carolyn worked to expand exhibitions and programming by cultivating and serving the culturally diverse population of New Mexico. Kret observes, “Each of Kastner’s exhibitions and publications was designed in a thoughtful manner, to provide a broader context for the work of Georgia O’Keeffe and to bring different audiences to the Museum.” Jaune Quick-to-See Smith: An American Modernist opened in January 2012, and situated Smith, a Native American, alongside O’Keeffe in the canon of landscape painting. The next year, promoted to Curator, Kastner installed the exhibition Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, which contributed to the diversity of voices of regional art history. Her thoughtful essay on katsinam, and the organization of the exhibition, wove together O’Keeffe’s paintings with the art of Ramona Sakiestewa and Dan Namingha. Her other notable and praised exhibitions include Miguel Covarrubias: Drawing a Cosmopolitan Line and David Bradley: After Georgia O’Keeffe. With the arrival in 2013 of Cody Hartley, Senior Director, Collections and Interpretation, the great joy for our audience has been the collaborative creation of a larger context for O’Keeffe’s American Modernism. Speaking of Kastner’s contributions, Hartley comments, “With her breadth of experience and insistent intellectual curiosity, Carolyn has broadened our sense of O’Keeffe and helped us redefine the artist’s context—not just as a modern painter, but also as an artist working within
ABOVE LEFT: Will Wilson. Carolyn Kastner, US Citizen, Curator, Georgia O’Keeffe Museum, Critical Indigenous Photographic Exchange (CIPX), 2012 © Will Wilson. RIGHT, TOP TO BOTTOM: Carolyn Kastner and Jaune Quick-to-See Smith with collector Dorothee Peiper-Riegraf, 2012. Courtesy Carolyn Kastner. Annie Leibovitz and Carolyn Kastner, February 2013 © Daniel Nadelbach Photography. Tate Modern curator Tanya Barson and Carolyn Kastner at Georgia O’Keeffe’s Black Place, 2015. Courtesy Carolyn Kastner. Cody Hartley and Carolyn Kastner with Australian curators Lesley Harding, Denise Mimmocchi, and Jason Smith at opening, Art Gallery of New Southwales, Sydney, Australia 2017.
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the cultural traditions of this region. In the process, Carolyn helped many of us rethink modernism as a diverse, multicultural, international movement reflecting the most innovative ideas of the 20th century, placing Georgia O’Keeffe at the center of a network of brilliant artists and thinkers.” Previously a professor of art history, Kastner extended her teaching legacy at the Museum through in-house teaching opportunities for docents, guided gallery talks with staff, and the introduction of LOO’K Closer, a guided visual exercise in the Museum galleries. Asked about her experiences at the Museum that she has found particularly meaningful, Kastner mentions her mentorship of staff, interns, and young Research Center fellows. Eumie Imm Stroukoff, Emily Fisher Landau Director of the Research Center, first met Kastner during her 2008 fellowship. “Georgia O’Keeffe Museum Research Center fellows always comment on the program’s warm, gracious, and intellectually sharing environment,” she says. “That’s due in large part to Carolyn’s generous nature. I will miss her guidance and thoughtful presence.” One of Carolyn’s long-lasting mentorships has been with a former research assistant, Alicia Inez Guzmán, who conducted a review of literature in English and Spanish for Miguel Covarrubias: Drawing a Cosmopolitan Line, and eventually contributed an essay to that exhibition’s catalogue. Carolyn Kastner is no longer a cranky curator. She credits this to the Georgia O’Keeffe Museum’s curatorial team, each of whom performs his or her duties with the utmost professionalism and care. Her tenure at the Museum will end in March 2018, regrettably before realizing her goal to teach every visitor that O’Keeffe LEFT TO RIGHT: Tedi and Rob Kret with Carolyn Kastner, at was first and foremost an opening at Heide Museum of Art, Melbourne, Australia. © Jeremy Weihrauch. abstract painter!
Carolyn in the Museum galleries, November 2017. © Narrative Media
CAREER HIGHLIGHTS Proudest moment: “The audience we attracted with the 2014 exhibition and catalogue Miguel Covarrubias: Drawing a Cosmopolitan Line (University of Texas Press, 2014).” Most beautiful catalogue: “Georgia O’Keeffe: Watercolors 1916–1918 (Radius Books, 2016).”
5 PM = Lecture: Inspired by Georgia O’Keeffe’s Art and Life. Join us as our curator, Carolyn Kastner, retires from the O’Keeffe Museum and takes time to reflect on the legacy offered by Georgia O’Keeffe in her artwork, letters, and homes in the New Mexico landscape.
Most unusual moment: “The mysterious appearance of a plastic snake on the platform with O’Keeffe’s tent during the opening night of Georgia O’Keeffe and the Faraway: Nature and Image. Yes, we preserved it!”
Eldorado Hotel, 309 W. San Francisco Street. $25; members, free. Reservations required: 505.946.1039 or okeeffemuseum.org.
Best benefit: “Learning to see the New Mexico landscape through O’Keeffe’s paintings.”
SATURDAY, FEBRUARY 10, 5 PM
6 PM = Member reception. Mingle with fellow members at an after-hours reception in the Museum galleries. Reservations required: 505.946.1039 or okeeffemuseum.org.
Projects in progress: Watch for more exhibitions by contemporary artists Michael Namingha, Claudia X. Valdes, and Jo Whaley.
RESEARCH CENTER
PUTTING O’KEEFFE IN CONTEXT: THE MARIA CHABOT PAPERS AT THE GEORGIA O’KEEFFE MUSEUM RESEARCH CENTER LAURA WARD
Unknown photographer. Maria Chabot, 1944. Gelatin silver print. Georgia O’Keeffe Museum. Gift of Maria Chabot. © Georgia O’Keeffe Museum.
The Georgia O’Keeffe Museum Research Center recently made a large collection of archives donated by the estate of Maria Chabot (1913–2001) available to the public. Chabot was a friend and associate of O’Keeffe’s, and the collection includes materials that contextualize O’Keeffe’s life and work. The archives include Chabot’s personal records related to O’Keeffe: diaries, correspondence, audio interviews with Chabot, photographs, slides, negatives, an unpublished book on Chabot’s time as a companion of O’Keeffe at Ghost Ranch, and documents referencing the 1945–1949 renovation of O’Keeffe’s home in Abiquiú, New Mexico. Outside of her association with O’Keeffe, Maria Chabot was known as a writer, and as an advocate for Native American and Spanish Colonial artistic traditions in the American Southwest. The bulk of the collection relates to 6
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those roles, including: Chabot’s research on Native American arts and artists; published articles she wrote in the 1930s on Indian arts and crafts; and her literary works of fiction and nonfiction, including more than 60 drafts and completed short stories, novels, and essays written by Chabot over her lifetime, along with rejection letters from publishers. Maria Chabot was a daughter of the American West. Her grandfather was the British consular agent at San Luis Potosí, Mexico, in the 1860s, before settling with his family in San Antonio, Texas, where Chabot was born on September 18, 1913. In 1933, at 19 years old, she traveled to Mexico City, where she met the painter Dorothy Newkirk Stewart and her sister, Margretta Stewart Dietrich. The Stewart sisters introduced Chabot to a community of Mexican artists that included José Clemente Orozco. Chabot accepted Dorothy Stewart’s invitation to return with her to Santa Fe, New Mexico, in 1934, where she first took a job with the New Mexico Department of Vocational Education, and later, in 1935, with the federal Indian Arts and Crafts Board. Under the auspices of these agencies and as part of a Works Progress Administration (WPA) initiative, she and Stewart photographed and documented Native American and Spanish Colonial arts and crafts in the Southwest. In 1936, with Margretta Dietrich, who was then president of the New Mexico Association on Indian Affairs, Chabot helped establish Santa Fe’s Indian Market as a weekly event modeled on Mexican outdoor markets, held under the portal of Santa Fe’s Palace of the Governors. She also proposed that native artists be allowed to set their own prices. These art markets became the popular annual Santa Fe Indian Market. Through her association with Stewart and her work with the WPA, Chabot met Mary Cabot Wheelwright, founder of the Museum of Navajo Ceremonial Art (later renamed the Wheelwright Museum of the American Indian). Wheelwright became Chabot’s benefactor, and employed her to manage one of Wheelwright’s properties: the historic Los Luceros hacienda, in Alcalde, New Mexico. Chabot oversaw labor and supervised agriculture there, and became president of the local irrigation association—at the time, an unusual position for a woman, and one that included adjudicating disputes over water rights. Chabot was deeded the Los Luceros property after Wheelwright’s death, but sold it in the 1960s. It was Wheelwright who introduced Chabot to Georgia O’Keeffe, in New Mexico, in 1940. Chabot, then 26, was an aspiring writer; O’Keeffe was 53, and an important artist. From 1941 to 1944, Chabot spent summers with O’Keeffe at the artist’s Ghost Ranch house, assisting her with chores so that O’Keeffe could spend more time painting. Chabot
had intended to write, but spent most of her time managing activities at the ranch. She also often accompanied O’Keeffe on camping trips throughout northern New Mexico on which the artist created many of her paintings, including the wellknown Black Place series. However, Chabot did not chronicle her life with O’Keeffe until much later. Chabot’s manuscripts related to life with O’Keeffe are archived as a part of the Maria Chabot Papers collection, and remain unpublished. (Their correspondence, part of a separate collection, was edited by Barbara Buhler Lynes and Ann Paden and published in 2003, by the University of New Mexico Press, as Maria Chabot – Georgia O’Keeffe: Correspondence, 1941–1949.) The manuscripts are rich in their descriptions of the women’s daily life, and include Chabot’s reflections on the natural environment of northern New Mexico, which was a subject of O’Keeffe’s painting during that period. Chabot’s recollections of her time with O’Keeffe reflected a shared sensitivity to the unique aesthetics of the high desert, as reflected in the following description of an excursion near Ghost Ranch: “Half a mile from our house there is a green hill that we climb. It is not the green of growing things for nothing grows on its lean and lonely flanks. It is as smooth and pale and luminous in color as still water, this uprisen bit of shale. Scattered about its summit are flat stones, and these slices of rock are circled with rings of deep purple. We do not know
how such rocks got here, what force of heaven and earth moved to put them here. We hold them in the palms of our hands, looking down from an eerie height to the red floor of the earth below, and we see that where streams of water have rushed from the cliffs, left their dry mark in veins through the sand, the green hill has given of its mystery.” In 1946, Chabot agreed to manage the rebuilding of an adobe hacienda that O’Keeffe had purchased, located on a hilltop in Abiquiú, 48 miles northwest of Santa Fe. She supervised the building crew and participated in design decisions for what became O’Keeffe’s primary residence. Work on the Abiquiú house, and the evolving relationship between O’Keeffe and Chabot, are well documented in Lynes’s book of their correspondence, and also in Lynes’s Georgia O’Keeffe and Her Houses: Ghost Ranch and Abiquiu (Harry N. Abrams, 2012). Chabot’s contributions to the Abiquiú property ended in 1949, but her friendship with O’Keeffe endured until the artist’s death, in 1986. In 1996, Maria Chabot was named a Living Treasure of Santa Fe. She died in 2001, at the age of 87, in Albuquerque, New Mexico. The Museum Research Center grants access to the Maria Chabot papers by appointment. For details, contact the Research Center through the Museum’s website. Laura Ward is an archivist and writer who lives in Santa Fe.
LEFT: Unknown photographer. Georgia O’Keeffe, Maria Chabot, Max Martinez, Ghost Ranch House Patio, 1944. Gelatin silver print. Georgia O’Keeffe Museum. Gift of Maria Chabot. © Georgia O’Keeffe Museum. RIGHT: Maria Chabot. Georgia O’Keeffe Hitching a Ride to Abiquiu with Maurice Grosser, 1944. Gelatin silver print. Georgia O’Keeffe Museum. Gift of Maria Chabot. © Georgia O’Keeffe Museum.
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Creative Activity NOTAN is a Japanese word meaning the balance between dark and
light. It is the design or pattern of a work of art as seen in flat areas of dark and light values only. Georgia O’Keeffe utilized the principles of notan in her compositions, which can be especially understood when looking at her drawings. Did you know? The Georgia O’Keeffe Museum owns approximately 700 drawings by O’Keeffe. To practice notan, grab a sketchbook and choose a subject to focus on. You might choose something in nature, as O’Keeffe often did. Keep in mind the balance of light and dark while drawing, and see if you can create a harmonious composition. Notan is not limited to drawing— try looking up “notan paper cuts” for more inspiration!
LEFT: Georgia O’Keeffe. Untitled (Tree), 1940s-1950s. Graphite on paper, 101/4 x 8 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum. RIGHT: Georgia O’Keeffe. Ram’s Horns I, ca. 1949. Charcoal on paper, 18 5/8 x 24 7/8 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
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P U B L I C AT I O N S
tradition and, in many cases, Hispano and Indigenous visual cultures. Somewhere between the lines, I also infused the story of O’Keeffe with my own sense of place.
GEORGIA O’KEEFFE AT HOME ALICIA INEZ GUZMÁN In June 2016, when I was first approached by Frances Lincoln Limited to write a book about the idea of home in relation to Georgia O’Keeffe, I had just moved back to New Mexico from upstate New York. My own life, until that point, had been defined by two homes: Truchas, nestled at the foot of the Rocky Mountains; and Rochester, where I had received my PhD in Visual and Cultural Studies from the University of Rochester. I was, in some sense, split between the two. O’Keeffe’s vision, too, was bifocal, defined by two homes and thus two ways of seeing, until the death of her husband, Alfred Stieglitz, in 1946, when she finally moved to New Mexico permanently. As I wrote in the introduction of my book, Georgia O’Keeffe at Home: “For some twenty years, she sojourned between these two homes and the senses of personhood that came with each. One place, no doubt, helped define the other.” This belief—that a sense of place defined not only O’Keeffe but how she saw other places—was what motivated the writing of this manuscript. I firmly believe that how O’Keeffe saw New Mexico informed how she saw New York, and vice versa. I also believed that telling the story of land was integral to how I would craft a sense of home that was both layered and conflicted, not only for O’Keeffe but for all the mixed populations who have occupied and stewarded New Mexico. With this in mind, I unspooled narratives of the land and its connections with
EXCERPT “After many attempts at painting the landscape, O’Keeffe later recalled that it was only ‘right’ with the ram’s head hovering above [Figure: Rams Head White Hollyhock – Hills, 1935]. The skull in some ways mirrored Georgia O’Keeffe. Ram’s Head, White Hollyhock – Hills, 1935. Oil on the landscape, the area canvas, 30 x 36 in. Brooklyn Museum, around its snout appearing Bequest of Edith and Milton Lowenthal. © Georgia O’Keeffe Museum like the crevices of a deep arid valley. The hollyhock, or vara de San José as local hispanos call the flower, is posed almost coquettishly above the animal’s right eye. A popular bloom in northern New Mexican gardens, the flower is also a feature of religious iconography, typically posed as the staff of St. Joseph. O’Keeffe had begun placing flowers in her paintings of bones on her first visit to the area, perhaps inspired by Beck Strand’s practice of incorporating silk flowers into her own paintings. Silk flowers, moreover, were a feature of the northern New Mexico landscape, placed on the graves of the deceased in local camposantos (cemeteries).” —Page 99 Georgia O’Keeffe at Home, by Alicia Inez Guzmán, is available in the Museum Store. $35; member price, $29.75. Alicia Inez Guzmán, PhD, is an art historian and writer. She was formerly a Fellow at the Georgia O’Keeffe Museum Research Center.
WEDNESDAY, MARCH 7, 9–10 AM Join Alicia Inez Guzmán as she discusses the upcoming exhibition Georgia O’Keeffe and Contemporary Artists, which will show from May 26 to September 3, 2018, at the Crystal Bridges Museum of American Art, in Bentonville, Arkansas. The exhibition joins three dozen works by Georgia O’Keeffe with works by a select group of contemporary artists that expand on O’Keeffe’s artistic legacy. Museum Education Annex, 123 Grant Avenue. $15, includes Museum admission; members, free. Reservations required: 505.946.1039 or okeeffemuseum.org.
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BREAKFAST WITH O’KEEFFE: COLOR AS A VERB Artist Sam Scott joins Dale Kronkright, head of conservation, for an insightful conversation about the artist’s palette. Sam Scott’s series of abstract watercolors inspired by the light and color of the high-desert terrain of New Mexico are currently on view in the Museum’s galleries. Doors open at 8:30 AM; coffee and pastries served. Wednesday, February 7, 9 AM. Museum Education Annex, 123 Grant Avenue. $15, includes Museum admission; members, free. Reservations required: 505.946.1098 or okeeffemuseum.org. Sam Scott. Untitled 6, 2016. Watercolor on paper, 7 x 10 in. Promised gift of Sam Scott and Yares Art Projects. Georgia O’Keeffe Museum. © Sam Scott.
ABIQUIÚ VISITOR CENTER This spring, the Museum opens a new visitor center on the grounds of the Abiquiú Inn. In addition to expanded tour facilities, the center will have information about the history of Abiquiú, the Rio Chama valley, and Georgia O’Keeffe. It will also have a gift shop and other amenities. Celebrate the grand opening on Saturday, May 19, with music, food, and art activities. Watch the Museum website for event details as they become available. Reservations for tours of the Home and Studio are available online now at okeeffemuseum.org/hometours/. Tours begin on Tuesday, March 6, 2018.
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CURATOR’S PICK
Family programs meet at the Georgia O’Keeffe Museum, 217 Johnson Street on the third Saturday of every month. Children ages 4–12 and their grownups are invited to learn, create, and, most important, have fun together. Family Programs are free for the entire family.
From time to time, the Museum spotlights an artwork on view. From curator Carolyn Kastner: When O’Keeffe painted Petunia No. 2, in 1924, she was already critically recognized as one of America’s most important and successful artists. Among the first of her major flower paintings, it is a brilliant example of her transformation of a tiny flower through the masterful application of colors that vibrate and fill a canvas the size of a landscape.
Georgia O’Keeffe. Petunia No. 2, 1924. Oil on canvas, 36 x 30 in. Georgia O’Keeffe Museum. Gift of The Burnett Foundation and Gerald and Kathleen Peters. © Georgia O’Keeffe Museum.
LET YOUR LITTLE ONES ENGAGE WITH THE MUSEUM!
Saturday, January 20, 9:30 — 11:30 AM Scavenger Hunt! Join us for a morning of investigation as we embark on a scavenger hunt in the Museum galleries! Follow the clues to find elements of art and nature. Be prepared for fun!
Saturday, February 17, 9:30 – 11:30 AM O’Keeffe and the Rio Grande Join us for a fun morning as we track Georgia O’Keeffe through different landmarks around the Northern Rio Grande area and create our own maps that reflect her colorful landscape paintings. Led by local visual artist, Leland Chapin.
Saturday, March 17, 9:30 – 11:30 AM Green! Georgia O’Keeffe used so many shades of green in her artwork, it almost appears to be a primary color to her. Together we will discover green works of art in the galleries, then create artwork using as many shades of green as we can dream up!
Wednesday, March 21, 1 – 4 PM Spring Break Family Program Join us in the Museum courtyard for hands-on art activities, and partake in an engaging scavenger hunt throughout the Museum galleries.
JANUARY CLOSURE Caring for O’Keeffe’s legacy goes beyond conservation and preservation and includes maintaining the Museum that holds her work. From January 23 through 26, the Museum galleries in Santa Fe will close for maintenance; the Museum Store will also be closed.
#OKeeffeMuseum Share a snap of yourself in the Georgia O’Keeffe Museum galleries and tag us @okeeffemuseum.
THE PEDERNAL SOCIETY
“It’s my private mountain. It belongs to me. God told me if I painted it enough, I could have it.” —GEORGIA O’KEEFFE
The Pedernal Mountain moved and inspired Georgia O’Keeffe as she studied and painted it from her home and studio at Ghost Ranch. After her death, her ashes were scattered atop Pedernal, as a testament to the bond she felt with the mountain. As Pedernal inspired O’Keeffe, we hope the Pedernal Society will inspire you in your planned giving. We invite you to join this society, comprising donors who have named the Georgia O’Keeffe Museum in their will, trust, retirement plan, life insurance policy, or financial accounts. A bequest of any size will qualify you to join this special group. Your gift will help the Museum fulfill its vision to cultivate memorable, authentic experiences inspired by the life, work, and world of Georgia O’Keeffe. For more information, or if you’ve already named the O’Keeffe Museum in your estate plans, please contact Jennifer Pedneau, Institutional Giving Manager, at 505.946.1035 or jpedneau@okeeffemuseum.org. The Georgia O’Keeffe Museum cannot provide legal or tax advice. Before making a gift, please consult your attorney or financial planner. AB OVE : Georgia O’Keeffe. My Front Yard, Summer, 1941. Oil on canvas, 20 x 30 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
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MEMBERSHIP
MEMBERS Our members generously support all areas of the Museum’s endeavors, from cutting-edge research and conservation to engaging community programs and educational initiatives. The Museum would like to acknowledge and thank the following individuals and organizations for their continued support.
O’KEEFFE CIRCLE
Jack and Karin Kinzie Esq.
$5,000+
Robert and Miryam Knutson Robert Kret
Susie and John Adams
and Theodora Judge-Kret
Elaine and V. Neils Agather
Barbara and Mike Lynn
Richard Andrew
Anne and John Marion
and Diane Buchanan
Nedra and Richard Matteucci
Jane and John Bagwell
Thomas and Jane O’Toole
Emy Lou and Jerald Baldridge
Deborah Peacock, JD
Ronald and Barbara Balser
and Nathan Korn
Sid Bass
Skip and Ildy Poliner
Deborah Beck and Fred Sweet
Caren Prothro
Sallie Bingham
Ramona Sakiestewa
Heather and Jason Brady
and Andrew Merriell
Kathy and David Chase
Christine and Martin Schuepbach
Robert and Kathleen Clarke
Marvin and Donna Schwartz
Saul and Anne-Lise Cohen
Bart and Elizabeth Showalter
Peter and Lynn Coneway
Marc Still and Karen Rogers Still
Flo Crichton
Marilynn and Carl Thoma
Ann Murphy Daily and William Daily
Joanna and Peter Townsend
Roxanne Decyk and Lew Watts
David Warnock
Lee and Donna Dirks Michael and Lehua Engl Julie and Bob England
DIRECTOR’S CIRCLE
Felicitas Funke
$2,500
Irene Goodkind Deborah Hankinson
Merrilee Caldwell and Marcus Randolph
Susan and Laurence Hirsch
Michael and Diane Cannon
Robert Holleyman II
Mike and Pilar de Graffenried
and Bill Keller
Elizabeth Goldberg
Don and Cathey Humphreys
Carol Prins and John Hart
William and Lillias Johnston
Paul and June Schorr III
Charles and Mary Kehoe
Eugene and Jean Stark Jr.
Donna Kinzer
Polly Wotherspoon
TOP TO BOTTOM: Bill O’Neal and John Pickens at a Donor Circle event in Dallas, photo © James Edward. Patrons enjoy a member event in the Museum galleries, photo © Georgia O’Keeffe Museum.
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MEMBERSHIP
BENEFACTOR CIRCLE
Carl Stern and Holly Hayes
Robert Klein and Nancy Schultz
$1,000
Arnold and Lorlee Tenenbaum
Fred and Nancy Lutgens
Eugene Thaw
Dennis and Janis Lyon
Diane and Thomas Arenberg
Diane Waters and Charles Braun
Frank and Megan Lyon
Ann Ash
Eileen Wells
Philip and Susan Marineau
Elizabeth Boeckman
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LEFT TO RIGHT: Donor Circle members enoy a view of the Dallas skyline, photo © James Edward. Madeleine and Booker Wright at a November members opening, photo © Georgia O’Keeffe Museum.
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ON VIEW
WHERE IN THE WORLD IS GEORGIA O’KEEFFE? GEORGIA O’KEEFFE AND CONTEMPORARY ARTISTS (working title) May 26 - September 3, 2018 Crystal Bridges Museum of American Art, Bentonville, Arkansas Crystal Bridges brings together more than three dozen of O’Keeffe’s most important works as the centerpiece of this unique exhibition, along with artworks by a select group of emerging contemporary artists that evoke, investigate, and expand upon O’Keeffe’s artistic legacy. This exhibition demonstrates the continuing power of O’Keeffe’s work as a touchstone for contemporary artists.
O’Keeffe Donor Circle Trip! The Museum hosts a trip to northwest Arkansas for Donor Circle members ($1,000 level and above) to view Georgia O’Keeffe and Contemporary Artists, June 8–10, 2018. Included will be a stay at 21c Museum Hotel, behind-the-scenes tours, curator conversations, and exploration of the dynamic art scene that Bentonville has become. Stay tuned for details, or sign up at membertrip@okeeffemuseum.org for trip itinerary when it becomes available. Georgia O’Keeffe. Jimson Weed/ White Flower No. 1, 1932, Oil on canvas, 48 x 40 in., Courtesy of Crystal Bridges Museum of American Art, Bentonville, Arkansas. Photography by Edward C. Robison III. © Georgia O’Keeffe Museum.
LIVING MODERN After drawing enthusiastic crowds at the Brooklyn Museum, and record-breaking attendance at the Reynolda House in Winston-Salem, North Carolina, the exhibition Living Modern moves to the Peabody Essex House in Salem, Massachusetts, where it runs through April 1, 2018. More than 200 objects, including O’Keeffe’s clothes juxtaposed with her paintings, as well as photographs of the artist that documented and cemented her status in the art world, will be on view. Visitors learn not just about O’Keeffe’s art, but also about the way she crafted her image throughout her life. Georgia O’Keeffe: Living Modern at the Brooklyn Museum, exhibition installation image, 2017. Photograph by Jonathan Dorado. © Georgia O’Keeffe Museum.
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