The Georgia Oâ€™Keeffe Museum Mag azi ne
Enchanting sunsets included
877.262.4666 198 State Road 592, Santa Fe, New Mexico encantadoresort.com
Auberge Resorts: Auberge du Soleil, Napa Valley, CA | Auberge Residences at Element 52, Telluride, CO | Calistoga Ranch, Napa Valley, CA Rancho Valencia, Rancho Santa Fe, CA | Esperanza Resort, Cabo San Lucas, MX | The Inn at Palmetto Bluff, SC
The Georgia O’Keeffe Museum Magazine
Page 24: Georgia O’Keeffe, Stump in Red Hills, 1940, Oil on Canvas, 30 x 24 Inches, Georgia O’Keeffe Museum, Gift of The Stéphane Janssen Trust in memory of R. Michael Johns. © Georgia O’Keeffe Museum.
Welcome, Reader: A greeting from the Director
Spring in Santa Fe: The Flowers of Georgia O’Keeffe
Sound Tapestry: New Mexican and Native American Music in Performance
Volunteers: An Essential Ingredient
The Living Artists of Distinction Series: Jaune Quick-to-See Smith
Georgia O’Keeffe and the Faraway: Nature and Image
28 32 34
O’Keeffe Art and Leadership Program for Girls: Laying the Foundation for Fulfillment
O’Keeffe Abroad: The O’Keeffe Circle Visits Rome
How to Search the Georgia O’Keeffe Museum Collection Online: Experience the Museum’s new website dedicated to its vast holdings
You Belong in this American Masterpiece: Join the Museum today, don’t miss a minute An Enduring Enthusiasm for O’Keeffe: One longtime member’s active involvement with the Museum
Research Center Scholars Talk: Former scholars discuss their time at the Center and in Santa Fe It’s O’K to Write! It’s O’K to Ask!: The Museum answers your questions and comments
We Asked. You Answered: What Is Your Favorite Painting by Georgia O’Keeffe?
Sculpture Becomes Jewelry: Somers Randolph sells an exclusive bracelet and other items at the Museum Store
Museum Calendar: The Museum’s schedule of events this winter
60 61 62
The Georgia O’Keeffe Museum’s Business Partners
In the Next Issue: Find out what’s coming up in the spring issue of O’Keeffe magazine
Photo Credits Picture Perfect: After-hours celebrating at the Museum
Page 24: Georgia O’Keeffe, Pedernal, 1945, Pastel on Paper, 21 1/2 x 43 1/4 Inches, Gift of The Burnett Foundation. © 1987, Private Collection.
on the plaza in santa fe NEW MEXICO MUSEUM OF ART PAST PRESENT FUTURE: ThREE NEW MEXICO PhOTOgRAPhERS 505.476.5072
NEW MEXICO hISTORY MUSEUM/ PA L A C E O F ThE gOVERNORS ILLUMINATINg ThE WORd: ThE SAINT JOhN’S BIBLE 505.476.5100
on museum hill in santa fe MUSEUM OF INdIAN A R T S & C U LT U R E CREATIVE SPARk! ThE LIFE ANd ART OF TONY dA 505.476.1250
MUSEUM OF I N T E R N AT I O N A L FOLk ART YOUNg BRIdES, OLd TREASURES: MACEdONIAN EMBROIdEREd dRESS 505.476.1200
The Georgia O’Keeffe Museum Magazine Bruce Adams President Anne Mulvaney Publisher B.Y. Cooper Creative Director Amy Hegarty Editor Georgia O’Keeffe, Paul’s Kachina, 1931, Oil on Board, 8 x 8 Inches, Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
Sybil Watson Graphic Designer
COMING TO THE GEORGIA O’KEEFFE MUSEUM IN SUMMER 2013...
Ginny Stewart-Jaramillo Operations Manager
Georgia O’Keeffe in New Mexico: 010512 Architecture, iota jan go.pdf 1 Katsinam, 1/9/12 1:46 PM and the Land
Michelle Odom Contributing Designer Monique Martinez Graphic Design Intern
S A N TA F E ’ S M O S T A D M I R E D W I N T E R R E T R E AT
Robbie O’Neill Emilie McIntyre David Wilkinson Sales Representatives C
A Publication of Bella Media, LLC
For advertising information: firstname.lastname@example.org 215 W. San Francisco Street, Suite 300 Santa Fe, NM 87501
Telephone 505.983.1444; fax 505.983.1555
Copyright 2012, Georgia O’Keeffe Museum. Reproduction in whole or in part without permission is prohibited. CPM#40065056
O’Keeffe Magazine (ISSN 1094-1487) is published three times a year by Bella Media, LLC, 215 W. San Francisco Street, Suite 300,
1 1 3 Wa s h i n g t o n Av e n u e Santa Fe, NM 87501 (505) 988-3030 innof theanasazi.com
Santa Fe, NM 87501.
O’K News In October 2011, the Georgia O’Keeffe Museum presented the Abiquiú Library and Cultural Center with a check for $750 and 20 new books for their collection on Georgia O’Keeffe. Donations were raised at the Museum in Santa Fe during the summer, in an effort to continue Georgia O’Keeffe’s legacy of charitable community giving. O’Keeffe lived and worked in Abiquiú, New Mexico, from 1949 until her death in 1986. She actively supported various charities around Abiquiú, and the Museum is dedicated to continuing her vision and honoring her wishes. The Library offers docent-led walking tours of Genizaro Pueblo and plaza from mid-March through November, by reservation. Please visit the website at abiquiulibrary. wordpress.com for more information.
Sabra Moore and V. Susan Fisher.
Isabel Trujillo and Kristin Lynn Kautz.
O ’ K E E F F E W I N T E R 2012
Eumie Imm-Stroukoff Librarian and Assistant Director of the Research Center
Robert A. Kret Director
Carl Brown Director of Finance
Carolyn Kastner Associate Curator
Kristin Lynn Kautz Director of Marketing and Public Relations, Publisher, O’Keeffe Magazine
Christina Dallorso Kortz Visitor Services and Facility Rental Manager
Agapita Judy Lopez Director of Abiquiú Historic Properties, Rights and Reproduction Manager Barbara Buhler Lynes Curator, Georgia O’Keeffe Museum, and The Emily Fisher Landau Director, Georgia O’Keeffe Museum Research Center
Dale Kronkright Conservator Debra Liggett Assistant to the Director Camille Romero Membership and Annual Fund Manager
Jackie M Director of Education and Public Programs Shannon Bay Education Assistant and Art and Leadership Coordinator Karen Boullosa Grant Writer/Researcher Sue Casarez Accounting Manager Elizabeth Ehrnst Archivist and Digital Collections Librarian Shannon Hanson Marketing Manager
Gary Smith Head of Security Judy Smith Registrar and Collections Manager Xen Stanhope Accountant Sylvie Ward Human Resources Manager Janice Wrhel Retail Services Manager Sarah Zurich Education Coordinator and Family Program Manager
Georgia O’Keeffe Museum 217 Johnson Street Santa Fe, NM 87501 505.946.1000 email@example.com Open daily, 10 AM–5 PM Fridays, 10 AM–7 PM Periodicals postage paid at Santa Fe, NM, and additional mailing offices. Postmaster: Send address changes to O’Keeffe Museum.
Georgia O’Keeffe Museum Board of Directors A. Samuel Adelo Santa Fe, NM Judah Best Arlington, VA Santa Fe, NM Laura Bush (honorary) Dallas, TX Katherin L. Chase Santa Fe, NM Saul Cohen (honorary) Santa Fe, NM
Emily Fisher Landau (honorary) New York, NY Palm Beach, FL Stanley Marcus (honorary-deceased) Dallas, TX
Cira Crowell Venice, CA Santa Fe, NM Andrew A. Davis Santa Fe, NM
Clare O’Keeffe Palm Beach, FL
Lee E. Dirks, President Santa Fe, NM Julie Spicer England Dallas, TX Susan J. Hirsch Dallas, TX William P. Johnston Nashville, TN Barry G. King, Jr., MD, Secretary Santa Fe, NM El Paso, TX
O ’ K E E F F E W I N T E R 2012
Robert A. Kret, ex-officio Santa Fe, NM
Anne W. Marion, Chairman Fort Worth, TX Santa Fe, NM
Roxanne Decyk Santa Fe, NM Chicago, IL
Robert B. Knutson Boca Grande, FL Santa Fe, NM
Thomas F. O’Toole Dallas, TX Santa Fe, NM R. Steven Padilla, MD, MBA, Treasurer Albuquerque, NM Santa Fe, NM Joann K. Phillips (honorary) Santa Fe, NM Joanna Townsend Dallas, TX Santa Fe, NM Lissa N. Wagner Midland, TX David L. Warnock Baltimore, MD
Welcome, Reader There always seems to be a reason to celebrate in Santa Fe, and this year there are perhaps more reasons than ever. In 2010, the city marked 400 years The Georgia O’Keeffe Museum Mag azi ne
of culture since its founding in 1610—which makes Santa Fe the oldest capital city in the United States. In 2012, New Mexico celebrates its centennial as the 47th state, and the Georgia O’Keeffe Museum celebrates its 15th anniversary. The Museum opened its doors to the public in July 1997, and since then we have welcomed nearly 2.5 million visitors into our galleries. One of the most significant events of the first 15 years occurred in 2006, when the Georgia O’Keeffe Foundation transferred the remainder of its assets to the Museum. The result was a tripling of the number of Winter 2012
On the cover: Georgia O’Keeffe, Jimson Weed, 1932, Oil on Canvas, 48 x 40 Inches, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
works in our permanent collection as well as the addition of O’Keeffe’s personal property, including her homes in Abiquiú and at Ghost Ranch. We are indebted to the members of the Board of Directors and the staff who worked diligently to keep this extraordinary collection together in New Mexico. The Museum has certainly made its mark in the American Southwest, and now its reach has extended to Europe. The exhibition Georgia O’Keeffe: A Retrospective opened in Rome, Italy, in October 2011 (see page 36) and travels to Munich, Germany, in February. The tour concludes in Helsinki, Finland, in May. If your travel itinerary includes these cities in the near future, I hope you take the time to see the exhibition. When people think of a museum, they often think about it in terms of the objects in its collection. Although it’s true that a museum wouldn’t exist if not for its collection, I like to think that a museum is also about people: the people who made the artwork, the people who collect it, the professionals who preserve and present it, the volunteers who promote and interpret it, and the members and donors who have helped to make the
In 2012, the Georgia o’keeffe museum Celebrates its 15th anniversary.
institution successful and accessible to the public. One member of our Museum who comes to mind is Cynthia Hoefer, who is spotlighted on page 34 in this issue of O’Keeffe magazine. Cynthia has been a member since the Museum opened in 1997, and we are grateful for her continued enthusiastic support. I wish you and yours a very happy New Year, and encourage you to participate in some of the special programs planned for our 15th anniversary. I also want to thank you for your ongoing support, and I encourage you to visit the Georgia O’Keeffe Museum when your travels bring you to Santa Fe. I hope to see you in the galleries. Sincerely,
Robert A. Kret Director
Spring in Santa Fe:
The Flowers of Georgia O’Keeffe
The Georgia O’Keeffe Museum received a significant contribution in 2007 from the Barbara Goede Foundation to create and maintain the garden at the Research Center. The grant was used to design a landscape indicative of the flowers that Georgia O’Keeffe painted, and of those she grew in her own garden at her home in Abiquiú. We invite you to visit Santa Fe in the spring and pause at the white picket fence of the Research Center to take a look for yourself.
O ’ K E E F F E W I N T E R 2012
Georgia O’Keeffe, Oriental Poppies, 1927, Oil on Canvas, 30 x 48 Inches, Collection of the Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis. Museum Purchase.
“If I could paint the flower exactly as I see it no one would see what I see because I would paint it small like the flower is small. So I said to myself—I’ll paint what I see—what the flower is to me but I’ll paint it big and they will be surprised into taking time to look at it—I will make even busy New Yorkers take time to see what I see of flowers.” —Georgia O’Keeffe, 1931
New Mexican and Native American Music in Performance by Jackie M, Director of Education and Public Programs
Composer Jerod Impíchchaachaaha' Tate will perform, accompanied by a chamber ensemble, a tribute piece to artist Jaune Quick-to-See Smith.
No celebration is complete without music! On Thursday, March 22, the Georgia O’Keeffe Museum presents a concert featuring works for piano by New Mexican and Native American composers in honor of the state’s centennial. Accompanied by a chamber ensemble, composer Jerod Impíchchaachaaha' Tate (Chickasaw) performs Dream World for Woodwinds, Percussion, and Narrator, his tribute piece to artist Jaune Quick-to-See Smith (Sqelix'u, Salish). Commissioned by the New Jersey Chamber Music Society, the work was given its premiere at the Jersey City Museum of Art in 1997 in the galleries that displayed Smith’s paintings. Smith’s style of modernist painting includes American Indian iconography combined with mixed media and printed words that she finds funny, ironic, ignorant, or serious. These words, or series of words, are taken out of context and given new meaning within her compositions. In an attempt to fashion a musical statement inspired by her paintings, Tate grouped several of Smith’s writings, published interviews, and statements into smaller “poems” and designed orchestrations around them. The poem in the third movement, “Desire,” is by the Creek Indian poet Joy Harjo, who is a good friend of Smith’s. The tune heard throughout the work is an old Salish Indian love song. Images of Smith’s work will be projected throughout the performance of the piece. Italian pianist Emanuele Arciuli, 2011 recipient of the Abbiati Prize for soloist of the year, is honored to play for Smith, who is one of his favorite painters. Smith, he says, is “a great artist, a great thinker, and a great woman with not only a wonderful sense of humor, but a deep sensitivity and poetry.” Arciuli performs Louis W. Ballard’s (Cherokee, Quapaw) Variations on the Four Moons (1967) and Four American Indian Piano Preludes (1967). Known internationally for his performances of Native American and contemporary composers, Arciuli notes that Ballard’s compositions are “sometimes abstract, sometimes more lyrical, always very strong and energetic . . . . I hope that Ballard will be more considered and performed in the future. He was a great person and a very original, deep, and intense musician.” Ballard was the first Native American composer in the Western classical tradition. He came to New Mexico to teach at the Institute of American Indian Arts (IAIA) and, as a historical figure, many feel that he was as important for music as George Morrison or Allan Houser were for visual art.
Native American Inspirations/New Mexico Composers Presented in conjunction with the University of New Mexico’s 2012 John Donald Robb Composer’s Symposium and the New Mexico State Centennial. Held at the Scottish Rite Center, 7 pm. Reservations suggested: okmuseum.org or 505.946.1039. 10
O ’ K EE F F E WI N T ER 2012
Also on the program is Raven Chacon’s (Diné) Nilchi' Shada'ji Nalaghali (Winds that Turn from the Sun; 2008) for piano and electronic sounds. Arciuli met Raven in 2005 at the University of New Mexico during a lecture that juxtaposed Ballard and Chacon— the old generation and the newest. Arciuli thought Raven’s music was intelligent and requested a piece for piano and electronics. The result is unique, because the pianist is “played” by the piano. Arciuli includes Peter Garland’s Walk in Beauty, which he considers to be one of the best piano works of the last 25 years. Garland composed the work while living in New Mexico. The style of the piece is quite original, with a simple harmony, few chords, and a great “economy of writing.” Surprisingly, balancing different perspectives of sound makes this piece extremely difficult to play, as it is woven into a musical landscape of beauty and poetry. A curriculum for K–8 students will be created in conjunction with the performance on the theme of New Mexico composers. This program was funded by the Bettina Baruch Foundation and the William Randolph Hearst Foundation.
Pianist Emanuele Arciuli is internationally recognized for his performances of contemporary music and is delighted to feature Native American and New Mexican composers’ works.
cicadacollection.com 221 Galisteo Street Santa Fe ●
6817 Snider Plaza Dallas TX ●
An Essential Ingredient by Jackie M, Director of Education and Public Programs, & Sylvie Ward, Human Resources Manager
Since our founding, in July 1997, volunteers have played a crucial role in the development of the Georgia O’Keeffe Museum and are an important part of our workforce through the personal contributions of their time, energy, and enthusiasm. Volunteer positions are available in all departments of the Museum: Administration, Curatorial, Development, Education, Historic Properties, Marketing and Public Relations, Research Center Library, Information Technology, Retail Services, and Visitor Services. Opportunities exist for almost any volunteer to find a position that matches his or her personal skills and background. Volunteers are motivated by many different factors, but each brings to the Museum amazing life and work experiences that greatly benefit the organization. Along the way, they share their knowledge and experience while learning new skills and establishing friendships with staff and fellow volunteers. Judy Lucania, a longtime volunteer in the museum store at the Nassau County Museum of Art in New York and now an O’Keeffe volunteer, says, “I was delighted to find out that volunteers were needed at
O ’ K E E F F E W I N T E R 2012
“Every moment I spend volunteering at the Georgia O’Keeffe Museum, I learn a little more about the extraordinary life Georgia O’Keeffe lived. Hopefully, I will become more courageous in my life and push boundaries as she did,” says Lesley Adams. the O’Keeffe Museum Store. The opportunity to be a small part of this prestigious Museum was and still is very rewarding. The O’Keeffe attracts people from all over the country and all over the world. I enjoy making visitors’ experiences memorable by helping them select a gift or memento.” Volunteers at the Georgia O’Keeffe Museum support every department through a variety of efforts, and enjoy doing so—we couldn’t do our work without them! Some are young professionals seeking to give back to the community; others are seasoned professionals still actively involved in their careers or enjoying retirement. Volunteers come by train, car, and on foot; some live or work in the neighborhood while others drive for several hours to the Museum or to Abiquiú to reach Georgia O’Keeffe’s home and studio and the tour office there. The common elements motivating them all are their enthusiasm and willingness to serve the Museum and our visitors. Elaine Trzebiatowski has volunteered in the Education Department for six years. “It’s the job you love going to!” she says. “This volunteer experience has allowed me to be exposed to and interact with wonderful people of all age ranges, such as schoolchildren with their teachers and parents, the Museum visitors and education program participants, other volunteers and docents, and, of course, the Museum staff. I also have the fantastic opportunity to continually learn about one of my favorite subjects: art.” Volunteers serve on committees that support the Museum’s fundraising and endowment efforts, public outreach programs, and marketing initiatives, as well as help with administrative and support tasks by preparing marketing and development mailings, doing research on special projects, helping with events, greeting visitors in the lobby, assisting with family programs, teaching art lessons, and selling merchandise in the Museum Store. O’Keeffe enthusiasts, dedicated educators, and professionals from a wide variety of backgrounds are partners integrated into the Museum’s ongoing work and programs. Additionally, volunteers are ambassadors, spreading the word about the Museum to their family and friends. A volunteer at the Columbus Museum of Art in Ohio for 15 years, Rose Hume knew she wanted to volunteer at a museum when she moved to Santa Fe. As there are many museums in the city, she looked into various opportunities and decided that the O’Keeffe was the best match for her. “It was the level of scholarship and research at the O’Keeffe that won me over,” says Rose, a volunteer for Visitor Services and a docent. She enjoys interacting with out-of-town visitors because of their curiosity about and interest in American Modernism. “It is wonderful to discuss the art, and fun to talk about the personalities who created it.” Enthusiasm best describes Karen Ralston’s engagement with the Museum. Karen, who greets visitors as they enter the Museum, declares that she is “proud to represent the Georgia O’Keeffe Museum in the community and to serve as an ambassador to Santa Fe.” Karen, who is also a docent, can switch comfortably between English, Spanish, and French and has served on the Museum’s Marketing and Development committees. Linda Firestone, who relocated to New Mexico from Pennsylvania, says, “As a retiree, volunteering at the Museum has kept me active and provided a lifelong learning experience that is important. I can now focus on the arts, which has always been a desire of mine. I look forward to the docent training sessions so that I can extend my volunteer service to the Museum.” Susan Berk related that the work she does for the Research Center—maintaining the international magazine collection and periodicals and helping to inventory new donations to the Library—is work that she does “with an open heart, willingness, and commitment, and with no expectations of compensation other than personal satisfaction and relationship building, education, and the opportunity to learn something new.” Asked to recall a specific memory regarding a meaningful
2010 Yearly Accomplishments • 56 education docents and volunteers worked 3,375 hours • An additional 1,800 hours of volunteer time were clocked by the other Museum departments • 4,635 K–12 students toured the Museum led by volunteer tour guides
volunteer experience, Susan mentioned the “opportunity to work with letters from Maria Chabot to O’Keeffe during the first days of their relationship, when Chabot was applying for a position with O’Keeffe.” She also mentioned working with O’Keeffe’s personal photographs, which introduced her to the artist’s chow dogs—wearing sunglasses! Asked what the experience of volunteering at the Museum has given her, Susan says that she “enjoys interacting with professionals who care about maintaining the highest standards of archival work, upholding the deepest respect for the materials, and O’Keeffe’s collection and legacy,” and that she “enjoys and benefits from the personal interaction and friendships she has made at the Museum, as well as the underlying respect for human feelings and personal connection.” With a background in banking, Gill Lassetter “had been looking for something to do with some extra time he had” when, in 2009, he visited the Museum with his sister. Elaine Jenkins of Visitor Services had been “so nice and chatty that my sister turned to me and said, ‘I bet this would be a fun place to volunteer,’ and so I did, and so it is.” Gill is now a Visitor Services Assistant, and one of the friendly faces that greet visitors in the Museum lobby. “The best part for me is helping or seeing someone have a good experience, when you can recommend they do an extra tour, such as the Research Center tour, or a docent tour of the exhibition, and they come back and tell you how great it was and how much they appreciate you for recommending it.” IronStone Bank branch manager Diana Ronquillo approved Lesley Adams’s request to volunteer at the Museum during her regular work week to support the Museum. Lesley, who volunteers for Marketing and Public Relations, is organizing a binder of every published article, advertising piece, or mention of the Georgia O’Keeffe Museum and Georgia O’Keeffe— no small feat, given the popularity of the artist and of the Museum. A personal connection brought Lesley to the Museum: Her mother-in-law had met O’Keeffe many years before, when she took Lesley’s husband, a small boy at the time, to Ghost Ranch on a “dig.” “Every moment I spend volunteering at the Georgia O’Keeffe Museum, I learn a little more about the extraordinary life Georgia O’Keeffe lived. Hopefully, I will become more courageous in my life and push boundaries as she did.” Lesley quotes a statement commonly attributed to O’Keeffe: “I’ve been absolutely terrified every moment of my life, and I’ve never let it keep me from doing a single thing that I wanted to do.” In appreciation for all they do, the Georgia O’Keeffe Museum offers our volunteers a number of benefits, including free admission to the Museum, free or discounted admission to Museum lectures and public programs, one complimentary
Judy Lucania in the Museum Shop. tour of Georgia O’Keeffe’s Home and Studio in Abiquiú, and a subscription to O’Keeffe magazine, published three times a year. Volunteer-recognition events are hosted by the various departments throughout the year. We invite you to join us at the Museum on Wednesday, April 18, from 5:30 to 7 pm, to celebrate Volunteer Recognition Week. Meet our wonderful volunteers and learn how to become more involved with the Museum through the meaningful experience of donating time to the arts. For more information about volunteer opportunities at the Museum, please contact firstname.lastname@example.org or call 505.946.1013. Jackie M is the Director of Education and Public Programs for the Georgia O’Keeffe Museum, where she develops all of the Museum’s education and public programs and oversees 60 volunteers and docents. In 2006, Jackie was presented with the Mayor’s Award for Excellence in the Arts. She has also taught as an artist-in-residence and toured internationally as a performance artist. She has a B.A. in art history from the University of Michigan. Her graduate work was on the history of photography at the University of New Mexico. Sylvie Ward is the Human Resources Manager and Volunteer Coordinator at the Georgia O’Keeffe Museum, where she has been working since 2002. A lifelong resident of Santa Fe, Sylvie graduated from L’Institut Catholique in Paris, France, with a “Professorat” in French language, art, history, and literature. With a background in business management, she is a member of the Society for Human Resource Management (SHRM) and the Northern New Mexico Human Resource Association (NNMHRA).
We invite you to join us at the Museum on Wednesday, April 18, from 5:30 to 7 pm, to celebrate Volunteer Recognition Week. Call ahead for information: 505.946.1013.
BREAKING the RULES A 20 year retrospective on the work of Margarete Bagshaw Opens February 12, to December 31, 2012
Museum of Indian Arts & Culture
photo by Toba Tucker
710 Camino Lejo off Old Santa Fe Trail, Santa Fe, NM, 505-476-1250
BREAKING the RULES After seeing Margareteâ€™s Show, Visit...
GOLDEN DAWN GALLERY 3 Generations of Painting History Margarete Bagshaw Helen Hardin (1943 - 1984) Pablita Velarde (1918 - 2006) 201 Galisteo St., Santa Fe, New Mexico 87501 - 505-988-2024 - www.goldendawngallery.com Exclusive Estate Representative for Helen Hardin and Pablita Velarde
The Living Artists of Dis
Jaune Quick-to-See Smith, Georgia On My Mind, 1986, Oil on Canvas, 64 x 48 Inches, Courtesy Yellowstone Art Museum, Gift of Miriam Sample.
O â€™ K E E F F E W I N T E R 2012
by Carolyn Kastner, Associate Curator
Jaune Quick-to-See Smith Jaune Quick-to-See Smith: Landscapes of an American Modernist, on view at the Georgia O’Keeffe Museum from January 27 to April 29, 2012, is the fourth in the Living Artists of Distinction Series. The series was begun in 2000 to fulfill an important part of the Museum’s mission to define the ongoing significance of Georgia O’Keeffe’s legacy. Since that time, the Museum has honored Anne Truitt (2000), Sherrie Levine (2007), and Susan Rothenberg (2010). Artists are selected for this honor because their work expresses the modernist principles that O’Keeffe and other members of the Alfred Stieglitz circle espoused in the first decades of the twentieth century, and because they have achieved positions of prominence in the American art community. Each of the artists honored in this series has made a singular contribution to American Modernism. The Georgia O’Keeffe Museum is pleased to honor Jaune Quick-to-See Smith (an enrolled Sqelix'u member of the Confederated Salish and Kootenai Nation) with an exhibition that recognizes her contributions to modernist landscape painting. Like that of Georgia O’Keeffe, Smith’s artwork visualizes her strong sense of place and connection to the land of New Mexico. Smith has distinguished herself as a modernist in her pursuit of abstraction, even though the majority of her work expresses multiple and colliding views of the land with signs of animal and human habitation. The exhibition will include paintings, drawings, and prints from two series created in the 1980s and ’90s. Smith first asserted her connection to the American modernist tradition in her Petroglyph Park Series, a cycle of brilliant abstract paintings created between 1985 and 1987. As a dedicated environmentalist, her canvases introduced new cultural perspectives on Modernism and the contested landscape of New Mexico, the artist’s home for more than 30 years. In the midst of painting the Petroglyph Park Series, Smith painted Georgia On My Mind as an homage to O’Keeffe, who died in 1986 and whose iconic New Mexico landscapes had changed the course of American Modernism more than 50 years earlier. Smith’s hybrid paintings enrich that modernist landscape tradition by visualizing human action in a cultural landscape.
The first Living Artists of Distinction exhibition, Anne Truitt: Sculpture, was on view in the Georgia O’Keeffe Museum from June 30 to October 29, 2000. Anne Truitt (1921–2004) became a major figure in American art with her slender vertical sculptures, which she painted meticulously by applying countless layers of thinned paint until she reached just the right density of color. For 40 years, beginning in the 1960s, Truitt drew, painted, and wrote, but her largest contribution to Modernism was the perfection of her wooden sculptural forms. Her goal was “to get maximum meaning
The Georgia O’Keeffe Museum is dedicated to the artistic legacy of Georgia O’Keeffe, to defining its ongoing significance, and to the study and interpretation of American Modernism, late-nineteenth century to the present. in the simplest possible form.” Each sculpture is a testament to Truitt’s achievement—a study in the richness and beauty of color as something simultaneously substantive and ethereal. The Georgia O’Keeffe Museum exhibition presented work produced over the course of the artist’s career from the 1960s through the 1990s, which filled the galleries with the sumptuous color of Truitt’s rigorously painted geometric structures. Truitt’s artwork resonates with O’Keeffe’s 1923 words about her own art: “I found that I could say things with color and shapes that I couldn’t say in any other way—things that I had no words for.” Truitt’s exhibition was followed seven years later by Sherrie Levine: Abstraction, on view at the Museum from January 26 to May 13, 2007. Since the 1980s, Levine has
Anne Truitt, Hardcastle, 1962, Acrylic on Wood, 96 3/4 x 42 x 16 Inches. Courtesy Danese, New York.
O â€™ K E E F F E W I N T E R 2012
Sherrie Levine, After Stieglitz (one in a series of 18), 2007, Ink-Jet Print from Computer-Pixelated Photograph, 13 x 19 Inches, Courtesy James Kelly Contemporary, Santa Fe, and Paula Cooper Gallery, New York.
been known primarily for creating artwork that is based on the immediately recognizable works of earlier artists such as Marcel Duchamp, Walker Evans, Henri Matisse, and Claude Monet. For the exhibition at the Georgia O’Keeffe Museum, she created a new and unexpected body of work that included sculpture and photographic prints that referred to and derived directly from the artwork of O’Keeffe and Stieglitz. She included a suite of 18 abstract photographic prints titled Equivalents: After Stieglitz 1–18. Levine quoted from Stieglitz’s Equivalent series of abstract photographs of clouds, made in the 1920s and ’30s, by digitally reproducing and manipulating the original images. She enlarged the digital files to break down the gray scale of the photographs until she achieved a grid of solid hues. Levine also quoted a signature element of O’Keeffe’s New Mexico paintings by casting sculptural forms of skulls in bronze, titled Antelope Skulls. Levine’s work continues to provoke viewers by complicating and confounding the idea of originality, as she explores abstraction. Like O’Keeffe and Stieglitz before her, Levine is committed to the modernist language of abstraction. As she said in 1984: “We like to imagine the future as a place where people loved abstraction before they encountered sentimentality.”
Susan Rothenberg, Red, 2008. Oil on Canvas, 55 x 57 1/2 Inches, Private Collection, Courtesy Sperone Westwater, New York.
O ’ K E E F F E W I N T E R 2012
The most recent exhibition in the series was Susan Rothenberg: Moving in Place, on view from January 22 to May 16, 2010. This was an unusual exhibition in the series because it was organized by Michael Auping, chief curator of the Modern Art Museum of Fort Worth. It traveled to the Georgia O’Keeffe Museum at the invitation of Curator Barbara Buhler Lynes, who recognized the qualities of a living artist of distinction in a tightly focused exhibition of paintings spanning 30 years of the artist’s life. Rothenberg first came to prominence when, in 1978, she exhibited six paintings of horses in the New Image Painting exhibition at the Whitney Museum of American Art. Richard Marshall, the curator, included 10 artists who were painting in an abstract style but experimenting with the addition of expressive figures. Rothenberg’s stated mission was to find
a technique to energize the canvas with her own gestural brushwork while creating a stable figure in a flat abstract field of color—a strategy that she pursues to this day. As a mature artist, Rothenberg moved from New York to New Mexico in 1990, where she found new color and form in the desert landscape, as O’Keeffe had 40 years earlier. “I’m not sure how I ended up here,” says Rothenberg of her newest work, as quoted in the exhibition catalogue. Yet the artist’s consistent compositional skills and signature brushwork have contributed to a recognizable tension between action and stillness in every painting she has created since her iconic horses of the 1970s. The Georgia O’Keeffe Museum is dedicated to the art and life of Georgia O’Keeffe (1887–1986), as well as to the study of an American phenomenon that O’Keeffe was very much a part of and to which she made major contributions: American Modernism—a movement that began in America in the 1890s and continues into the present. This hugely successful series will continue to recognize men and women who, like O’Keeffe, have made important contributions to American Modernism. Our comprehensive exhibition program acquaints visitors with the significance of O’Keeffe’s art and demonstrates its importance within the context of American Modernism. O’Keeffe’s artworks from our permanent collection are always on view in the museum galleries. In addition, we organize or host the following types of exhibitions, some of which are theme-based:
This hugely successful series will continue to recognize men and women who, like O’Keeffe, have made important contributions to American Modernism.
• works by O’Keeffe from our own and other collections • O’Keeffe’s art shown with that of her contemporaries • the art of O’Keeffe’s contemporaries • works of living artists of distinction. Carolyn Kastner is Associate Curator of the Georgia O’Keeffe Museum. In addition to Jaune Quick-to-See Smith: Landscapes of an American Modernist, she is currently organizing two exhibitions: Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land (2013; co-curated with Barbara Buhler Lynes) and Miguel Covarrubias: From Mexico to New York and Beyond (2014). Her book Jaune Quick-to-See Smith: An American Modernist will be published by the University of New Mexico Press in 2012.
Georgia O’Keeffe and the Faraway: Nature and Image by Barbara Buhler Lynes, Curator, Georgia O’Keeffe Museum, and The Emily Fisher Landau Director, Georgia O’Keeffe Museum Research Center Georgia O’Keeffe had a lifelong passion for nature and felt a particular kinship and spiritual connection with the Southwestern landscape. From her first prolonged stay in New Mexico in 1929, she drew inspiration from this unique environment, and it continued to offer her boundless resources and inspiration for her art to the end of her life. Experiencing nature directly was an essential part of O’Keeffe’s experience in the Southwest, and she walked often amidst the colorful cliffs and hills of the extensive painted desert surrounding her Ghost Ranch house, which she purchased in 1940, picking up rocks and dried animal bones. Camping was also an important means of spending time in and painting the unusual landscape configurations that interested O’Keeffe, and this exhibition explores their importance to her life and art. O’Keeffe explored what she called “the faraway” in paintings of the landscape surrounding her Ghost Ranch house, and these landscape formations were recurrent and important themes in her work. She also sought out more distant and isolated places as subjects in her work, and some became her favorite camping destinations. Most notable was what she called the “Black Place,” about 150 miles west of the Ghost Ranch house—an area of barren and exotic black landscape forms. She Georgia O’Keeffe, Canyon Country, White and Brown Cliffs, 1965, also camped at the “White Place,” which was Oil on Canvas, 36 x 30 Inches, Georgia O’Keeffe Museum, Gift of close to the village of Abiquiú, and whose spiky The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum. white cliffs inspired several paintings. Although O’Keeffe had camped before living in the Southwest, the confluence of the area’s beauty, her love of nature, and the experience of camping proved essential to the significant body of work she created that conveys her extraordinary ability to claim the region as her own—a region now known as “Georgia O’Keeffe Country.” The exhibition Georgia O’Keeffe and the Faraway: Nature and Image includes some of the many paintings and drawings O’Keeffe made of the Southwestern landscape, as well as photographs of her camping trips to the “Black Place” with her friend and colleague Maria Chabot. O’Keeffe discovered this area in the 1930s, and in the 1940s returned to it frequently to paint. As she pointed out in 1943: “Such a beautiful—untouched lonely feeling place—such a fine part of what I call the ‘faraway.’ It is a place I have painted before but I wanted to do again—and even now I must do again.” There are also images of O’Keeffe walking at the “White Place,” and paintings she made of it. O’Keeffe made several rafting trips down the Colorado River in the 1960s and camped at Glen Canyon, which inspired numerous paintings as well as photographs taken of her by fellow campers Eliot Porter and Todd Webb.
O ’ K E E F F E W I N T E R 2012
Maria Chabot, Georgia O’Keeffe, Morning, The Black Place, 1944, Photographic Print, 4 13/16 x 3 3/8 Inches, Georgia O’Keeffe Museum, Maria Chabot Archive, Gift of Maria Chabot. © Georgia O’Keeffe Museum.
Maria Chabot, Georgia O’Keeffe, Campsite, The Black Place,1944, Photographic Print, 4 13/16 x 3 3/8 Inches, Georgia O’Keeffe Museum, Maria Chabot Archive, Gift of Maria Chabot. © Georgia O’Keeffe Museum.
O ’ K E E F F E W I N T E R 2012
The Black Place, New Mexico. O’Keeffe herself took photographs of the canyon that she used as studies for her paintings. The exhibition also includes a recently made panoramic photograph of the “Black Place,” as well as a reconstruction of O’Keeffe and Chabot’s campsite that includes the camping gear they used, and that Chabot bequeathed to the Georgia O’Keeffe Museum upon her death in 2001. The Georgia O’Keeffe Museum collaborated with the National Cowgirl Museum and Hall of Fame, in Fort Worth, Texas, where the show opened in 2010, and worked in partnership with the exhibition curator, Valerie Ann Leeds, and former Cowgirl Museum Curator Patricia Dixon. The catalogue for this groundbreaking exhibition, which includes an introduction by Dixon and essays by Leeds and Barbara Buhler Lynes, Curator, Georgia O’Keeffe Museum, and The Emily Fisher Landau Director, Georgia O’Keeffe Museum Research Center, is available in the Georgia O’Keeffe Museum Store.
Todd Webb, Georgia O’Keeffe at Glen Canyon, 1961, Gelatin Silver Print, 7 1/4 x 9 1/4 Inches, Georgia O’Keeffe Museum, Gift of The Georgia O’Keeffe Foundation.
Barbara Buhler Lynes is The Emily Fisher Landau Director of the Georgia O’Keeffe Museum Research Center and Curator of the Georgia O’Keeffe Museum in Santa Fe, New Mexico. She was formerly a professor of art history at the Maryland Institute, College of Art, Dartmouth College, and Vanderbilt University. Barbara holds two doctoral degrees (art history and French literature) and is the leading O’Keeffe expert and scholar. She has published numerous books and essays, and she has received The Frances Smyth-Ravenel Prize for Excellence in Publications Design for Georgia O’Keeffe: Catalogue Raisonné (Yale University Press, 1999); Independent Press Publication of the Year (IPPY) for Georgia O’Keeffe and New Mexico: A Sense of Place (Princeton University Press, 2004); and U.S. News Best Book of 2007 for General Art Books for Georgia O’Keeffe: Museum Collections (Harry N. Abrams, 2007). okeeffemuseum.org
O’Keeffe Art and Leadership Program for Girls: Laying the Foundation for Fulfillment by Eve Tolpa
O ’ K E E F F E W I N T E R 2012
Louvah Silver—Lou Lou to her friends—is sitting outside on the campus of the Santa Fe University of Art and Design, flipping through a sketchbook. Her hands pass over pages and pages of projects she has been working on: Japanese manga-style drawings; a fairy tale about Bob’s Pet Store and the animals that live there; a poem that begins, “I saw an army of ants wearing camouflage suits.” She stops at a painting of oversized flower petals, bright and pink. “I really like Georgia O’Keeffe’s style of art,” she says, referring to her inspiration for the piece. “It’s close up.” It is day three of the fifth and final session of the 2011 O’Keeffe Art and Leadership Program for Girls. Twelve-year-old Lou Lou is in her first year in the program and is eligible to attend for two more years at no expense to her family. Three girls from each of Santa Fe’s 20 public elementary and various charter schools are nominated by their teachers to attend the program each year. Girls from lower-income families with core interests in the visual, literary, and performing arts are given priority, and the ethnic makeup of the group is proportionately similar to that of the city itself. “I’m Navajo, part of the Bitter Water clan,” says Lou Lou, who grew up in Arizona and moved with her family to Santa Fe about a year ago. She had heard of the O’Keeffe Museum, but not of the program. Still, she jumped at the chance to participate. “I wanted to be with a group of artistic people,” she says. “Some people over at my school, they don’t really understand art. Sometimes they make fun of it. I wanted to be with people who were different, multicultural.” Begun in 1998, the groundbreaking Art and Leadership Program provides adolescent girls with opportunities for skill-building, problem-solving, independent thinking, and the development of their artistic talent.
Aisha Herrera as a participant. In the words of Program Coordinator Shannon Bay, among the many ways the program supports youth is by helping “girls realize they can make a living in the arts, whatever that means to them: artist, curator, educator, gallery or business owner, marketing director. Whatever her interest might be—artistic or otherwise—she can create a future for herself that incorporates her passion.” The program’s namesake is instrumental in this process. “Georgia O’Keeffe knew by age 12 that she wanted to be an artist,” says Bay. “She’s a great role model for the girls. We show the girls examples of how she pursued her dreams, especially at a time when it wasn’t acceptable for women to be independent. She believed in education. She was an art teacher, and years later she was involved in creating an elementary school in Abiquiú. I see this program as a continuation of what she started in her life. She led by example.” With a B.F.A. in photography and a minor in art history, Bay herself is no slouch in the role-model department. In 2007, she came to work for the Museum to pursue her own passions: art and making a difference in young lives. But Bay’s initial interest in the program came from a slightly different direction:
Begun in 1998, the O’Keeffe Museum’s groundbreaking Art and Leadership Program provides adolescent girls with opportunities for skill-building, problem-solving, independent thinking, and the development of their artistic talent.
Art and Leadership for Girls, summer 2011. “Georgia O’Keeffe is my sorority sister. Every year, the program hires two interns through a grant from the Kappa Delta Foundation, so I applied for the internship.” As an intern herself, Bay was introduced to the nuts and bolts of the curriculum. The job is a paid 10-week position, and this year Bay received 50 applications from university students all over the country for the six available internships. Each year, four girls are chosen from the college level who are studying an area of the arts. Two must be Kappa Deltas. The remaining two positions are filled by high school students who are veterans of the program. Aisha Herrera, an Art and Leadership participant for three years, is now a high school intern. “I made friends with interns when I was in the program and they really inspired me to make a lot of the art that I did,” she says. Returning to the program to give back “sounded like the best idea ever.” “I build a team,” Bay explains. “There was a study by the Office of Women’s Health finding that a 19-year-old is the ideal role model for an 11-to-13-year-old girl. I’m looking for girls with different skills to bring to the table. The interns lead and create art lessons as well as leadership lessons and teach experiential learning games. And when they aren’t leading, they’re participating as role models.” One of the program’s goals is to expose girls to an array of artists, from local visiting artists to the American modernists who are the Georgia O’Keeffe Museum’s specialty. This year, an intern devised a hands-on lesson based on a quote by Alfred Stieglitz: “A good abstract painting can be viewed from any angle.” They also put together the program’s final exhibition, a culmination of participants’ artistic development in which each girl has a piece of work displayed gallery style. But art is only part of the equation. “We introduce a variety of life lessons that touch on different subjects, and we plan our days by taking into account the needs of the group,” says Bay. The girls deconstruct advertising and Photoshopped images to build critical-thinking skills. They discuss body image and healthy eating habits. They address bullying and strategies for coping with it. Girls are encouraged to use “I” statements as a way to develop confidence in their self-expression. Running through all these diverse subjects is the theme of leadership: what it is and how to practice it. According to college intern and Kappa Delta member Amy Banfield, the program is different
“Georgia O’Keeffe knew by age 12 that she wanted to be an artist. She’s a great role model for the girls,” says Program Coordinator Shannon Bay.
O ’ K E E F F E W I N T E R 2012
Art and Leadership by the Numbers Age of girls eligible for program: 11–13 Maximum number of years a girl can attend program: 3 Number of sessions per year: 5 Number of girls in each session: 18–21 Total number of girls in 2011 program: 110 Program tuition, per girl: $800 Program tuition cost to participants: $0 (parents can make donations to help support the program) Funding sources for 2011: • The National Endowment for the Arts • The Burnett Foundation • The William Randolph Hearst Foundation • Kappa Delta Foundation • The Sulica Fund • The Kaiserman-Robinson Family • The O’Keeffe Circle and Business Partners • Participants’ families • Individual donors to the Museum Number of high school interns hired each year: 2 Number of college interns hired each year: 4 Total number of visiting artists for 2011: 10 Intern application due date: March 1, 2012; okmuseum.org For more information about the program, contact Shannon Bay at 505.946.1012 or email@example.com.
Aisha Herrera working as an intern. “because it helps girls discover that they are already leaders.” Leadership, she says, is not necessarily about being at the top of a hierarchy; it’s about girls setting and achieving goals and recognizing qualities they already possess, “like being more organized.” The program, along with the tandem Boys Program, was lauded as one of the country’s best for youth development by the President’s Committee on Arts and Humanities, an honor that touched many lives in unexpected ways. “When we went to receive the award from The White House, we were able to take a girl with us,” Bay recalls with some emotion in her voice. “The girl we took had never been out of New Mexico before, never been on a plane. Her awe of being in a big city was life changing. She was so proud. We took her grandmother with us to share the experience.” Bay pauses, then adds, “For some of these girls, it is the first time they’ve been told they can do something great— or, actually, that they already are great.” Intern Sativa Cruz agrees. A rising high school senior who aims to study environmental science in college, she has been on both the giving and receiving ends of this kind of encouragement. “I believe that every girl could accomplish great things if other people could recognize her talents,” she says. “It is great to be somebody they can look up to, and let them know I’m looking up to them as well.”
The Georgia O’Keeffe Museum Mag azi ne
You Belong in this American Masterpiece It’s the start of a new year, a time for making resolutions and planning the year ahead. One great resolution is to initiate or renew your membership with the Georgia O’Keeffe Museum. Across the country and around the world, our loyal members enable the Museum to enhance the public appreciation of O’Keeffe’s many artistic achievements through their valued support. The generosity of our members makes it possible for us to offer innovative exhibitions showcasing the works of O’Keeffe and other American modernists as well as award-winning educational programs for children and adults alike. Their support also touches the art itself by allowing us to preserve and expand our permanent collection and further the innovative efforts of our Research Center, the only institution in the world dedicated solely to the study of American Modernism. In return, the Museum offers its members many benefits not available to the general viewing public. Members enjoy unlimited admission to the Museum for a full year and are invited to exclusive members-only preview receptions for each new exhibition. Additionally, members enjoy discounts on a broad spectrum of public programs and on items in both our store and on our website, as well as a subscription to the triannual O’Keeffe: The Georgia O’Keeffe Museum Magazine among many other benefits fully listed on the opposite page. We look forward to having you join us as a member this year and sincerely thank you for your engagement. If you have any questions regarding membership with the Georgia O’Keeffe Museum, please contact Camille Romero, Membership and Annual Fund Manager, at 505.946.1033 or firstname.lastname@example.org.
Georgia O’Keeffe, Trees in Autumn, 1920/21, Oil on Canvas, 25 1/4 x 20 1/4 Inches, Georgia O’Keeffe Museum, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
Become a Member Today! Name (as it appears on membership card): _____________________________________________________________ Second Name (as needed for levels providing 2 membership cards): ___________________________________________ Mailing Address: _________________________________________________________________________________ City, State, Zip Code: ______________________________________________________________________________ Phone: _____________________________ Email: ______________________________________________________ Membership Type: _______________________________________________________________________________ Check enclosed for $ ____________________________________________________________________________ Charge my credit card for $ _______________________________________________________________________ Amex
Account Number: _________________________________ Expiration: ________ Billing Zip Code: ____________ Name on Card: ______________________________ Signature (required for credit cards): ______________________ Enroll me for the Georgia O’Keeffe Museum e-newsletter. Please use the enclosed envelope or mail to: Georgia O’Keeffe Museum, 217 Johnson Street, Santa Fe, NM 87501 okeeffemuseum.org
An Enduring Enthusiasm for O’Keeffe
by Eve Tolpa
Cynthia Hoefer, Exploring Acrylic as a Medium, created during summer/fall 2010.
Cynthia Hoefer has always considered herself an art aficionado, but it wasn’t until she took a tour of Georgia O’Keeffe’s Abiquiú residence in the mid1980s that her interest in the trailblazing painter really took flight. “I was an independent career woman for a lot of years before I married,” she explains. “I admire O’Keeffe’s independent spirit and her ability to create a life for herself as a woman.” Born and raised in Fresno, Cynthia moved to the Albuquerque area from San Francisco in 1982. The process was an adventure in itself; she came to New Mexico “site unseen. I had a job with Intel and was always drawn here. The first weekend [after moving], I came up to Santa Fe for the day and fell in love with it.” She immediately joined the Museum of New Mexico Foundation—partly, she admits, as an excuse to keep visiting the City Different. She now divides her time between the home she shares with her husband in Corrales and the downtown Santa Fe condo they bought in 1994. Naturally, when the Georgia O’Keeffe
When the Museum opened its doors in July 1997, Cynthia Hoefer knew she wanted to be a part of it. 34
O ’ K E E F F E W I N T E R 2012
Cynthia Hoefer, Abstraction, created during summer/fall 2010. Museum opened its doors in July 1997, Cynthia knew she wanted to be a part of it. She acquired a membership and attended all the opening events and festivities— classes, lectures, receptions. Almost 15 years on, she still appreciates the richness of experience that comes from having a high level of access to the Museum. “I can go multiple times and I get something different every time. There’s more that I’m interested in than I can get to.” The O’Keeffe Art and Leadership for Adults program has been a particular draw for Cynthia, who, since retiring in 1997, has attended workshops on subjects ranging from milagros to botanical prints to a cooking class that recreated recipes from O’Keeffe’s kitchen. “There was a workshop on abstraction with [art historian, writer, and filmmaker] Barbara Tyner—it was wonderful. And a local artist named Nancy Reyner demonstrated acrylic techniques and materials. I’ve done a series on watercolors; I go to symposiums and opening night lectures . . . it’s intellectually stimulating. The
Museum brings in quality people.” Over the years, Cynthia has read numerous books on the painter and cites Portrait of an Artist: A Biography of Georgia O’Keeffe, by Laurie Lisle, and A Woman on Paper: Georgia O’Keeffe, by Anita Pollitzer, as two literary highlights. “I liked reading about her Texas years,” Cynthia says. “I always liked her early work, her abstractions, best. Evening Star is one of my favorites—it’s so beautiful to me. I like how she is able to communicate so simply, to get it down to the essence.” Cynthia finds it especially interesting to study the artist in the context of American Modernism and notes that she’s “looking forward to reading the letters between her and Stieglitz.” What is it about Georgia O’Keeffe that makes her perpetually fascinating to this diehard Museum member? “Her attitude toward life—how she looked at nature, how she made it her own. She lived simply yet richly. There’s still a lot to learn from her.”
Bellissimo! O’Keeffe Abroad: The O’Keeffe Circle Visits Rome byV. Susan Fisher
Each traveler received a leather-bound itinerary at the beginning of the trip.
O’Keeffe Circle travelers descend the remarkable circular staircase at the Vatican Museum on their private tour of the museum collections and the Sistine Chapel.
O ’ K E E F F E W I N T E R 2012
What do Michelangelo Buonarroti, Georgia O’Keeffe, Pope Leo X, and the O’Keeffe Circle of the Georgia O’Keeffe Museum all have in common? Rome. This fall, for the first time ever, a retrospective of the iconic American artist Georgia O’Keeffe opened in Rome, at the Museo Fondazione Roma, one of the city’s two leading venues for special exhibitions. In order to attend the special preview on October 3, and to visit the historic treasures, both private and public, of that epic city, 12 travelers embarked on the O’Keeffe Circle’s trip to Rome, from October 2 through October 6. As the Georgia O’Keeffe Museum’s highest annual Membership level, the O’Keeffe Circle offers opportunities to travel with senior members of Museum staff in the U.S. and abroad, to tour private collections, and enjoy unique access to public treasures of art, architecture, and cultural expression. Their visits are hosted by collectors or art historians who provide in-depth interpretations of, and historical contexts for, the artworks on display. The recent trip to Rome provides an outstanding example of the rich rewards of O’Keeffe Circle membership. Early in 2011, the Museum’s Director, Rob Kret, identified A Private View of Italy (APVOI) as a possible Rome-based partner in the planning of a trip to Rome to coincide with the opening of the international traveling exhibition Georgia O’Keeffe: A Retrospective. It was an inspired lead. APVOI is the creation of Count Stefano Aluffi-Pentini, who grew up in a family steeped in art, archeology, and history, in addition to a social network that reaches back to the Italian Renaissance through such families as the Barberini and the Doria—and even earlier. The Colonna princes have lived in the original palaces on their grounds for almost 1,000 years, and the Massimo family is one of the oldest in Rome. According to Roman legend, the family descends from Fabius Maximus Cuncatator, a renowned patrician and general of Imperial Rome. This intellectual, cultural, and social background inspired Count Aluffi-Pentini—or Stefano, as he asked to be called—to found a company that would be able to offer views of the hidden treasures and family histories of Rome to select groups of travelers. In doing so, he brought a fresh perspective to his insider’s view of Rome’s ancient aristocracy. His own experience had taught him that, quite apart from the treasures that are now preserved as public monuments or exhibited in museums, an entire world of artistic masterpieces remains out of the public sphere, still in the personal possession of noble families. “Of all European cities, this one has the most historic palaces and villas still in private hands,” he observed. “This is because, in Italy, the papacy was elected. Each time there was a new pope, another family came to power and was able to commission incredible buildings. Amazingly enough, many of the descendants still
Georgia O’Keeffe, Horse’s Skull with White Rose, 1931, Oil on Canvas, 30 x 16 1/8 Inches, Private Collection, Extended Loan, Georgia O’Keeffe Museum. © Georgia O’Keeffe Museum.
O ’ K E E F F E W I N T E R 2012
own and live in these.” Stefano created a private service, based on personal introductions, that would open the doors of residential palazzos dating back to the Renaissance to groups with a particular interest in art and art history. This continuity between past and present produces a vivid, not to say startling, experience of Rome for visitors from abroad. Palazzos and dynasties familiar from history and art books came astonishingly to life for the O’Keeffe Circle travelers during the week they spent in Rome. Having opened a volume of art history, rather than printed words and images they found hot coffee and fresh pastries offered by the Principessa Barberini in the cloistered beauty of her private garden in the Palazzo Barberini. As detailed in the leather-bound itinerary and handbook that awaited each O’Keeffe Circle traveler at the Grand Hotel de la Minerve (adjacent to the Pantheon in the heart of Rome, and just blocks from the exquisite Piazza Navona), the tour began at the center of the ancient Roman world: the Capitol, or Campidoglio, still the seat of municipal government. Along with the Palazzo Senatorio, the Capitoline Museums occupy the dramatic sixteenth-century piazza, designed by Michelangelo, on the hill above the Forum. Conducted by an articulate art historian with an encyclopedic command of the artistic history of Western Europe, as well as a smiling and gentle APVOI staff member with laser-sharp attention to detail, the group went on to explore, in private, the beauties of the Villa Medici and its gardens, with their panoramic view of Rome. After returning to the hotel for a change into formal attire, the travelers reboarded their private bus to go to dinner at the sumptuous Palazzo Colonna. The current structure, built atop an even earlier complex, was undertaken during the pontificate of the Colonna pope Martin V (1417–1431) and expanded by the architect Nicolò Michetti in 1730. The magnificent collection of paintings, including works by Carracci, Guercino, Poussin, Tintoretto, and Ribera, is open to the public one day a week. The private apartments are not. Thus, other art lovers never see the glorious staterooms; the frescoes celebrating the feats of Marc’Antonio Colonna, who led the victorious Christian forces at Lepanto; or the famous Galleria Colonna, which rivals the Hall of Mirrors at Versailles. Our travelers dined in patrician elegance in the private dining salon, and coffee was served on the enclosed garden terrace. And all this was just the first day. In succeeding days, always accompanied by their dedicated art historian and staff guide, our travelers were entertained by the owners of the Palazzo Doria Pamphilj, the Casino Dell’Aurora Lucovisi, the Palazzo Taverna, and the Palazzo Odescalchi, to name but a few. Visiting the Roman Baroque masterpiece the Palazzo Barberini, with its Galleria National d’Arte Antica, the travelers were met by the Principessa Barberini, who invited them to her private residence in the Palazzo and entertained them with coffee and refreshments in her enclosed garden. From these glories of the past, they sped to the present day with guided tours of the historic MAXXI, or National Museum of XXI Century Arts, completed only last year through a massive municipal initiative. They were conducted though MACRO, which is housed in a restored and converted brewery, and recently expanded by the renowned French architect Odile Decq. To all these wonders our travelers brought their own
Led by a specialist in Roman Renaissance art, the travelers explore the architecture of the Palazzo Barberini.
At its October 2011 meeting, the Museum’s Board of Directors voted to change the name of the National Council to the O’Keeffe Circle, to emphasize the welcoming, social nature of this membership group.
The facade of the Museo Fondazione Roma. distinct contributions. Among our travelers were lenders to the exhibition Georgia O’Keeffe: A Retrospective. The exhibition preview, at the Museo Fondazione Roma, was so densely attended that latecomers were kept waiting at the door, as earlier arrivals could not tear themselves away. Everywhere they went in Rome, on every street corner, the travelers were greeted by posters promoting the exhibition. Traveling between visits on their private bus, they found themselves following a Rome city bus prominently displaying a reproduction of O’Keeffe’s Summer Days (1936). And so it was to great public acclaim that the Georgia O’Keeffe Museum contributed yet another icon of artistic vision to this meeting place of East and West, past and present, modern and classic art.
O ’ K E E F F E W I N T E R 2012
Plans are currently under consideration for trips to Helsinki and Munich and, in the U.S., Art Basel Miami Beach. For more information, or to register your interest in one of these destinations, please email email@example.com.
How to Search the Georgia O’Keeffe Museum
Collection Online Anyone who has had the pleasure of visiting the Georgia O’Keeffe Museum in Santa Fe, New Mexico, will agree that nothing beats viewing her genius in person. However, the Museum has launched a new online collection website (contentdm.okeeffemuseum.org) that allows users the opportunity to view a large number of its collection’s holdings including painting, drawings, sculpture, photography, and a significant amount of O’Keeffe’s personal correspondence with people like Alfred Stieglitz, Maria Chabot, and Ms. O’Keeffe’s younger sister Claudia O’Keeffe. Also available for viewing in the online collection are examples of personal property of O’Keeffe’s, which provide a glimpse into the objects that surrounded the artist in her daily life. According to the homepage, “The collections online represent a selection of the wide range of works in the Museum and Research Center collections. Works are being added online on an ongoing basis” and users are urged to “check back often!” The contents of the online collections include items in the following categories: • • • • •
Maria Chabot, Pelvis I, Ghost Ranch Patio, 1944, Photographic Print, Letters to Alfred Stieglitz, Georgia O’Keeffe Museum Research Center Archives. © Georgia O’Keeffe Museum.
drawings, paintings, and sculpture photography Georgia O’Keeffe general correspondence personal tangible property the William Innes Homer papers
The collection’s homepage has an “about” option which enables users to “learn more about the collections.” All the search options are user-friendly and do not require any specialized computer expertise to utilize them. In addition, there is no cost involved in accessing the website’s materials. From the homepage, the online collections are viewable in two ways: (1) Browse and (2) Search.
This article is excerpted from “Georgia O’Keeffe Museum: Collections Online,” by Carolyn Frenger (Librarian and Independent Scholar, Washington, D.C.), originally published in Reference Reviews, Vol. 25, No. 1 (2011): 50–51. © Emerald Group Publishing Limited. ISSN 0950-4125. Reprinted by permission. Website: emeraldinsight.com.
O ’ K E E F F E W I N T E R 2012
Maria Chabot, Black Place III, Ghost Ranch Patio, 1944, Photographic Print, Letters to Alfred Stieglitz, Georgia O’Keeffe Museum Research Center Archives. © Georgia O’Keeffe Museum.
The Search screen provides users with options to search the records in the database, including: • • • •
across the fields selected fields by proximity by date
You can view and search more than 7,350 digital objects on the Museum’s collections website.
In each option, users can limit the parts of the collection they want to search in, as well as in the records themselves. There is also a Search box in the upper-right-hand corner of each page that allows for simple searching of a subject. One of the benefits this collection’s website has is allowing users to switch from one type of searching method to another by way of a toolbar at the top of each page. This lists links to the other ways to search the collection without the need to return to the homepage. Once a user has assembled a results list, accessing each image is easy. Simply clicking on the image opens up the item’s record and provides a wealth of factual information including: catalogue raisonné number, title, artist/ creator, creation date, material, size, subject headings, and copyright information. The record also allows users to enlarge and zoom in on the image in the view pane. Overall, the graphics are very clear, load quickly, and are easy to switch from one page to another with little, if any, delay. The correspondence is legible and all the contents enable viewers to experience the materials in a more tangible way, similar to having the actual objects in front of them. This online collection website is easy to use, has contents that are wonderful to view, is kept up-to-date and looks professional. Groups that might find the collection useful would be academic libraries, art museum libraries, scholars doing research on Georgia O’Keeffe and the American art scene during her lifetime, and anyone interested in looking into the life of a great American artist through tangible items, correspondence, and inspiring examples of her talent in the form of paintings, drawings, and sculpture, all without having to travel to Santa Fe, New Mexico.
Research Center Scholars Talk Eumie Imm-Stroukoff, Librarian and Assistant Director, Research Center
What do the following topics have in common: Langston Terrace, Cady Wells, masculinity in modern American fiction, abstract portraiture, and Lewis Hine? They are all topics that Georgia O’Keeffe Museum Research Center scholars worked on during their time in Santa Fe. Each year, the Research Center sponsors a competitive scholarship program that awards monies to six qualified individuals who propose projects that explore aspects of American Modernism (late-nineteenth century to the present) in any of the following fields: architecture and design, art history, literature, music, or photography. One stipend can also be awarded to a museum professional to organize an exhibition about American Modernism for the Museum. To date, we have awarded 64 stipends. We recently asked some of our former scholars a series of questions about their time in Santa Fe: Libby Bischof, Julia Dolan, Erika Doss, Audrey Goodman, Kathleen Pyne, Kelly Quinn, Chris Reed, Lois
The Georgia O’Keeffe Museum Research Center.
O ’ K E E F F E W I N T E R 2012
Rudnick, Jonathan Walz, and Daniel Worden. Here are some of their responses. How did the Research Center scholarship assist you with your project? Chris Reed: It offered a much-needed opportunity to concentrate on scholarly work in a stunning setting, but even more important has been the relationships with the other scholars. In fact, I have been in contact in the last two weeks with every other scholar whose time overlapped with mine. Kelly Quinn: I substantially revised my manuscript and advanced my work while enjoying the peaceful tranquility and intellectual camaraderie of the Research Center. The visual clarity of the environment encouraged discipline and stimulated my thinking. Erika Doss: The Research Center stipend was enormously helpful in getting me started with my next book project, on twentieth-century American modernist artists and issues of religion. Audrey Goodman: My fellowship provided invaluable time and space for intellectual exploration and reflection. In addition to providing access to archives at the Museum, Research Center, and Ghost Ranch, the Research Center provided opportunities to consult with curators, archivists, writers, and photographers in Santa Fe. My research focuses on literary and visual histories of the Southwest, and this access allowed me to work with a wide range of primary documents. Because I had the opportunity to work with these rich materials, and to live in the region I was investigating, I gained a much more nuanced perspective on how writers, photographers, and painters
â€œMy fellowship provided invaluable time and space for intellectual exploration and reflection,â€? says Audrey Goodman. told stories about the twentieth-century Southwest. As a result, I was able to imagine and lay the foundation for Lost Homelands: Ruin and Reconstruction in the TwentiethCentury Southwest (University of Arizona Press, 2010), a more ambitious book than I had originally planned. Jonathan Walz: The Research Center generously provided much-needed time and space to really immerse myself in the research and writing necessary for my research. During my tenure at the RC, I presented three different papers to different academic and scholarly audiences and received valuable feedback. Living and working in Santa Fe, where a handful of artists I considered in my dissertation also had lived and worked, provided insight into their personas and cultural production. These kinds of realizations added texture and nuance to my writing. Julia Dolan: The scholarship provided the time and space for me to write three chapters of my dissertation. The physical separation from the East Coast and the everyday activities of my typical life permitted that kind of production. It was almost magical.
Julia Dolan at Bandelier National Monument.
Libby Bischof: My fellowship gave me time to think about the direction of my work before beginning my tenure-track job. It allowed me the time, space, and freedom to begin to conceptualize how I could broaden my work on the relationship between the photographers F. Holland Day and Alfred Stieglitz into a larger story.
What were some of the most meaningful experiences that you gathered from being at the Research Center? Chris Reed: The opportunity to live in New Mexico and to explore the local cultures provided many unforgettable experiences—everything from the handmade hot chocolates and ice creams in Santa Fe to the dances at the pueblos. Kelly Quinn: I greatly enjoyed our meals in the garden, and lunchtime excursions for green chile as well. Daniel Worden: I loved the chance to travel around New Mexico, and I also appreciated being so centrally located within downtown Santa Fe. Because of this, I began to research Southwest Modernism, which has resulted in subsequent research projects on Mary Austin, Laughing Horse magazine, and literary cultures of the Southwest more generally. I also became much more familiar with the visual arts, something that has proven invaluable to me as I continue to work on Modernism as well as contemporary comics and graphic novels. Audrey Goodman: My most powerful memory is the excursion Barbara Buhler Lynes led to Ghost Ranch for all the scholars in residence. Even after months immersed in the landscape and its history, seeing “Georgia O’Keeffe Country” up close with an expert guide was eye-opening. Barbara’s knowledge and enthusiasm about every aspect of the site was infectious—and made us reconsider O’Keeffe’s work and our own. Julia Dolan: The camaraderie certainly meant a lot, and still does. Even the everyday pattern of coming to work in a pristine work space was meaningful. The opera and landscape were pretty fantastic too! And I’ll never forget the visit to Ghost Ranch. How did your relationships with other scholars and staff assist you with your work? Lois Rudnick: The collegiality was terrific. Having to present aspects of my work to my colleagues before the public lecture, and getting very helpful and honest feedback, was of great value. Erika Doss: I was delighted to receive constructive feedback on my project, and to hopefully provide the same. Daniel Worden: The other scholars at the Research Center were wonderful. Since I was a graduate student at the time, I was so happy to be able to talk through my work with more established scholars. The staff were also incredibly helpful—the most personal library service that I have ever had, along with rigorous comments on my work, recommendations about Santa Fe and beyond, and, of course, a tremendous amount of knowledge about O’Keeffe and New Mexico cultures.
O ’ K E E F F E W I N T E R 2012
Kathleen Pyne: In particular, Barbara Buhler Lynes and Eumie Imm-Stroukoff were instrumental in helping me to explore the archives at the Research Center and the Georgia O’Keeffe Foundation (materials now owned by the Museum)—which yielded many discoveries that added important dimensions to my research. Other comments? Lois Rudnick: There is no way that I could have accomplished the work that I have done on Cady Wells— my lectures, curating, and publication—without the opportunity afforded me by the Research Center stipend. I will be eternally grateful for this. Jonathan Walz: I enjoyed reuniting with my cohort of scholars and loved meeting others at the recent Research Center Symposium (2011). It was another chance to exchange information and ideas in a forum provided by the Research Center. Libby Bischof: A sincere thank you for the time and space so generously provided for scholars of American Modernism. Have you thought of alumni scholarships yet? I’m sure we’d all love to come back for more! And, finally: red or green? Kelly Quinn: Green, or Christmas, or red. Or green. Oh, shoot … it depends where and what. Lois Rudnick: GREEN GREEN GREEN. Erika Doss: Green, always. Audrey Goodman: While I’ve always loved green chile best, I developed a new appreciation for red chile’s earthiness and depths of flavor! Eumie Imm-Stroukoff is the Librarian and Assistant Director of the Georgia O’Keeffe Museum Research Center. Prior to Eumie’s employment at the Museum, her work experience included The Museum of Modern Art, New York; Special Collections Unit at the New York Public Library; the Cooper-Hewitt Museum; and the Thompson Public Library. She received her B.A. and M.A. in art history at the University of Cincinnati and her M.S. in Library and Information Service at Columbia University. Elizabeth (Libby) Bischof, Assistant Professor, University of Southern Maine; Ph.D., Boston College; 2007–2008 Research Center Scholar; project title: “Mentoring a Movement: F. Holland Day, Alfred Stieglitz, and the Development of American Art Photography.” Julia Dolan, Curator of Photography, Portland Art Museum; Ph.D., Boston University; 2007–2008 Research Center Scholar; project title: “‘I Will Take You Into the Heart of Modern Industry’: Lewis Hine’s Photographic Interpretation of the Machine Age.”
William Agee, Barbara Buhler Lynes, and Erika Doss.
Erika Doss, Chair, American Studies Department, University of Notre Dame; Ph.D., University of Minnesota; 2010–2011 Research Center Scholar; project title: “Picturing Faith: Religious Presence and Meaning in Modern and Contemporary Modern Art.” Audrey Goodman, Associate Professor, Department of English, Georgia State University; 2002–2003 Research Center Scholar; project title: “Exploring Culture from the Modernist Southwest.” Kathleen Pyne, Professor of Art History, University of Notre Dame; 2001–2002 Research Center Scholar; project title: “Modernism and the Feminine Voice: The Search for Woman in Art.” Kelly Quinn, Assistant Professor, American Studies Department, Miami University; 2009–2010 Research Center Scholar; project title: “Making Modern Homes: Placemaking and Public Culture at Langston Terrace Dwellings.”
Lois Rudnick in Taos.
Christopher Reed, Associate Professor, Pennsylvania State University; Ph.D., Yale University; 2007–2008 Research Center Scholar; project title: “Bachelor Japanists”; recent publication: translation and critical
introduction, The Chrysanthème Papers: The Pink Notebook of Madame Chrysanthème and Other Documents of French Japonisme, by Félix Régamey (Honolulu: University of Hawai‘i Press, 2010). Lois Rudnick, Professor Emerita of American Studies Program, University of Massachusetts; Ph.D., Brown University; 2005–2006 Research Center Scholar; project title: “Cady Wells and Southwestern Modernism.” Jonathan Walz, Curator, Cornell Fine Arts Museum, Rollins College; Ph.D., University of Maryland at College Park; 2007–2008 Research Center Scholar; project title: “Abstract Portraiture and the American Avant-garde, 1912–1927.” Daniel Worden, Visiting Assistant Professor, Department of English and University Honors Program, University of New Mexico, and Assistant Professor, Department of English, University of Colorado at Colorado Springs; 2005–2006 Research Center Scholar; project title: “Urban Cowboys and Rural Reds: The Production of Masculinity in Modern American Fiction.”
Jonathan Walz, Libby Bischof, and Chris Reed.
O ’ K E E F F E W I N T E R 2012
“The visual clarity of the environment encouraged discipline and stimulated my thinking,” says Kelly Quinn.
It’s O’K to Write!
It’s O’K to Ask!
Dear Christina [Visitor Services Manager],
Thanks so much for arranging our group tour early last Tuesday—and for providing us with such an interesting, informed docent! Everyone really appreciated her sharing her knowledge and her sense of fun and love of art with us. Her informative discussion about the exhibit was especially helpful. We appreciated you starting our tour early, as that helped our scheduling situation considerably. I enjoyed sharing this part of my new home with the group! Sincerely, Sue Sprague, Santa Fe, New Mexico Publisher’s note: You can arrange personalized group tours through the Museum by calling Christina Dallorso Kortz, Visitor Services Manager, at 505.946.1019.
Dear Kristin [Director of Marketing and Public Relations],
Just a short e-mail note to say thank you very much for the lovely tour and reception last week at the Georgia O’Keeffe Museum. It was indeed a wonderful gathering, and thank you so much for thinking of us concierges. It is always such a treat to visit the Georgia O’Keeffe Museum, and we are so fortunate to have the Museum in Santa Fe. Georgia is so much a part of New Mexico and Santa Fe. The Museum, and her home in Abiquiú, are such treasures, and it’s so wonderful that we are able to share Georgia O’Keeffe with the world. You may not know this, but the questions most asked by hotel guests are: “Where is Georgia’s museum? How far is it from Hotel St. Francis?” Yes, that’s true! And it’s been like that since the opening of the Museum . . . so, there you are. Thanks again for thinking of us. In Friendship, Inger Boudouris, Chef Concierge, Hotel St. Francis Publisher’s note: You can follow the Hotel St. Francis on Facebook, where Inger provides her wonderful “Picks of the Week” of great things to do in Santa Fe.
Dear Kristin [Director of Marketing and Public Relations],
My wife and I will be visiting Santa Fe and the Museum in the spring. We would like to see other places in the area where Georgia O’Keeffe lived, stayed, and painted. Can you give us some suggestions? Thank you for your help. Looking forward to our trip, Andrew Moss, Miami, Florida Sue Sprague and friends at El Rancho de las Golondrinas.
Readers, we invite you to send your questions and comments about Georgia O’Keeffe, the Museum, Santa Fe, and all things in between to Kristin Lynn Kautz, Director of Marketing and Public Relations, at firstname.lastname@example.org. We look forward to hearing from you and publishing your letters.
Georgia O’Keeffe, Untitled (New Mexico Landscape, The White Place), 1940s, Graphite on Paper, 7 1/4 x 4 1/4 Inches. © Georgia O’Keeffe Museum.
What a wonderful way to experience “Georgia O’Keeffe Country”—in person. I have several recommendations for you, all of which require the use of a car. Some also require reservations, so it’s nice that you’re planning this far in advance. Although not officially recognized or endorsed by the Museum, the website www.mongold.org/TOC.html is incredibly informative about the sorts of places you seek, and has some interesting imagery to help you decide where to visit. Santa Fe: The Georgia O’Keeffe Museum is located in downtown Santa Fe, three blocks northwest of the central Plaza, at 217 Johnson Street. The Museum, which celebrates its 15th anniversary this year, is dedicated to the artistic legacy of Georgia O’Keeffe, to defining its ongoing significance, and to the study and interpretation of American Modernism (1890–present). The Museum owns more than 3,000 artworks, photographs, and archives, as well as O’Keeffe’s homes in Abiquiú and Ghost Ranch. The total collection establishes the Museum as the single most important and comprehensive repository of O’Keeffe’s drawings, paintings, sculptures, and related materials. Throughout the year, visitors can see a changing selection of these works, and you can find our upcoming exhibition schedule on our website under “Art/Exhibitions.” No reservations are required. We are open seven days a week, 10 am to 5 pm, and Friday evenings until 7 pm. www.okeeffemuseum.org Abiquiú: Approximately 45 minutes north of Santa Fe is the village of Abiquiú. O’Keeffe’s home and studio, adjacent to the main plaza, is open to the public for tours from March through November. The house has been preserved almost exactly as O’Keeffe left it—even the “beware of dog” signs still hang on the fence. Reservations must be made in advance, as space is limited. You can do this online or by calling 505.685.4539. Please do not try to drive up to the house. It is gated and secured, and you will be denied access. Instead, you are required to meet your guide at our tour office, next to the Abiquiú Inn; we will drive you to the house in a small bus. Please note that the pueblo and its plaza are private property. We ask you to please respect the rights and privacy of Abiquiú residents. There are no businesses on the plaza, and no bathroom facilities, so please do not approach people’s homes. We appreciate your cooperation in abiding by our own rules, as well as the laws of the village. www.okeeffemuseum.org/her-houses.html The White Place: One mile north of Abiquiú, turn right onto County Road 155, and follow the unpaved road for several miles along the Chama River to the entrance of the Dar-Al-Islam Mosque, on your left. Drive through the overhead gate, follow the road, and park at the end circle. Look forward, and you simply can’t miss the white cliffs directly ahead of you. Walk down the hiking trail and you are in Plaza Blanca, The White Place. Georgia O’Keeffe could see this marvelous canyon from her bedroom and studio windows in Abiquiú, and camped there often, creating iconic images of the stark walls against beautiful blue skies. The area is owned by Dar-Al-Islam. No fees or check-ins are necessary, but please be respectful of the fragile environment. Do not take any items from the terrain—except photographs and memories—and leave nothing behind but footprints. www.daralislam.org
O ’ K E E F F E W I N T E R 2012
Maria Chabot, Georgia O’Keeffe Climbing Ladder, Ghost Ranch House Patio, 1944, Photographic Print, 1 1/2 x 5 Inches. © Georgia O’Keeffe Museum.
Ghost Ranch: A short 15-minute drive north of Abiquiú is Ghost Ranch. As you approach, watch for signs to Ghost Ranch Education and Retreat Center, and turn right through the large overhead gate. O’Keeffe purchased a house on the property in 1945 and spent most of her summers there. Many of her most famous landscapes were created from the views right out her front door and back patio, including those of the Pedernal, the flat-topped mountain to the east. She also enjoyed taking long walks and ventured all over the ranch to find ideal spots for inspiration. O’Keeffe’s home is not open to the public, but Ghost Ranch itself, an education and cultural center, provides several tours that take you to the exact locations O’Keeffe loved and painted. www.ghostranch.org Taos: Although O’Keeffe never lived in Taos, she did visit there several times, staying with a friend, the socialite Mabel Dodge Luhan. They met at Alfred Stieglitz’s 291 Gallery, in New York City, and Luhan invited her to visit Taos in 1929. A writer and an influential patron of the arts in her own right, Luhan enjoyed a large circle of famous and interesting friends and artists, including D. H. Lawrence, Gertrude Stein, Marsden Hartley, John Marin, and Stuart Davis. Luhan’s house is currently a historic inn, open to the public, that also provides workshops on the rich history of the area, Taos Pueblo (which O’Keeffe painted), and Luhan’s life and circle of friends, including O’Keeffe. www.mabeldodgeluhan.com We hope you and your wife have a wonderful trip! See you soon. Sincerely, Kristin Lynn Kautz, Director of Marketing and Public Relations
We Asked. You Answered. What Is Your Favorite Painting by Georgia O’Keeffe?
Georgia O’Keeffe, Ram’s Head, Blue Morning Glory, 1938, Oil on Canvas, 20 x 30 Inches, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
Ram’s Head, Blue Morning Glory. Dan Patnode All of them . . . the first time I saw an original O’Keeffe I cried . . . that I was seeing her actual brush strokes was so emotional for me! Susan Riecke Close
O ’ K E E F F E W I N T E R 2012
Georgia O’Keeffe, Black Mesa Landscape, New Mexico/Out Back of Marie’s II, 1930, Oil on Canvas, 24 1/4 x 36 1/4 Inches, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
Black Mesa Landscape, New Mexico/Out Back of Marie’s II. Elke Seifert Jimson Weed. Jennifer Chen MG Publisher’s note: Jennifer, we picked your favorite as the cover image for this issue. Wonderful choice!
Georgia O’Keeffe, Above the Clouds I, 1962/1963, Oil on Canvas, 36 1/8 x 48 1/4 Inches, Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
All her abstractions. Yana Sk Winter Road I, 1963. Brilliant! Veronica Fleming Sky Above Clouds. Alisa Lengel Mule’s Skull with Pink Poinsettia. Peggy L. Miller Everything . . . there is nothing that I don’t like! Gayle Martin Legner Sky Above Clouds. Lita Sandoval Black Iris. Arlene Turner Georgia O’Keeffe, Mule’s Skull with Pink Poinsettia, 1936, Oil on Canvas, 40 1/8 x 30 Inches, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
O ’ K E E F F E W I N T E R 2012
Georgia O’Keeffe, Cottonwoods, 1952, Oil on Canvas, 30 x 36 Inches, Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
Pelvis Series. Mark Penney Cottonwoods. Ann Dargis Winter I have several I would call favorites, but the one that is most meaningful to me is My Last Door. Ruth Darmody
Georgia O’Keeffe, Sky Above Clouds/Yellow Horizon and Clouds, 1976, 1977, Oil on Canvas, 48 x 84 Inches, Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
Sculpture Becomes Jewelry 56
This striking Somers bracelet is on sale exclusively at the Georgia O’Keeffe Museum Store.
by Janice Wrhel, Retail Services Manager Many people are familiar with Santa Fe’s nationally recognized sculptor Somers Randolph, but did you know you could personally own miniature versions of his exquisite sculptures—as pieces of jewelry? Somers has carved stone for more than 30 years in Santa Barbara, Nashville, and now in Santa Fe, where something magical took place. Somers’s wife, Hillary, who has a strong design sense, discovered a trunk full of his tiny soapstone carvings and a wonderful idea immediately came to mind. Hillary decided to combine her fashion experience with her husband’s whittlings, and together they cast his miniature sculptures in silver and gold, creating the nationally treasured pieces now known as Somers Jewelry. The striking Somers bracelet, on sale exclusively at the Georgia O’Keeffe Museum Store, was originally destined for retirement, but when Retail Services Manager Janice Wrhel discovered it was heading toward “extinction,” she arranged for it to be created only for the Store. The superb design is also available as a necklace, on either leather or silk cords. This, and many other iconic pieces of Somers Jewelry—offering timeless, classic style over seasonal trends—are all on sale at the Museum Store. We are discussing a new, custom piece crafted just for us, and for you, so be sure to keep checking back with the Store. Janice Wrhel is the Retail Services Manager of the Georgia O’Keeffe Museum. She has been with the O’Keeffe Store for more than seven years. Janice enjoys working with visitors from all over the world, and knows they are happy to take a bit of the O’Keeffe Museum home with them.
O ’ K E E F F E W I N T E R 2012
Sculptor Somers Randolph, Santa Fe, New Mexico.
Museum Calendar 58
O ’ K E E F F E W I N T E R 2012
JAN FEB Thursday, January 26, 6 PM EXHIBITION OPENING LECTURE Jaune Quick-to-See Smith: Creating an Artist’s Life Introduction by Carolyn Kastner, Associate Curator Jaune Quick-to-See Smith, an enrolled Sqelix'u (Salish) member of the Confederated Salish and Kootenai Nation, describes the journey from her birthplace in Montana and her first mailorder art course to her debut solo exhibition in New York City. The exhibition opening at the O’Keeffe Museum, Jaune Quick-to-See Smith: Landscapes of an American Modernist, is tightly focused on the paintings and works-on-paper produced by the artist between 1985 and 1991. COST: $5, Members and Business Partners FREE; LOCATION: Scottish Rite Center, 463 Paseo de Peralta; RESERVATIONS: 505.946.1039 or online at okmuseum.org.
Tuesday, January 31, 6–8 PM ART AND LEADERSHIP FOR ADULTS Woven Identities: Exploring Identity in Art
Monday, February 6, 8:30–9:30 AM BREAKFAST WITH O’KEEFFE Jaune Quick-to-See Smith’s New Mexico Landscapes
Saturday, February 11 9:30–11:30 AM FAMILY PROGRAM The Art of Storytelling
Sunday, February 19, 11 AM–2 PM ADULT LEARNING PROGRAM Georgia O’Keeffe and the Art of Eating Well
Tuesdays, February 21, March 20, April 17, and May 1, 6–7:30 PM READERS’ CLUB
February 28, 6–8 PM ART AND LEADERSHIP FOR ADULTS Stories of Your Ancestors: Rediscover the Art of Oral Storytelling
Wednesdays, February 29, March 28, and April 25, 12:30 PM Loo’k closer: Art Talks at Lunchtime
Monday, March 5, 8:30–9:30 AM Breakfast with o’keeffe Artists’ Vision: Jaune Quick-to-See Smith and Emmi Whitehorse
Sunday, March 11, 2 PM EXHIBITION LECTURE PROGRAM A Conversation with Margarete Bagshaw and Jaune Quick-to-See Smith Join us as Shelby Tisdale, Director of the Museum of Indian Arts and Culture, and Carolyn Kastner, Associate Curator of the Georgia O’Keeffe Museum, talk with Margarete Bagshaw and Jaune Quick-to-See Smith about their artistic practice and the importance of mentoring. The conversation is held in conjunction with the exhibitions Margarete Bagshaw: Breaking the Rules at the Museum of Indian Arts and Culture and Jaune Quick-to-See Smith: Landscapes of an American Modernist at the Georgia O’Keeffe Museum. COST: FREE to Members of the Museum of New Mexico Foundation and the Georgia O’Keeffe Museum and to New Mexico residents; all others, FREE with Museum admission; LOCATION: Museum of Indian Arts and Culture Auditorium, Museum Hill; RESERVATIONS: Not required.
Wednesday, March 14, 6 PM Research Center Lecture Surveying the Future: Art and Real Estate in the New American West
Did You Know? As a Member of the Museum, you can attend many of the events and programs for free.
Thursday, March 15, 10 AM–3 PM SPECIAL EXHIBITION TOUR AND LUNCHEON Saluting Two Remarkable Women Artists: Jaune Quick-to-See Smith and Margarete Bagshaw Co-presented by the New Mexico Committee of the National Museum of Women in the Arts, Museum of Indian Arts and Culture, and Georgia O’Keeffe Museum. Join us for a unique experience as Smith and Bagshaw tour their own exhibitions, offering insightful commentary. Between tours, gather with these talented Native American modernist artists at a luncheon on Museum Hill. COST: $50; LOCATION: Given upon registration; RESERVATIONS: Required; tickets available at the Lensic, by phone at 505.988.1234, or online at ticketssantafe.org.
Thursday, March 22, 7 PM CONCERT Native American Inspirations/ New Mexico Composers Presented in conjunction with the University of New Mexico’s 2012 John Donald Robb Composer’s Symposium and the New Mexico State Centennial. This concert features Italian pianist Emanuele Arciuli, the 2011 recipient of the Abbiati Prize for soloist of the year. Known internationally for his performances of Native American and contemporary composers, Arciuli will play works by Louis W. Ballard (Cherokee, Quapaw) and Raven Chacon (Diné), as well as Walk in Beauty by Peter Garland. Composer Jerod Impíchchaachaaha' Tate (Chickasaw), along with a chamber
ensemble made up of New Mexico musicians, will perform Dream World for Woodwinds, Percussion, and Narrator, his tribute piece to Jaune Quick-to-See Smith. COST: $15; Members and Business Partners $12; LOCATION: Scottish Rite Center, 463 Paseo de Peralta; RESERVATIONS: 505.946.1039 or online at okmuseum.org.
Wednesday, April 4, 9:30 AM–Noon ADULT LEARNING PROGRAM Painting in the Style of O’Keeffe
Monday, April 16, 8:30 AM–4 PM ADULT LEARNING PROGRAM Walks In the American West: Petroglyph National Monument Join Associate Curator Carolyn Kastner in the galleries for a brief discussion of Jaune Quick-to-See Smith’s artwork inspired by issues surrounding Petroglyph National Monument. Travel to Albuquerque, where Diane Souder, Chief of Interpretation and Outreach at the Monument, will lead a walk into Piedras Marcadas Canyon, home to more than 5,000 petroglyphs. The walk is followed by a luncheon before returning to Santa Fe. COST: $90, Members and Business Partners $80; LOCATION: Meet at the Museum, 217 Johnson Street; RESERVATIONS: Required by April 12; 505.946.1039 or online at okmuseum.org.
Wednesday, April 18, 5:30–7 PM volunteer celebration reception
For complete information on all programs, please visit www.okeeffemuseumevents.com.
Georgia O’Keeffe, Red Hills and White Flower, 1937, Pastel on Paper‑Covered Board, 19 3/8 x 25 5/8 Inches, Georgia O’Keeffe Museum, Gift of The Burnett Foundation. © 1987, Private Collection. This painting will be featured in the upcoming exhibition Georgia O’Keeffe and the Faraway: Nature and Image, opening at the Georgia O’Keeffe Museum on May 11, 2012.
Leader ($5,000) Hilton of Santa Fe Thornburg Investment Management
Donor ($2,500) Encantado, An Auberge Resort Hinkle, Hensley, Shanor & Martin, LLP Payday, Inc.
Underwriter ($1,000) David Mendez Design Eldorado Hotel & Spa Inside Santa Fe La Fonda on the Plaza New Mexico Bank and Trust Posters of Santa Fe Sommer, Udall, Sutin Law Firm Wolf Corporation Custom Builder
Contributor ($500) Beals & Abbate Fine Art Copy Craft Printers, Inc. David Richard Contemporary Patina Gallery
Santa Fe Courtyard by Marriott Tony Bonanno Photography
Associate ($300) Aaron Payne Fine Art Art Delivery Service Bear Data Solutions, Inc. Bode’s Mercantile Inc. Burro Alley Cafe CAC, Inc. Careers First, Inc. Coronado Paint & Decorating Ghost Ranch Education and Retreat Center Guardsmark, Inc. Matthews Office Supply Santa Fe Downtown Merchants Association Santa Fean Magazine Santacafé Textile Arts, Inc. The Santa Fe New Mexican The Studio White & Luff Financial Wilder Landscaping Co. Wilson Transfer & Storage, Inc. Xonex
Network with other business leaders in Sante Fe and the region through the Museum’s Business Partner Program. 60
Photo Credits Georgia O’Keeffe, Canyon No. II, 1965. Oil on canvas, 36 x 25 inches. Gift of The Georgia O'Keeffe Foundation. (2006.05.391). © Georgia O'Keeffe Museum. Georgia O’Keeffe Signature, © Georgia O’Keeffe Museum.
Page 4: Top: Kristin Lynn Kautz Bottom: V. Susan Fisher Page 7: Julien McRoberts Page 8: Kristin Lynn Kautz Pages 10: Courtesy of Jerod Impíchchaachaaha’ Tate Page 11: Courtesy of Emanuele Arciuli Pages 12 and 14: Shannon Bay Page 27: Barbara Buhler Lynes Pages 28–31: Shannon Bay Page 34: David Chavez Pages 36, 37, 39, and 40: V. Susan Fisher Page 44: Malcolm Varon Pages 45–48: Courtesy of the scholars Page 49: Sue Sprague Pages 50 and 56: Kristin Lynn Kautz Page 57: Courtesy of Somers Randolph Page 62–63: Gabriella Marks
INSPIRATION AS FAR AS THE EYE CAN SEE . . . PUYECLIFFS.COM NNMRAC.ORG
GHOSTRANCH.ORG OKMUSEUM.ORG NEWMEXICOWOMENINTHEARTS.ORG
Picture Perfect! 62
The Georgia O’Keeffe Museum and Bella Media—which publishes the Santa Fean and O’Keeffe magazine—recently came together to celebrate their new creative partnership. The O’Keeffe Magazine Launch Party and the Santa Fean Magazine’s Annual Summer Celebration was the perfect combination of a festive and cultured evening—all thanks to the “picture-perfect” atmosphere of the Georgia O’Keeffe Museum. Festive, because the Museum provides clients with the best choices in local caterers and just the right atmosphere for guests to relax in, enjoy light fare, and connect with friends and colleagues. And cultured, because the Museum becomes a private gallery where guests can wander on their own or take advantage of the Museum’s experienced docents who are on-site for the evening and available to share their knowledge. This celebration was typical of what the Museum does best when it comes to after-hours entertainment. There were about 130 guests. Food and libations were set elegantly in the tented courtyard, while a single musician played softly in the background. The entire Museum was open, and guests moved seamlessly from the courtyard through the galleries at their leisure. Leading up to the event, Christina Dallorso Kortz, Visitor Services Manager, helped arrange every detail and worked to make wishes a reality. Next time you have a special event and want a one-of-a-kind experience for an important evening, consider the Georgia O’Keeffe Museum. It provides an intimate and unique setting that’s perfect for rehearsal dinners, small weddings, after-conference meet-and-greets, client entertainment, and social gatherings. For information on special events, contact Christina Dallorso Kortz at 505.946.1019 or email@example.com.
O ’ K E E F F E W I N T E R 2012
Georgia O’Keeffe, Kokopelli with Snow, 1942, Oil on Board, 15 1/8 x 10 Inches, Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
LOO’K for it . . . The next issue of O’Keeffe magazine will focus on O’Keeffe’s place in New Mexico, and include features on walks in the American West, redefining Modernism, O’Keeffe’s Abiquiú home and studio, and the White Place.
Loretto loves O’Keeffe
EXT EN D THE EX PER I ENCE LUMINARIA RESTAURANT & PATIO Featuring Executive Chef Matt Ostrander and his
“Conscious Cuisine”. Dine indoors or al fresco under the stars. Serving breakfast, lunch, dinner, and Sunday brunch. The Living Room offers late night casual dining and weekend entertainment. Reservations: 505-984-7915.
THE SPA Ranked #13 in North America by Conde’ Nast Traveler Magazine. The Spa at Loretto
takes a holistic approach to the art of massage therapy and well-being. Upgrade to handcrafted aromatherapy oils with ticket stubs. Reservations: 505-984-7997
THE INN Located at the end of The Santa Fe Trail, the AAA Four-Diamond Inn is ranked as one of Condé Nast’s top 100 Hotels in the US. Reservations: 505-988-5531
211 Old Santa Fe Trail | 505.988.5531 | lorettoexperience.com