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The Georgia O’Keeffe Museum Mag azi ne

Summer 2011



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The Georgia O’Keeffe Museum Magazine

5 Masthead: Who’s who at the Museum and the Magazine

43 The Georgia O’Keeffe Museum’s Business Partners

8 Welcome Reader: A greeting from the Director of the Museum

44 Museum Docents: Exploring the life and works of O’Keeffe

10 Sharing Summer: The Museum in collaboration

46 Symposium: Challenging 1945

12 An American Original: A brief biography of O’Keeffe 15 All Roads Lead to Rome: O’Keeffe Members head to the Eternal City 18 Shared Intelligence: American painting and the photograph Above: Kristin Lynn Kautz, Georgia O’Keeffe Home and Studio in Abiquiú, 2010 © Georgia O’Keeffe Museum.

26 New Horizons: A retrospective exhibition introduces O’Keeffe to audiences abroad. 32 Robert Henri & Ireland: From New York to Corrymore 34 The Wideness and Wonder of It: Touring O’Keeffe’s Abiquiú home and studio 38 Giving O’Keeffe the Digital OK: Preserving O’Keeffe’s art and belongings with digital photography

Malcolm Varon, Georgia O’Keeffe Museum Research Center, Patio, 2001© Georgia O’Keeffe Museum.

50 Calendar: What’s on the Museum’s schedule this summer 52 Exceptional Research: The Museum’s Research Center conducts top-notch research, hosts worldclass symposia, and much more. 57 O’Keeffe Acquisition: A generous donation 58 Museum Store: Must-have reads for your bookshelf 60 Facilities: Have your next event at the Museum. 61 More for Members: Join the Museum today! 64 In the next issue: Find out what’s coming up in the fall issue of the Georgia O’Keeffe Museum Magazine.



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SENIOR MUSEUM STAFF Robert A. Kret Director L. Carl Brown Director of Finance V. Susan Fisher Director of Development Amy Green Director of Operations Kristin Lynn Kautz Director of Marketing and Public Relations Agapita Judy Lopez Director of Historic Properties and Rights and Reproduction Manager Barbara Buhler Lynes Curator, Georgia O’Keeffe Museum, and The Emily Fisher Landau Director, Georgia O’Keeffe Museum Research Center Jackie M Director of Education and Public Programs

Georgia O’Keeffe Museum 217 Johnson Street Santa Fe, NM 87501 505.946.1000 Open daily, 10 AM–5 PM Fridays, 10 AM–7 PM First Friday of every month from 5–7 PM is free. Please check special summer hours at: The Georgia O’Keeffe Museum would sincerely like to thank the following staff members who dedicated their time and proofreading expertise to our inaugural issue: V. Susan Fisher Shannon Hanson Barbara Buhler Lynes Kristin Lynn Kautz Christina Dallorso Kortz Camille Romero Eumie Imm-Stroukoff Xen Stanhope Sarah Zurick

Photo by Brad Bealmear ©The Santa Fe Catalogue


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Judah Best Arlington, VA Santa Fe, NM Laura Bush, Honorary Dallas, TX Katherin L. Chase Santa Fe, NM Saul Cohen, President Santa Fe, NM Cira Crowell Venice, CA Santa Fe, NM Andrew A. Davis Santa Fe, NM Roxanne Decyk Santa Fe, NM Chicago, IL Lee E. Dirks Santa Fe, NM

Robert A. Kret, ex-officio Santa Fe, NM Emily Fisher Landau, Honorary New York, NY Palm Beach, FL Linda Marcus Dallas, TX Santa Fe, NM Anne W. Marion, Chairman Fort Worth, TX Santa Fe, NM John L. Marion Fort Worth, TX Santa Fe, NM Clare O’Keeffe Palm Beach, FL Thomas F. O’Toole Dallas, TX Santa Fe, NM

Michael S. Engl Sun Valley, ID Santa Fe, NM

R. Steven Padilla, MD, MBA Albuquerque, NM Santa Fe, NM

Julie Spicer England Dallas, TX

Kathleen O. Petitt Bethesda, MD

Susan J. Hirsch Dallas, TX

Joann K. Phillips, Honorary Santa Fe, NM

William P. Johnston Nashville, TN Barry G. King, Jr., MD, Secretary Santa Fe, NM El Paso, TX Robert B. Knutson Boca Grande, FL Santa Fe, NM

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Welcome Reader The Georgia O’Keeffe Museum Mag azi ne

Summer 2011


On the cover: Georgia O’Keeffe, Petunia No. 2, 1924, Oil on Canvas, 36 x 30 Inches, Georgia O’Keeffe Museum, Gift of Gerald and Kathleen Peters © Georgia O’Keeffe Museum.

SEVERAL MONTHS AGO, I WAS IN THE LOBBY OF THE MUSEUM AND watched a couple exiting the galleries examining our brochure with confused looks. I inquired whether they needed any help. They asked, “Is this it? Is there any more to the Museum?” I took the opportunity to explain that there was, indeed, much more. In addition to the schedule of changing exhibitions, the scope and depth of our activities are comparable to the work of much larger museums. This conversation made me aware that we could and must do a better job telling our story. Consequently, when the opportunity arose to meet with representatives from the Santa Fean magazine, we were delighted to explore the possibilities of working together to create a publication that would express the totality of the Georgia O’Keeffe Museum, thus providing more substance and content for our members than we were able to offer in Member News. I would like to thank Bruce Adams and Anne Mulvaney, Publisher and Associate Publisher respectively, for their patience and professionalism throughout this process. Through all the starts and stops along the way, their work, in addition to the skills and commitment of the Georgia O’Keeffe Museum staff, has produced a remarkable accomplishment. Together, the Board, staff, and volunteers of the Georgia O’Keeffe Museum are creating a landmark visitor-centered institution that engages diverse audiences in a wide range of art-based experiences. This publication is one example. It will bring news and the enjoyment of art to members across the country and around the world. If you are not already a member, I encourage you to join. Simply visit our website at to learn more about our membership program. In this edition and in those to follow, I hope the articles you read will absorb you in the vision and substance of the Museum and convey the excitement of our many contributions to the field and to the communities we serve. We are interested in hearing directly from you and welcome your thoughts and insights. Please go to member-survey.html to complete a brief but important survey, and accept our thanks for your consideration. I hope you enjoy this publication and look forward to greeting you in Santa Fe.   Sincerely,

Robert A. Kret Director


O ’ K E E F F E S U M M E R 2011

THE GEORGIA O’KEEFFE MUSEUM MAGAZINE Bruce Adams Publisher Anne Mulvaney Associate Publisher  B.Y. Cooper Creative Director Devon Jackson Editor Amy Hegarty Executive Editor Sybil Watson Graphic Designer Michelle Odom Graphic Design Intern Ginny Stewart-Jaramillo Operations Manager Robbie O’Neill Emilie McIntyre David Wilkinson Sales Representatives A Publication of Bella Media, LLC For advertising information: 215 W. San Francisco Street, Suite 300 Santa Fe, NM 87501 Telephone 505.983.1444; fax 505.983.1555 Copyright 2011, Georgia O’Keeffe Mueum. Reproduction in whole or in part without permission is prohibited. CPM#40065056

O’Keeffe Magazine is published three times a year by Bella Media, LLC, 215 W. San Francisco Street, Suite 300, Santa Fe, NM 87501.



Museum Programs and Events

Todd Webb, O’Keeffe Making Stew, Ghost Ranch, New Mexico, 1961, Courtesy Evans Gallery.


O ’ K E E F F E S U M M E R 2011

by­ Jackie M IF TWO HEADS ARE BETTER than one, then surely this summer’s O’Keeffe Museum collaborations with premier creative organizations will build an array of exciting, not-to-miss activities. For families and young adults, from the Readers’ Club to painting workshops, there are many opportunities to expand your understanding of the Museum’s exhibitions, have fun, and engage with art more deeply. To learn about all of the Museum’s education programs that are happening this summer, go online at The Museum inaugurates a partnership with the Santa Fe School of Cooking by presenting Georgia O’Keeffe and the Art of Eating Well on Monday, June 20, Monday, July 18, and Friday, July 29, from 10 am to 1 pm. The program offers the opportunity to discover and explore some of Georgia O’Keeffe’s ideas about food and cooking. Chef Michelle Roetzer will guide attendees through a number of the recipes featured in the book A Painter’s Kitchen: Recipes from the Kitchen of Georgia O’Keeffe, by Margaret Wood. O’Keeffe had a unique perspective on food for her time, appreciating simple foods that were in season and that were grown and handled with care. Ms. Wood, O’Keeffe’s assistant and companion for five years, will also be on hand to share personal stories as well as insights into O’Keeffe’s artful way of living and her views on food. This class will illuminate the recipes in context, to create the spirit of dining with Georgia O’Keeffe. The demonstration-style class includes recipes and a full meal. To register for the class call the Santa Fe School of Cooking at

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Leather top and jacket by Susan Riedweg Beaded earrings by Julie Powell • Organza Scarf by Nuno photo: Studio Seven

505.983.4511 or go online at Also new for this summer, the Museum teams with the Santa Fe Desert Chorale to present several talks by Robert Kyr, the Chorale’s new Composer-in-Residence, on the text of Walt Whitman that influenced the creation of his new work to be performed during the 2011 summer season, which runs from July 7 to August 12. Join us at the Museum on Monday, July 11, or Wednesday, July 20, from 8:30 to 10 am for Genesis of a New Work: Tides of Peace. Music director Joshua Haberman will join Kyr on Monday, July 18, and Wednesday, July 27, to present Walt Whitman, Robert Kyr, and the Music of War and Peace. Both lectures are free to Museum members and Business Partners and open to the public with the price of Museum admission. Reservations are suggested: call 505.946.1039 or go online at The Santa Fe Opera and the Museum will offer Shared Inspiration/Personal Interpretation on Tuesday, July 12, from 9 am to noon and 6:30 pm to midnight. This co-presented event, an annual favorite, highlights a theme found in one of the Museum’s exhibitions and one of the Opera’s productions. Throughout history artists have drawn ideas from literary, visual, and performance works and recast them through the lens of their chosen medium. You can explore this rich interaction as we look at the Museum’s exhibition Shared Intelligence: American Painting and the Photograph. Opera lecturer Karen Klett and art historian Sharyn

Udall will discuss historic references, and digital media artist Deborah Fort will lead a workshop that uses family photographs as avenues for participants to develop their own written or visual work. The program continues in the evening at the Florence Dapples cantina, where there will be dinner and a dialogue with GRONK, the artist and set designer for Vivaldi’s Griselda. GRONK will talk about his and director Peter Sellars’s inspiration for and interpretation of this Santa Fe Opera production. The evening concludes with a dress rehearsal of Griselda. Reserve your space by July 8 to participate in this rich experience: call 505.946.1039 or go to Bostick & Sullivan, the world’s leading authority on handcrafted alternative photographic processes, is offering The Handmade Photograph–Platinum/Palladium Workshop on Thursday, August 11, from 9 am to 5 pm. After viewing the works of artists in the Shared Intelligence exhibition (who favor the rich tones of the platinum print for their photographs), participants will head to the Bostick & Sullivan studios, where they will learn the basic techniques for making photographs per the historic nineteenth-century platinum/ palladium process. Bring a large-format negative, up to 8 x 10 in size, or a digital file of 360 PPI and 16 bits for the desired negative dimensions; all printing materials will be provided. Class size is very limited, so reserve your space by August 8 and try your hand with this historic printing technique. For more information, go to


An American Original


A Brief Biography of Georgia O’Keeffe


GEORGIA TOTTO O’KEEFFE WAS BORN on November 15, 1887, the second of seven children, and grew up on a farm in Sun Prairie, Wisconsin. As a child she received art lessons at home, and her abilities were quickly recognized and encouraged by teachers throughout her school years. By the time she graduated from high school, in 1905, O’Keeffe had determined that she would make her way as an artist. She pursued studies at the Art Institute of Chicago (1905–1906) and at the Art Students League in New York (1907–1908), where she was quick to master the principles of the approach to art-making that then formed the basis of the curriculum: imitative realism. In 1908, she won the League’s William Merritt Chase still-life prize for her oil painting Untitled (Dead Rabbit with Copper Pot). Shortly thereafter, however, O’Keeffe quit making art, saying later that she had known then that she could never achieve distinction working within this tradition. O’Keeffe’s interest in art was rekindled four years later when she took a summer course for art teachers at the University of Virginia (in Charlottesville), taught by Alon Bement of Teachers College, Columbia University. Bement introduced O’Keeffe to the then revolutionary ideas of his colleague at Teachers College, artist and art educator Arthur Wesley Dow.

Maria Chabot, Georgia O’Keeffe Writing Daily Letter to Alfred Stieglitz, 1944, Photographic Print, 5 x 3 1/2 Inches, Georgia O’Keeffe Museum, Maria Chabot Archive, Gift of the Maria Chabot Literary Trust © Georgia O’Keeffe Museum.

Ansel Adams, Georgia O’Keeffe Painting in Her Car, Ghost Ranch, New Mexico, 1937, Gelatin Silver Print, 8 5/16 x 12 1/8 Inches, Center for Creative Photography, University of Arizona: Ansel Adams Archive © The Ansel Adams Publishing Rights Trust. Recently featured in the exhibition O’Keeffiana: Art and Art Materials at the Georgia O’Keeffe Museum from September 24, 2010–May 8, 2011.

Georgia O’Keeffe, Gerald’s Tree I, 1937, Oil on Canvas, 40 x 30 1/8 Inches, Georgia O’Keeffe Museum, Gift of The Burnett Foundation © Georgia O’Keeffe Museum.

Dow believed that the goal of art was the expression of the artist’s personal ideas and feelings, and that such subject matter was best realized through harmonious arrangements of line, color, and notan (the Japanese system of lights and darks). Dow’s ideas offered O’Keeffe an alternative to imitative realism, and she experimented with them for two years while she was either teaching art in the Amarillo, Texas, public schools, or working summers in Virginia as Bement’s assistant. O’Keeffe was in New York again from the fall of 1914 to June 1915, taking courses at Teachers College. By the fall of 1915, when she was teaching art at Columbia College, in Columbia, South Carolina, she decided to put Dow’s theories to the test. In an attempt to discover a personal language through which she could express her own feelings and ideas, she began a series of abstract charcoal drawings that are now recognized as being among the most innovative in all of American art from that period. She mailed some of these drawings to a former Columbia classmate who, on January 1, 1916, showed them to the internationally known photographer and art impresario Alfred Stieglitz. Stieglitz began corresponding with O’Keeffe, who returned to New York that spring to attend classes at Teachers College. In May he exhibited 10 of her charcoal abstractions at his famous avant-garde gallery, 291. A year later he closed the doors of that important exhibition space with a one-person show featuring O’Keeffe’s work. In the spring of 1918 he


An American Original offered O’Keeffe financial support to paint for a year in New York, which she accepted, moving there from Texas, where she had been affiliated with West Texas State Normal College, in Canyon, since the fall of 1916. Shortly after her arrival in New York in June, she and Stieglitz (whom she would eventually marry in 1924) fell in love. They subsequently lived and worked together in New York City, and at the Stieglitz family estate in Lake George, New York, until 1929, when O’Keeffe spent the first of many summers painting in New Mexico. From 1923 until his death in 1946, Stieglitz worked assiduously and effectively to promote O’Keeffe and her work, organizing annual exhibitions of her art at Georgia O’Keeffe, No. 22–Special, the Anderson Galleries (1923–1925), the Intimate Gallery (1925–1929), and An American Place (1929–1946). As early as the mid-1920s, when O’Keeffe first 1916/1917, 13 1/8 x 17 1/4 Inches, Gift of The Burnett Foundation and The Georgia began painting large-scale depictions of flowers as if seen close up—which O’Keeffe Foundation © Georgia O’Keeffe are among her best-known pictures—she had become recognized as one of Museum. America’s most important and successful artists. Three years after Stieglitz’s death O’Keeffe moved permanently from New York to her beloved New Mexico, whose stunning vistas and stark landscape configurations had inspired her work since 1929. She lived at her Ghost Ranch house, which she purchased in 1940, and at the home she purchased in Abiquiú in 1945. O’Keeffe continued to work in oil until the mid-1970s, when failing eyesight forced her to abandon painting. Although she continued working in pencil and watercolor until 1982, she also produced objects in clay until her health failed in 1984. She died two years later, at the age of 98.

Unidentified photographer, Georgia O’Keeffe Among Chamisa, Undated, Photographic Print, 3 1/2 x 4 1/4 Inches, Georgia O’Keeffe Museum, Gift of The Georgia O’Keeffe Foundation © Georgia O’Keeffe Museum. 14

O ’ K E E F F E S U M M E R 2011

All Roads

Photo Credit: LAMAR LYNES

Lead to Rome

PACK YOUR BAGS AND POLISH UP YOUR ITALIAN! BLOCK OFF YOUR CALENDAR for the week of October 2–7, when you and other O’Keeffe Members will head to Rome for a private preview of the new European exhibition O’Keeffe: A Retrospective at the Fondazione Roma Museo. Your six-day, five-night trip features exquisitely scheduled tours and plenty of free time to ensure that you make the most of the Eternal City. The Georgia O’Keeffe Museum is working with a specialized art-tour service based in Rome to add a personalized touch to your trip that includes visits to private collections and special access to unique public cultural treasures. The trip is based on Member response at the Friends Level or above. A separate trip is also being planned for National Council. Express your interest and get more details from Camille Romero, Membership and Annual Fund Manager, at 505.946.1033 or Vedi voi e O’Keeffe a Roma! (See you and O’Keeffe in Rome!)


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Georgia O’Keeffe, Blue Flower, 1918, Pastel on Paper, 20 x 16 Inches, Georgia O’Keeffe Museum, Gift of The Burnett Foundation © 1987, Private Collection.


O ’ K E E F F E S U M M E R 2011

Shared Intelligence American Painting and the Photograph by­Barbara Buhler Lynes David Hockney, California Copied from1965 Painting in 1987, 1987, Acrylic on Canvas, 59 7/8 x 71 7/8 Inches, Genuine Gift of David Hockney, Digital Image © 2009, Museum Associates/LACMA/Art Resource, NY © David Hockney.

on the hand of the artist. In response, photographers sought to elevate photography to the status of painting by employing various strategies, both in taking and developing photographs, to infuse them with atmospheric and other painterly qualities. This approach, “pictorialism,” was soon challenged by early twentieth-cenSINCE THE INVENTION OF PHOTOGRAPHY IN THE

tury photographer Alfred Stieglitz,

1830s, the attitude of painters and art critics toward the medium has

who urged photographers to rely

been ambivalent at best. Although photographers and painters were, in

on the distinctive properties of

photography’s nascent years, equally concerned with creating illusionistic

photography to attain recognition

depictions of the natural world, photography was not considered equal to

as art: Stieglitz, for one, touted the

painting because its process depended on a mechanical device rather than

making of sharply focused, highly


Shared Intelligence

Edward Weston, Artichoke Halved, 1930, 7 1/2 x 9 1/2 Inches, Gelatin Silver, Collection Center for Creative Photography © 1981, Arizona Regents.

detailed, and unmanipulated images of the natural world. The success of this approach can best be measured by the critical responses that soon proclaimed the seeming irrelevance and thus the death of the age-old tradition of mimetic painting. Despite its initial birth pangs, photography has long been accepted as art. Certainly no contemporary artist has remained untouched by photography, if only as a means of reproduction. Moreover, the photograph’s role in modern art goes far beyond mere reproduction or even reference for subject matter. Everyone is influenced by the way photography permeates all forms of political, scientific, and commercial discourse, and photographic seeing—the way the lens freezes, flattens, enlarges, and crops form—conditions all visual representations. In the twentieth century, modernist critics have sought to establish the separation and autonomy of painting and photography, often touting the supremacy of one over the other. Shared Intelligence: American Painting and the Photograph, on view at the Georgia O’Keeffe Museum from May 20 to September 11, 2011, introduces a different perspective. Inspired by the wealth of ideas generated at the Georgia O’Keeffe Museum Research Center’s 2006 symposium, Painting and


O ’ K E E F F E S U M M E R 2011

Edward Steichen, Self Portrait, 1901, Gum Bichromate, 8 1/4 x 6 1/4 Inches, The J. Paul Getty Museum, Los Angeles.

Photography in American Art: Sources, Ideas, and Influences, 1890s to the Present, this groundbreaking exhibition explores and illuminates the relatively unknown intersections, dependencies, and interconnections between photography and painting in American art since the 1890s. Shared Intelligence calls attention to the work of painters who were particularly indebted to photography as a means of invigorating painting and to the work of photographers influenced by painting. As such, it traces aspects of the important, productive, but little explored dialogue between these mediums that has greatly enriched both. This project is the result of the collaborative efforts of its independent scholar


Shared Intelligence and artist Jonathan Weinberg and myself. We selected works for the exhibition that speak to the fraught relationship between painting and photography in the works of such painters as Robert Bechtle, Chuck Close, Thomas Eakins, Audrey Flack, Barkley Hendricks, David Hockney, Georgia O’Keeffe, Ben Shahn, Charles Sheeler, and Andy Warhol, to name only a few. The exhibition will be on view at the Museum during the Georgia O’Keeffe Museum Research Center 2011 symposium, Challenging 1945: Exploring Continuities in American Art, 1890s to the Present, which will explore the ways in which art developments in America since the 1890s have been dependent upon or have developed in reaction to those of earlier decades.

Andy Warhol, Jackie,1964, Acrylic and Silkscreen Ink on Linen, 20 x 16 Inches, The Andy Warhol Museum, Pittsburgh, Founding Collection, Contribution from The Andy Warhol Foundation for the Visual Arts, Inc. © 2010 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.

Gertrude Käsebier, The Sketch (Beatrice Baxter, Newport, RI), 1899–1902, Platinum Print, 6 x 8 1/8 Inches, University of Delaware, University Museums, Gift of Mason E. Turner, Jr., 1983.

More than 140 artists have been featured at the Museum, including Susan Rothenberg, Ansel Adams, Arthur Dove, Sherrie Levine, Jackson Pollock, Chuck Close, and Andy Warhol. 22

O ’ K E E F F E S U M M E R 2011

Cindy Sherman, Untitled (#213), 1989, Color Photograph, 41 ½ x 33 Inches, Courtesy of the Artist and Metro Pictures.


Chuck Close, Phil/Fingerprint, 2009. Screenprint in 25 colors, Paper Size: 56 x 44 in.; Image Size: 46 x 34 in. Edition of 80. Photograph courtesy Pace Prints, New York. ©Chuck Close, courtesy The Pace Gallery.


Shared Intelligence: American Painting and the Photograph 217 Johnson Street

Santa Fe, New Mexico 5O5.946.1OOO

Chuck Close is here. Man Ray is here.

Georgia O’Keeffe is here. Alfred Stieglitz is here.

Andy Warhol is here. Norman Rockwell is here. Cindy Sherman is here.


O ’ K E E F F E S U M M E R 2011

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Georgia O’Keeffe, Patio Door, 1955, Oil on Canvas, 25 x 14 Inches, Private Collection © Georgia O’Keeffe Museum. 26

O ’ K E E F F E S U M M E R 2011



A Retrospective Introducing O’Keeffe to Audiences Abroad THE WORK OF GEORGIA O’KEEFFE (1887–1986) IS AMONG THE most well-known in America, just as the artist is herself. O’Keeffe gained renown in the 1920s as one of the country’s leading modernists, and from then until her death in 1986, she and her work garnered extraordinary and increasing attention in the American art community and with the American public. Indeed, interest in O’Keeffe and her work continues to escalate and she remains one of the nation’s most celebrated artists and icons. O’Keeffe’s work, however, is generally unknown beyond American shores, a situation for which Alfred Stieglitz (1864–1946) was primarily responsible. As the country’s first modernist photographer and its first advocate of modern art, he introduced O’Keeffe’s work to the New York art community in 1916. That year he became her dealer, and in 1924 he became her husband and was her most ardent promoter. Stieglitz made O’Keeffe’s art accessible to New Yorkers with annual exhibitions that he organized from 1923 until his death in 1946, and by 1929 his promotional efforts had led to sales that made O’Keeffe a millionaire by today’s standards, which provided her with complete financial independence and security. In the beginning decades of the twentieth century, Stieglitz resented the fact that American art was not regarded with the same degree of importance as that of European art. He became committed to the then-revolutionary idea that American artists could create an indigenous art that would be valued with the same acclaim as that of the Europeans. As a result, he refused to send the work of any of the artists he supported to exhibitions outside the United States. Those artists included Arthur Dove, Marsden Hartley, John Marin, Paul Strand, and O’Keeffe. Stieglitz felt that if people wanted to see American art, they should come to America. Thus, the works of these artists were and remain little known in Europe.


By Barbara Buhler Lynes


Georgia O’Keeffe, Alligator Pear, 1923, Pastel on Paper 12 x 10 Inches, Private Collection © Georgia O’Keeffe Museum.


O ’ K E E F F E S U M M E R 2011

Nevertheless, O’Keeffe works can be found in several European collections, having been given to them by The Georgia O’Keeffe Foundation, which dissolved in 2006. Also, in the last 10 years exhibitions of O’Keeffe’s work have taken place in England, Spain, and Switzerland. The upcoming exhibition Georgia O’Keeffe: A Retrospective will be the first to acquaint European audiences in Italy, Germany, and Finland with O’Keeffe’s extraordinary works. The exhibition will be made up of work from the Georgia O’Keeffe Museum collection, which comprises more than half of the artist’s entire output, as well as examples of her work

Georgia O’Keeffe, Calla Lilies, 1924, Oil on Canvas, 16 x 12 Inches, Private Collection © Georgia O’Keeffe Museum


New Horizons

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 S U M M E R 2011

owned by American and European institutions and private collectors. It will include examples of O’Keeffe’s work in charcoal, watercolor, oil, and sculpture, as well as a selection of her art materials and photographs—taken of her by various photographers and by O’Keeffe during her lifetime—from the collections of the Georgia O’Keeffe Museum. Works on view from each decade in the 70 years she was active as an artist (1915–1984) will provide an overview of the kinds of subjects that interested her, from her abstractions of the 1910s through the 1960s to her innovative and famous large-scale paintings of flowers for which she became best known in the 1920s and also New York City pictures. The exhibition includes work from the two decades O’Keeffe worked in both New York and New Mexico (1929 to 1949): landscape, flower, and architectural paintings she produced in both places, as well as paintings of subjects specific to New Mexico. It will also present works that O’Keeffe produced after moving to New Mexico in 1949, as well as some that were inspired by her travels to Asia, which began in 1959. Examples of the photographs that will be presented include those made by Stieglitz, Ansel Adams, Todd Webb, Andy Warhol, and Don Worth, to name only a few, and several by O’Keeffe. These photographs document two public images of O’Keeffe: the sexualized provocative image that was the creation of Stieglitz (beginning in the 1910s) and the self-determined, serious, and uncompromising image that O’Keeffe created of herself when being photographed from the OK late 1920s to the end of her life. O

Georgia O’Keeffe: A Retrospective will be the first exhibition to acquaint European audiences in Italy, Germany, and Finland with O’Keeffe extraordinary works.

Georgia O’Keeffe: A Retrospective Fondazione Roma Museo, Rome October 5, 2011–January 22, 2012 Kunsthalle der hypo-kulturstiftung, Munich February 3–May 13, 2012 Helsinki City Art Museum, Helsinki May 31–September 9, 2012 Georgia O’Keeffe, Two Jimson Weeds with Green Leaves and Blue Sky, 1938, Oil on Canvas, 48 x 40 Inches, Private Collection © Georgia O’Keeffe Museum.


Upcoming Exhibition

Robert Henri & Ireland From New York to Corrymore

by­ Barbara Buhler Lynes

Georgia O’Keeffe, Untitled (Claudia O’Keeffe), 1907/1908, Oil on Canvas, 12 x 10 Inches, Oval, Collection Museum of Fine Arts, Museum of New Mexico, Santa Fe, Bequest of Claudia O’Keeffe, 1987.


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ROBERT HENRI & IRELAND: FROM New York to Corrymore is a major loan exhibition organized by the Mint Museum of Art that will open there (in Charlotte, North Carolina) in May 2011 and then tour to two additional venues through 2012. Long celebrated as the leader of the urban realists group known as the Ashcan School, Henri’s art has received less attention than one might expect. The few museum exhibitions that have focused solely on Henri, including those organized by the Delaware Art Museum in 1984 and the Orlando Museum of Art in 1994, were retrospective in nature; Robert Henri & Ireland, which will show at the Georgia O’Keeffe Museum from September 23, 2011, to January 15, 2012, is the first to explore a particular component of the artist’s work. It will make a significant contribution to scholarship on Henri in general, as well as expand upon revisionist scholarship on the Ashcan School that was featured in Life’s Pleasures: The Ashcan Artists’ Brush with Leisure at the Detroit Institute of Arts in 2008 and in Leaving for the Country: George Bellows at Woodstock at the Memorial Art Gallery, in Rochester, in 2003. Robert Henri & Ireland is the first exhibition to present one of the most significant groups of work that Henri produced: those inspired by his travels to Ireland. By displaying approximately 50 paintings (from public and private collections) featuring Irish subject matter, co-curators Jonathan Stuhlman and Valerie Leeds will clarify the nature and significance of the contribution Henri made to American art as a result of his time in Ireland. The appealing images in the exhibition of Irish people, and of Irish children in particular, provide new information on a genre in which Henri excelled: portraiture. They also provide a means of determining the development of his handling of paint and his understanding of composition and color theories, and they demonstrate that the paintings he produced in Ireland were among his most accomplished.

Why is the Georgia O’Keeffe Museum presenting an exhibition of portraits by Robert Henri (1865–1929) that he completed while in Ireland? As stated in the Georgia O’Keeffe Museum’s mission: “The Georgia O’Keeffe Museum is dedicated to perpetuating the artistic legacy of Georgia O’Keeffe and to the study and interpretation of American Modernism (late nineteenth century to the present).” Therefore, we often present exhibitions by contemporaries of Georgia O’Keeffe (1887–1986) that shed light on her role and position in the history of American Modernism. When O’Keeffe attended the Art Students League in New York City from 1907 to 1908, Henri was teaching there. Although she never took his courses, she was aware of his approach to imagemaking, called imitative realism, which had been fundamental to the curriculum in art schools since their founding. Imitative realism involved transforming a two-dimensional surface into a painted illusion of a three-dimensional world filled with recognizable forms. This was also the approach of William Merritt Chase, another teacher at the Art Students League, whose courses O’Keeffe did take. O’Keeffe quickly mastered imitative realism and in 1908 won the League’s William Merritt Chase still-life prize. Henri was the leader of the Ashcan School of American painters—artists whose work was traditional in its reliance on imitative realism but innovative in its content. These painters were the first to make working-class people and ordinary events the subject of their work. Other Ashcan School artists included William Glackens (1870–1938), George Luks (1867–1933), Everett Shinn (1876–1953), and John French Sloan (1871–1951). Like Henri and Chase, O’Keeffe was an excellent portrait artist—one of her lesser-known abilities as she seldom made portraits after her professional career began in 1916. A selection of portraits she completed before 1916 are included in the Robert Henri & Ireland exhibition. They relate specifically to the kind of imagery Henri produced throughout his career and especially during his two trips to Ireland (1913 and 1928), where he completed some of his most distinctive portraits. O’Keeffe began to question the value of imitative realism after winning the Chase prize, and then abandoned artmaking until 1912, when she learned through one of her colleagues about the then-revolutionary ideas of American artist and educator Arthur Wesley Dow (1857–1922), head of the art department at Teachers College, Columbia University. Dow had rejected

imitative realism, believing that artists should make their own ideas and feelings the subject of their work. His approach appealed greatly to O’Keeffe and shaped all of her subsequent work. But not even his influence can explain O’Keeffe’s remarkable turn to abstraction in 1915, when she produced some of the most innovative work in American art of that period. Several examples of her early abstractions are included in the Robert Henri & Ireland exhibition as well. At first, Henri and O’Keeffe approached imagemaking in a similar manner, but the work that launched O’Keeffe’s career in the 1910s was abstract and modernist, and anything but a furthering of the imitative realism to which Henri remained committed. Because abstraction informed all of O’Keeffe’s work, even when she painted recognizable forms, she became known as one of America’s leading modernist artists. Yet she never lost her ability to capture a likeness, and several of her portraits from the 1930s and ’40s have been included in this exhibition along with other examples from the 1910s through the ’60s in order to demonstrate the fundamental differences between the works of these two twentieth-century artists.

Robert Henri, Girl in Pink (Anne Lavelle),1928, Oil on Canvas, 28 3/8 x 20 1/2 Inches, Mount Holyoke College Art Museum, Gift of Mr. and Mrs. Roy R. Neuberger, 1963.


The Wideness

and Wonder of It

Touring O’Keeffe’s Abiquiú Home and Studio by­ Devon Jackson HAVE YOU EVER VISITED THE HOUSE OF AN AMERICAN ICON? HAVE YOU ever wanted to? Think about the residences of William Randolph Hearst, Cornelius Vanderbilt, Elvis Presley, or William Faulkner. The real reason we visit or aspire to visit the home of someone of such cultural importance often boils down to one thing: wonder. In the case of Georgia O’Keeffe and her home, what might we discover in the cabinets of her kitchen? Or in her studio or living room? Presumably, a visitor to one of O’Keeffe’s homes already knows something about her and her art before signing up for a tour. However, to be fair, there are no doubt visitors who do not know about the tours and visitors who know next to nothing about one of America’s greatest modernist artists. This is not surprising, as Abiquiú isn’t exactly an easy place to get to. Certainly not when O’Keeffe first passed through it on the way to Taos with Mabel Dodge Luhan in 1929 and 1930; or after she bought Ghost Ranch in 1940; or when she purchased the 5,000-square-foot Spanish Colonial–era compound, then in ruins, from the Archdiocese of Santa Fe in 1945. It wasn’t until 1949 that O’Keeffe moved into her Abiquiú home, after four years of renovation overseen by her friend Maria Chabot. Abiquiú seemed to complement O’Keeffe’s persona and temperament, as well as her artistic sensibility: adventurous, yet off the beaten track, guarded, isolated, and private almost to the point of secrecy. O’Keeffe’s Abiquiú home, where she wintered (she stayed in Ghost Ranch, her more famous property, during the summer), has a remote allure to it. Parts of it possibly date back as early as 1760. Most was certainly in place 100 years later in this tiny New Mexico village believed to have been settled by Native Americans from Mesa Verde around the 1500s. While it may not be overpowering in terms of its physical presence or abundance of things, O’Keeffe’s home derives its power, its awe factor, from its extreme simplicity in the midst of a spectacular landscape. There’s a reason the house was declared a National Historic Landmark in 1998, mainly due to what it preserves: a metaphorical window into the interior world that O’Keeffe aspired toward, a literal view of the natural world that inspired her art, and the opportunity to pass on her passion for nature and all its beauty to others. Perhaps the biggest bonus of taking the tour of the Abiquiú house, though, is the opportunity to meet Agapita Judy Lopez, who, for more than 12 years, worked directly for O’Keeffe herself. Lopez had just graduated from high school when O’Keeffe hired her, first as one of the women to stay with her on nights and weekends, then later to serve as her personal secretary. O’Keeffe, although nearly blind and well into her 80s when she hired Lopez, still had her wits about her. “She knew what she wanted,” recalls Lopez, now 56, who was born in Sacramento but raised in Abiquiú. Lopez’s mother worked for O’Keeffe as a cook, her grandfather tended to O’Keeffe’s garden, and two of her brothers work at O’Keeffe’s Abiquiú home today. 34

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In fact, visitors can see Lopez’s grandfather’s name, Estiven Suazo, etched, apparently with his boss’s blessing, into one of the bricks alongside the garden he tended. “Miss O’Keeffe was a very astute businesswoman, but also very generous in the community, and she was aware of what was going on,” Lopez says. “She seemed pretty astute as to how people were: their character, their natures.”  Originally intending to be an accountant, and therefore thinking her job with O’Keeffe would be only temporary, Lopez did whatever was asked of her. “It was a different experience for me,” says Lopez, who eventually managed both Abiquiú and Ghost Ranch. “I never thought I’d be here this long or make a career out of working here. This was totally unexpected.” As different as they were from each other—Lopez coming from a Catholic hispanic home, O’Keeffe an independent, almost maverick midwesterner— they found they were simpatico. “We had a connection, we trusted each other,” says Lopez, who knew only a little about O’Keeffe or her art before she was hired. “I learned about art and the way she wanted her artwork represented. She was meticulous in how she wanted things done.” Over time, Lopez’s world and its possibilities expanded. “Here was this very independent, multifaceted woman who ended up being a great inspiration to me and to many people,” observes Lopez from her airy, sunlight-infused office, located in Claudia’s Room, where O’Keeffe’s younger sister, a California schoolteacher, would stay during her summer visits. “It sort of opened my eyes, to see that there was something else out there. I think that’s why people come here—and it’s multinational in terms of the visitors we get. They’re inspired by the lifestyle Miss O’Keeffe led, by her art, her aesthetic. Not by meeting her, but through her art, her history.”

Agapita Judy Lopez, the Georgia O’Keeffe Museum’s Director of Historic Properties and Rights and Reproduction Manager


Kristin Lynn Kautz, Georgia O’Keeffe Home and Studio in Abiquiú, 2010–2011 © Georgia O’Keeffe Museum.

O’Keeffe’s Abiquiú home is strong, self-contained, contemplative. Just as O’Keeffe’s art is assertive, unique, and meditative. Comprising up to 12 people at a time, and running from June through November, Abiquiú tours are mostly an outside-looking-in experience. Some of the rooms in the house are too small and fragile to accommodate multiple visitors, so the tour does not go through all of them; most rooms are clearly visible from a window or a door. Still, there’s plenty worth seeing. And gleaning. First, one comes away with a clear confirmation of how this very private woman lived her life, and second, one realizes the overarching complementary importance that the exterior world played in her inner life and art. As much as O’Keeffe cultivated her self-suffi36

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ciency and privacy, some of these qualities in her home were intentional, some circumstantial. In the garden, for instance, she worked at growing roses, lilacs, poppies, and day lilies, as well as enough squash, tomatoes, corn, apples, peaches, pears, and other fruits, herbs, and vegetables to feed her throughout the year. On the other hand, the high adobe walls surrounding the three acres inside them—walls many people assume O’Keeffe had heightened in order to ensure her privacy— predated her. In the 1930s, the house’s owners at that time had the walls raised to that high level in order to minimize the noise and dust from

had what she needed. But,” she adds with a laugh, “she also had two houses.” Still, O’Keeffe took very good care of what she had, whether it was her two homes, her art, or her famous black suits, many of which, Lopez says, she had bought in the 1940s and ’50s. Perhaps more than anything, O’Keeffe prized her views. These she coveted, created, nurtured, and guarded—in her life, in her homes, in her art. The three-paneled window in the living room that looks south into her garden, for example, where O’Keeffe loved to sit, read, listen to music, and relax, was once but a single pane. O’Keeffe expanded it to three panes, so that it encased the tamarisk tree right outside, framing it in such a way that it almost becomes a live Japanese drawing. O’Keeffe also opened up the separate building that houses her studio and bedroom, in what used to be the stables and carriage house, installing north-facing windows that afford a jaw-dropping survey of Abiquiú’s valley, as well as of Taos and the Sangre de Cristos. O’Keeffe reinforced this visual experience by removing anything that might compromise the purity of it. “If the room was busy,” Lopez says, “you really wouldn’t look at the view. Even if the walls were white, that’d be distracting. So she kept them in their natural adobe gray.” O’Keeffe’s design philosophy is echoed in how she displayed her own work. “Her idea,” explains Lopez, “was if you kept it up too long, you stopped seeing it.” While the landscape views would change minute by minute, her paintings were fixed in time and had to be rotated so as not to lose their vibrancy, their energy.   In the end, O’Keeffe seemed to regard her role at Abiquiú as that of a caretaker, as someone ensuring that what so inspired her would be there long after she left. “Miss O’Keeffe thought of her time here as preserving the house,” says Lopez. “People come here or go to the Museum and they appreciate the other place that much more. I enjoy people seeing how and where she lived. And people like it that I’m connected to her. It’s an honor doing what I do.” An honor one can feel being passed on, from O’Keeffe, to Lopez, to all the people who visit one of Abiquiú’s, and the country’s, most famous homes.


the unpaved road that served as the main artery through Abiquiú and connected Santa Fe to New Mexico’s northern communities. (Highway 64, which now runs past the base of the hill on which the Abiquiú house stands, was not built until the 1950s.) Even though there are other features that predate O’Keeffe (like the Roofless Room, which is just that, and the Indian Room, which about 200 years ago served as a trading or boarding room for Native American traders), her Abiquiú home largely reflects her art. It has a modernist, minimalist look, a feeling of beauty, and a spirit of autonomy that borders on a take-it-or-leave-it attitude. It is strong, self-contained, and contemplative. Just as O’Keeffe’s paintings, sculptures, and other works of art are assertive, unique, and meditative. The home is preserved almost precisely the way she left it the day she departed in 1984. Her declining health forced her to move to Santa Fe, where she died in 1986 at age 98.   The house’s main courtyard, or patio, is what initially captivated O’Keeffe—particularly the long wall with the door. “That wall with a door in it,” she later wrote, “was something I had to have.” That door eventually appeared in many of her paintings. There are also antlers here and there, various sculptures and paintings, and smooth stones that the artist collected from all over the world displayed on the living room barranca and along the windowsill of her bedroom. The junipers outside the kitchen window were trimmed to look like bonsai, and eventually there came to be no seats or even any bancos in the living room. “She was quite austere,” says Lopez. “As time went on, this room, and the whole house, became more muted in its color scheme.” Muted, perhaps, but exactly what O’Keeffe wanted. “People love the pantry—it’s a comfort, it’s familiar,” says Lopez, pointing out the jars of herbs, the yogurt incubators, the vintage china and crockery. The kitchen, too, has a retro, kitschy, comfortable feel, but tastefully modern. “That was her aesthetic,” says Lopez. “Modern. Modern and minimal. Sometimes,” she continues, “people are inspired by what they see here. They’ll tell me, I’m going to go home and get rid of everything I don’t need. And she really only


Giving O’Keeffe the Digital OK

by­ Dale Kronkright


Conserving O’Keeffe’s Homes, Furnishings, and Works of Art Using Digital Photography


WHAT IF? THIS QUESTION MOTIVATES almost every innovative technology explored by the conservation program at the Georgia O’Keeffe Museum. The Museum’s collections are much broader than most of our visitors realize: not only do we preserve O’Keeffe’s drawings, photographs, paintings, and sculptures, but we likewise preserve the historic landscapes and adobe houses at Abiquiú and Ghost Ranch, their furniture and finishes, O’Keeffe’s pots, pans, kitchen tools, and studio materials, as well as her clothing, shoes, libraries, and personal collections. Because these resources are similar to those at heritage sites and museums around the world, innovations developed at the Georgia O’Keeffe Museum can have a tremendous impact on the state of preservation technology the world over. As the Museum’s Conservator, I take advantage of the computational power of today’s microprocessors in ways that can improve and automate the accuracy, reliability, and effectiveness of many preservation techniques. In a meeting last year, I posed a new question to a pair of digital-image software engineers: what if accurate three-dimensional digital modeling—collecting data about the pitch of a historic adobe wall at Abiquiú, say, or the size of a crack in an O’Keeffe painting, or the warp of her dining room tabletop—could be captured using today’s high-resolution digital cameras, rather than by expensive laser scanning equip-

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ment? What if a field laptop computer could quickly tell you whether there were small changes in the pitch or dimension of the wall, a painting crack had gotten longer or wider, or the warp in the tabletop was slowly increasing? What if minute changes that occur slowly over time could be accurately detected and documented using the rich data contained in a digital photograph? This process, known as photogrammetry, is used by satellites to measure minute changes on the earth’s surface and, in manufacturing, to automate quality inspections of objects and compare their characteristics to the engineering model. Detecting such changes in historic buildings, objects, and works of art could help conservators identify and arrest damage long before it becomes extensive, permanent, or disfiguring. Thus began our latest exciting preservation case study. Traditionally, complex and expensive laserscanning equipment and reconstructive software have been necessary to measure important condition changes in cultural heritage materials. Regardless of whether white light or laser light is used, three-dimensional scanning locates a single point on the surface of an object in space—the x-y-z axis. A camera or sensor is set to a particular resolution (the smallest distance between two adjacent points in that three-dimensional space) and records the location of the

Georgia O’Keeffe Museum Conser vator Dale Kronkright 39

Conservation next point. The sensor records the surface characteristics—cracks, accretions, abrasions, losses—point by point. Software then processes these millions of data points to construct a graphic, three-dimensional representation of the surface. There are several outstanding examples of laserscanning-based technology projects: one is the Digital Michelangelo project, in which a team of 30 faculty, staff, and students from Stanford University and the University of Washington spent the 1998–99 academic year in Italy scanning Michelangelo sculptures and architecture (http://graphics. The Stanford/University of Washington group, led by Marc Levoy, used laser triangulation rangefinders, laser time-of-flight rangefinders, digital still cameras, and a suite of software to scan Michelangelo’s statues in Florence,

The art and homes of Georgia O’Keeffe at Ghost Ranch and Abiquiú offer a perfect field environment to test these technologies. notably the David. The scans produced a data point density of one sample per 0.25 mm, detailed enough to see Michelangelo’s chisel marks. These detailed scans produced an enormous amount of data (up to 32 gigabytes); processing the data from those scans is reported to have taken five months. In comparison, the digital technology being explored by the conservation program at the Georgia O’Keeffe Museum utilizes more commonly available, high-resolution digital cameras and carefully engineered but relatively low-tech lighting techniques to gather similar point-cloud data that can then be reconstructed using computer software not


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only to document but comparatively measure detailed physical characteristics related to preservation and condition. High-resolution digital photographic images record detailed, reflected-light, surface information about contour, texture, elevation, and location in two-dimensional space, and gather detailed color data as well. By registering points along the surface of an object and taking multiple images after moving the camera, the object, or the light source, detailed, three-dimensional images can be assembled from two-dimensional digital photographic images. However, perfecting the software and field techniques necessary to capture and measure threedimensional characteristics of objects using digital photography won’t be easy. The point of this promising technology is to be able to automate accurate measurements and monitor small changes in the condition of our collections. The accuracy of the measurement between points in the images is critical and measurement error increases with distance between the camera and the object. Most objects will therefore require multiple photos from small distances and each image will then need to be registered or aligned in order to create accurate three-dimensional models and enable computer comparisons among images taken years apart. We are hoping to fund a two-year, $100,000 case study exploring two theoretical approaches to acquiring digital images that will overcome these obstacles and allow photogrammetric, digital threedimensional reconstructions and automated analyses. If successful, the case study could help spur adoption of these easily accessible technologies for the preservation of art and heritage sites around the world. The first approach is a photometric system developed by Cultural Heritage Imaging, Inc., of San Francisco. Computational photography digitally extracts relevant information from a sequence of digital photographs. This information is then synthesized into a new digital representation, which conveys three-dimensional information about the subject material that is indiscernible in the individual

source photographs. The technology, stemming from the development of Polynomial Texture Maps (PTMs) originally invented by Tom Malzbender at Hewlett Packard Labs in 2001, utilizes a single camera and circles the target surface or object with rotating, raking lighting sources, taking a new digital image with each position change. Each photograph registers the same surface details with minute changes in reflection and in ways that promote registration and measurement of the specific relief, design, and deterioration characteristics of the objects being photographed. The second approach is currently being used by Red Fish, Inc., a complex-systems imaging and processing software group in Santa Fe, New Mexico. Steve Gurgin at Red Fish projects a structured pattern of light—lines, grids, or geometric patterns—on the subject and records and analyzes the deformations of the pattern on the surface of an object. A camera, offset slightly from the pattern projector, looks at the

The point of this promising technology is to be able to automate accurate measurements and monitor small changes in the condition of our collections.

shape of the line and uses a complex algorithm, similar to triangulation, to calculate the distance of every point on the line. The art and homes of Georgia O’Keeffe at Ghost Ranch and Abiquiú offer a perfect field environment to test these technologies and their ability to docu-

At the front of O’Keeffe’s Abiquiú home, a laptop computer generates a sine-wave light pattern that is projected onto the house using an ordinary digital projector. Each pixel in the photograph can then be fixed as the third point of a triangle with the known distance between the camera and the projector and two known angles.


ment condition information about landscapes, rooms, and historic collections. The project will also provide opportunities for young interns at the graduate and undergraduate level to gain practical experience and skills with these fast-developing digital documentation strategies. We hope to involve interns from New Mexico community colleges and universities and expand their appreciation for the heritage of their own region in tandem with familiarity with the rapidly expanding world of digital photogrammetric documentation

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and web access. Once we raise the necessary funds to begin the case study, the project promises exciting opportunities for our museum members as well. I hope to post the progress and images on a special, invitationonly website. Besides being available to other museum conservators and scientists working with these technologies, Museum members will be granted special access and will be able to interact, virtually, with the project participants. With your members-only password, you and your family will be able to watch the project activities at Abiquiú, Ghost Ranch, and the Museum’s conservation lab in realtime, on multimedia web pages. The conservation staff also hope to answer your questions via webpage posts and occasional live webcasts. To contribute to the project fund-raising efforts, please contact Susan Fisher, Director of Development, at 505.946.1020 or susan.

Business Partners Leader ($5,000+)

Eileen Fisher Store Encantado, an Auberge Resort Essential Guide to Santa Fe & Taos Hilton of Santa Fe Hilton Santa Fe Golf Resort & Spa at Buffalo Thunder Los Alamos National Bank Sotheby’s The Collector’s Guide Thornburg Investment Management

Benefactor ($2,500+)

Adobo Catering Arthur J. Gallagher David Dike Fine Art Hinkle, Hensley, Shanor & Martin, LLP New Mexico Magazine Payday, Inc.

Underwriter ($1,000+) Abiquiu Inn ACC Eldorado Hotel & Spa Hotel Santa Fe Hyatt Place Santa Fe Inn and Spa at Loretto Inn of the Anasazi Invisible City Designs La Fonda on the Plaza Marja Custom Catering, Inc. New Mexico Bank and Trust Posters of Santa Fe Santa Fe Sage Inn Sommer, Udall, Sutin Law Firm The Owings Gallery White & Luff Financial Wolf Corporation Custom Builder Ze French Bistro

Contributor ($500+) AV Systems, Inc. Best Western Inn of Santa Fe Clifton Gunderson, LLP Copy Craft Printers, Inc. David Mendez Design EVOKE Contemporary First Community Bank Inn at Santa Fe Keep Santa Fe Beautiful Santa Fe Courtyard by Marriott Scheinbaum & Russek, Ltd. Whole Foods Market

Associate ($300+)

Aaron Payne Fine Art Advanced Janitor Supply Albuquerque Convention & Visitors Bureau Art Delivery Service CAC, Inc. Careers First, Inc. Collected Works Bookstore & Coffeehouse Coronado Paint & Decorating Cyber Mesa Telecom El Rey Inn Ghost Ranch Education and Retreat Center Guardsmark, Inc. Ironstone Bank James Kelly Contemporary, Inc. Joan Gentry, Photographer Michael Motley Studio Oso Electric, LLC Paper Tiger Peter Kahn Philip V. Augustin Photography Pomegranate Communications, Inc. San Francisco Street Bar and Grill Santa Fe Downtown Merchants Association Santa Fe Weaving Gallery Santa Fean Magazine Santacafé Sigma Solutions, Inc. Textile Arts, Inc. The Santa Fe New Mexican Wilson Transfer & Storage, Inc. Zaplin Lampert Gallery, Inc.

The Georgia O’Keeffe Museum and its Business Partners collaborate in support of a flourishing cultural and economic environment in Santa Fe.




Exposing Museum Visitors to the Life and Work of O’Keeffe by­ Peggy Kratka Chair, O’Keeffe Museum Docent Council

Docents at The White Place in Abiquiú


THE GEORGIA O’KEEFFE MUSEUM DOCENTS HAVE MANY REASONS TO BE EXCITED. They gain personal gratification daily through rewarding experiences and encounters. The docents’ mission is to expose Museum visitors to the life and work of Georgia O’Keeffe, as well as other prominent American modernists. Docents have the unique opportunity to take individuals and groups of all ages and backgrounds—who come to Santa Fe from all over the world and some specifically just to experience the Georgia O’Keeffe Museum—on tours of our wonderful facility. The audience can range anywhere from an intimate group of four or five to a crowd of 100, from nonagenarians to schoolchildren as young as three years old. The current docent group consists of approximately 50 men and women who have come to Santa Fe from many different educational and career backgrounds—art historians, psychologists, stockbro44

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kers, lawyers, teachers, librarians, and, yes, even artists. This diversity of professions and life experiences makes for a very stimulating exchange of ideas and perspectives. Not only do docents benefit from touring and interacting with visitors, but they enjoy a rich camaraderie shared with each other that carries well beyond their duties at the Museum. The docents participate in engaging monthly meetings with Jackie M, the Museum’s Education Director, and an active Docent Council that organizes outside activities for the group. The docents have visited other museums and art exhibitions in the area, hiked up Pedernal Mountain, and even planned yearly art-oriented out-of-town

trips to other cities such as Chicago and Fort Worth. A new docent training session will be held on Thursdays this fall, starting October 29, and running through February 2012. This training consists of weekly lectures, homework, and actual touring with docent mentors. After completing the training, a docent is expected to donate 100 hours per year to the Museum, 60 of which must be touring hours. If you are interested in becoming a docent at the Geor-

Call 505.428.2844 For Your Personal Tour

gia O’Keeffe Museum, please contact the Education Department at 505.946.1007 or



Symposium: Challenging 1945 by­ Barbara Buhler Lynes

RECENT SCHOLARSHIP HAS INCREASINGLY CALLED INTO QUESTION THE use of 1945 as a marker to separate pre-World War II developments in American art from those occurring later. This division has characterized art developments of the century in terms of rupture and division, often implying that the art made before 1945 is inferior to the art that came after. Yet many artists who began their careers in the early twentieth century lived well into its second half and produced outstanding work both before and after this dividing point. Moreover, not only did the work of many artists overlap this artificially imposed marker, their works borrowed from and reacted to earlier developments in American art. This is the subject of Challenging 1945: Exploring Continuities in American Art, 1890s to the Present, the symposium sponsored by the Georgia O’Keeffe Museum Research Center July 14–16 in celebration of the Center’s 10-year anniversary. Over the course of two and a half days, distinguished artists and art historians will assess this period from the perspective of its continuities and interdependencies in order to further expand our understanding of its complex, nuanced, and pluralistic history. American art historian William Agee will present the keynote address Thursday night at the Hilton Hotel, followed by a reception. The symposium sessions begin on Friday morning and run through Saturday morning, and each session will be followed by a question-and-answer period. Presenters include Whitney Chadwick, Huey Copeland, Thomas Crow, Erika Doss, Patricia Hills, Michael Leja, Michael Loble, Richard Meyer, Elizabeth Turner, Terry Smith, and Robert Storr. Saturday’s session includes a panel discussion with art historian and artist Jonathan Weinberg, and artists Robert Bechtle, Audrey Flack, and Barkley Hendricks. During the symposium, works by Bechtle, Flack, and Hendricks will be on view at the Museum in the exhibition Shared Intelligence: American Painting and the Photograph, whose co-curators are myself and independent scholar and artist Jonathan Weinberg. Since the invention of photography in the late 1830s, tensions have existed between the art of painting and the art of photography and one has often been assessed as more valuable or more important than the other. Shared Intelligence expresses a different point of view: in bringing together photographs and paintings by artists for whom the two 46

O ’ K E E F F E S U M M E R 2011

Attendees enjoy one of the many symposia hosted by the Georgia O’Keeffe Museum Research Center.

mediums were essential to their practices, it explores the fraught relationships between painting and photography in terms of how they nourish and invigorate each other to reveal both continuities and interdependencies. The Shared Intelligence exhibition developed out of ideas that were presented at the July 2006 Research Center symposium Painting and Photography in American Art: Sources, Ideas, and Influences, 1890s to the Present. Several speaker presentations from that symposium have been published in the Shared Intelligence exhibition catalogue (along with essays by other prominent historians of art and photography). The exhibition catalogue was published by the University of California Press, Berkeley, 2011. The Georgia O’Keeffe Museum Research Center is the only museum-related research facility in the world devoted to the study of American Modernism (late-nineteenth century to the present). It is equally unique in that its mission parallels that of exhibitions organized or sponsored by the Georgia O’Keeffe Museum: to shed new light on the history of American


Symposium modern art as well as O’Keeffe’s contribution to it. Every five years the Research Center sponsors a symposium in Santa Fe that considers an issue of overarching concern to historians of American art. It has also realized three symposia (in 2001, 2003, and 2005) on the Georgia O’Keeffe Museum website, all of which were subsequently published as books. Each online symposium was moderated by noted art historian Maurice Berger. Every year the Research Center’s competitive scholarship program supports the work of six scholars and/or museum professionals whose projects explore subjects in American Modernism in the fields of art history, architecture and design, literature, music, and photography. We have welcomed many dozens of individuals to the Research Center, some of whom have organized exhibitions at the Georgia O’Keeffe Museum. Moreover, the Research Center sponsors public lectures, conferences, and publications, and houses a highly specialized research library and an extensive archival collection related to Georgia O’Keeffe and her contemporaries.

O’Keeffe enthusiasts dine in the Research Center’s outdoor patio.


O ’ K E E F F E S U M M E R 2011

Jill Cooper Udall, Michael Engl, and Barbara Buhler Lynes

In the 10 years since its founding, the Georgia O’Keeffe Museum Research Center has hosted numerous symposia, many of which have later been published as books.


Museum Calendar



O ’ K E E F F E S U M M E R 2011

JUNE 15, 6–8 PM

JULY 5, 6–8 PM

NEW MEXICO LAWYERS FOR THE ARTS Protecting Your Rights as a Photographer

ART & LEADERSHIP PROGRAM Photography: An Artistic Interpretation

How can photographers protect their rights? Photographer and lawyer Efraín M. Padró discusses why and how to label work, how to register copyrights, how to negotiate contracts, and more. FREE. Held at the Museum’s Education Annex, 123 Grant Avenue. Reservations at 505.946.1039 or


JUNE 18, 9:30–11:30 AM FAMILY PROGRAM Collage Art

JUNE 20, JULY 18, JULY 29 10 AM–1 PM ADULT LEARNING PROGRAM Georgia O’Keeffe and the Art of Eating Well

JULY 6, 6 PM

JULY 9, 9:30–11:30 AM FAMILY PROGRAM Creative Landscapes

JULY 11 & 20, 9–10 AM ADULT LEARNING PROGRAM Genesis of a New Work: The Tides of Peace

JULY 12, 9 AM–NOON & 6:30 PM–MIDNIGHT ADULT LEARNING PROGRAM Shared Inspiration/Personal Interpretation Presented in collaboration with The Santa Fe Opera

JULY 14–16

JUNE 21, 10–11:30 AM

RESEARCH CENTER SYMPOSIUM Challenging 1945: Exploring Continuities in American Art, 1890s to the Present

READERS’ CLUB Norman Rockwell: Behind the Camera

JULY 18 & 27, 8:30–10 AM

JUNE 25, 9:30 AM–4:30 PM ADULT LEARNING PROGRAM Grids and the Psychologically Significant Photo

Create a series of images in response to a psychologically significant photo. A variety of media will be offered for this investigation of how memory and imagination alter perception and imagery. Led by Jane Shoenfeld, art instructor, painter, and art therapist. Approved by the NM Counseling and Therapy Practice Board and the Social Work Examiner’s Board.For 6 CEU credits, $160; noncredit, $150; Members and Business Partners, $150. Held at the Museum’s Education Annex, 123 Grant Avenue. Reservations at 505.946.1039 or

ADULT LEARNING PROGRAM Walt Whitman, Robert Kyr, and the Music of War and Peace

JULY 23, 9:30–11:30 AM PRESCHOOL FAMILY PROGRAM Opera Makes Sense at the O’Keeffe

JULY 25, 8:30–10 AM ADULT LEARNING PROGRAM Archiving O’Keeffe: The Abiquiú Book Room Project

JULY 26, 10–11:30 AM READERS’ CLUB Romare Bearden, Chuck Close, Barkley Hendricks, and Robert Rauschenberg

JULY 28, 5:15 PM ADULT LEARNING PROGRAM Thursday at the O’Keeffe

AUGUST 1, 8:30–9:30 AM

AUGUST 23, 6–8 PM


ART & LEADERSHIP PROGRAM Deconstructing Our New Mexico Landscape

AUGUST 1 & 2, 1–4 PM ADULT LEARNING PROGRAM Defining Reality: Painting from the Photograph/Painting from Life

AUGUST 6, 9:30–11:30 AM FAMILY PROGRAM Sunprints

AUGUST 11, 9 AM–5 PM ADULT LEARNING PROGRAM The Handmade Photograph: Platinum/Palladium Workshop

AUGUST 14, 3–5 PM 2011 YOUTH EXHIBITION Opening Reception: AwardWinning Art & Leadership Programs for Girls & for Boys

Witness the talents of these extraordinary 11–14-yearold students and enjoy music and refreshments at our annual celebration of the Museum’s summer youth programs. Following the opening, the artwork will be on display weekdays, August 15–September 9, from 10 am to 4 pm. FREE. Held at the Museum’s Education Annex, 123 Grant Avenue. Reservations recommended; 505.946.1039 or AUGUST 15, 9–10 AM

Bring a prized photo, and we’ll simplify, abstract, and re-create the image as an original artwork. Use your own drawing materials or our “crayons” to play with a vibrant color palette with Amy Paloranta, M.A. Art Therapy, artist, and arts educator.FREE. Held at the Museum’s Education Annex, 123 Grant Avenue. Reservations at 505.946.1039 or Generously supported by Encantado, an Auberge Resort (

Did you know? As a member of the Museum, you can attend many of the Georgia O’Keeffe Museum events and programs for free.

Community Events


ADULT LEARNING PROGRAM Shared Traditions: Native American Art and Photography

AUGUST 16, 10–11:30 AM READERS’ CLUB David Hockney


Malcolm Varon, Georgia O’Keeffe Museum Research Center, Patio, 2001 © Georgia O’Keeffe Museum; inset: Malcolm Varon, Georgia O’Keeffe Museum Research Center, Scholar Office, 2001 © Georgia O’Keeffe Museum.


O ’ K E E F F E S U M M E R 2011

Exceptional Research by­Eumie Imm-Stroukoff

THE GEORGIA O’KEEFFE MUSEUM RESEARCH CENTER IS celebrating its 10th anniversary this year. In anticipation of this important milestone, we would like to let you know of the many things we have accomplished since our opening in 2001. Read on and enjoy! Located two blocks from the Museum, the Research Center is housed in the historic Bergere House, built in the 1870s to lodge Fort Marcy’s military officers. New York-based Gluckman Mayner Architects renovated the building in 2001 and added the structure that currently houses the Research Center’s library and archives. The extensive lawn and gardens around the Research Center were dramatically enhanced several years ago thanks to support from the Barbara Goede Family Foundation that allowed the addition of trees, plantings, and a selection of plants whose flowers O’Keeffe used as subjects in her paintings. Since it opened 10 years ago, the Research Center has sponsored a symposium in Santa Fe every five years, and it has held three symposia on the Museum’s website (in 2001, 2003, and 2005). The Research Center also awards a Book Prize every three years to the author of a book published within the last 25 years that has made a major contribution to the study of American modern art, but received little recognition at the time of publication. In 2009, the Book Prize was awarded to Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, for his book Making the Modern: Industry, Art, and Design in America (University of Chicago Press, 1993). The Research Center also sponsors a competitive scholarship program every year that awards monies to six qualified individuals who are pursuing projects in one of the following fields: architecture and design, art history, literature, music, and photography. One award can be given to a museum professional wanting to organize an exhibition on some aspect of American Modernism for the Georgia O’Keeffe Museum. So far we have sponsored 59 individuals for various projects on topics such as modern Chicano art, Japanese modernists, interfaces between the art of David Neel and Andy Warhol, the photography of Berenice Abbott, women artists of the Stieglitz Circle and Modernism, industrial design and eugenic thought, Marsden Hartley’s New Mexico works, murals in African American churches on Chicago’s South Side, collaborations between American artists and poets, and contemporary American poetry and the making of place. As part of their residency requirements, each Research Center scholar gives public lectures on their chosen topic in the Museum’s Education Annex. These featured talks are a favorite among locals and visitors and


Research routinely draw capacity audiences. We have audio-recorded several of these lectures and are delighted to announce that selected podcasts are available on the museum’s website at scholar-lecture-podcasts.html. We encourage you to listen to these lectures, which range in topic from Native American modernist artists and the African American artist Jacob Lawrence to the art of Lynda Benglis and John Peto’s trompe l’oeil paintings. Past Museum Research Center scholars have subsequently been awarded other fellowships and honors, and they have published prolifically. Selections of several scholars’ recent publications are included on the following few pages (the dates in

We are the only museum-related research facility in the world dedicated to the study of American Modernism. parentheses are the years they were scholars with the Research Center), and a full listing of accomplishments can be found under “Research Center” on the Museum’s website. The Research Center is pleased to have participated in sponsoring the work of these accomplished individuals. Look for interviews with them, as well as highlights from the Research Center’s collections, in future magazine issues.

Malcolm Varon, Georgia O’Keeffe Museum Research Center Library, 2001 © Georgia O’Keeffe Museum. 54

O ’ K E E F F E S U M M E R 2011

Bibliography Julia Bryan-Wilson (2005–2006)

Bryan-Wilson, Julia. Art Workers: Radical Practice in the Vietnam War Era. Berkeley: University of California Press, 2009. This book was listed as a Best Book of 2009 by Artforum magazine.


_____. “Lisa Anne Auerbach’s Canny Domesticity.” In Lisa Anne Auerbach, edited by Jacob Proctor. Ann Arbor, Mich.: University of Michigan Museum of Art, 2010.

Greenberg Fine Art is proud to be representing the paintings of Karol Mack

_____. “Our Bodies, Our Houses, Our Ruptures, Ourselves.” In Ida Applebroog: Monalisa. New York: Hauser and Wirth, 2010. Christina Cogdell (2002–2003)

Cogdell, Christina. Eugenic Design: Streamlining America in the 1930s. Philadelphia: University of Pennsylvania Press, 2010, 2004.

205 CANYON ROAD, S A N TA F E , N M 8 7 5 0 1 505.955.1500

_____ and Simon Sadler. “Fast Forward and Rewind.” Counterculture issue of Volume 24, 3 (September 2010): 50–52. _____. “Tearing Down the Grid.” Design and Culture 3, 1 (March 2011): 75–84.

Winter Majesty by Karol Mack, 30” x 24”, Oil on Board

Huey Copeland (2008–2009)

Huey Copeland, Assistant Professor of Art History, Northwestern University, has been awarded a semester-long residency for spring 2011 at the Sheila Biddle Ford Foundation, W.E.B. Du Bois Institute for African and African American Research at Harvard University. He will present a paper at our symposium this summer. Copeland, Huey. “After the Voyage.” In Fred Wilson: A Critical Reader, edited by Doro Globus. London: Ridinghouse, 2011. _____. “Glenn Ligon and Other Runaway Subjects.” Representations 113 (Winter 2011): 73–110.

Get more of the city you love. dining • art • culture history • lifestyle

Show Madrid Light owden Q+A, cts, Charles B Art + Archite

_____. “Out of the Well.” In Fred Wilson: A Critical Reader, edited by Doro Globus. London: Ridinghouse, 2011.

10/January December 20



Erika Doss (2011–2012)

1 year, 6 issues only $14.95

Erika Doss, Chair of the American Studies Department, Notre Dame University, is at the Research Center until May 2011, working on her book Picturing Faith: Religious Presence and Meaning in Modern and Contemporary Modern Art. She will present a paper at our symposium this summer. Doss, Erika. “Shame of the Nation: The Duluth Lynching Memorial and Issues of Civic Morality.” In Art and Shame, edited by Martha Hollander. New York: Ashgate, 2011.



effe y GeorGia o’ke the 1 and onl ns winter traditio 21 enchantinG ideas fe holiday Gift 66 unique santa


_____. “Shared Memory.” In Memory,


ited by Amy Chaloupka and Leslie Umberger. Sheboygan: John Michael Kohler Art Center, 2011. _____. “Westward Perspectives: An Interview with T.L. Solien.” In T.L. Solien: Toward the Setting Sun, edited by Colleen Sheehy. Fargo: Plains Art Museum, 2011. Patricia Hills (2005–2006)

Patricia Hills, Professor, Department of History of Art and Architecture, Boston University, was awarded the College Art Association award for Distinguished Teaching of Art History in February 2011. Hills, Patricia. “Cultural Legacies and the Transformation of the Cubist Collage Aesthetic by Romare Bearden, Jacob Lawrence, and Other African American Artists.” In Romare Bearden, American Modernist, edited by Ruth Fine and Jacqueline Francis. Washington, D.C.: National Gallery of Art, 2011. _____. Painting Harlem Modern: The Art of Jacob Lawrence. Berkeley: University of California Press, 2010. _____. “’Truth, Freedom, Perfection’: Alfred Barr’s What Is Modern Painting? As Cold War Rhetoric.” In Pressing the Fight: Print, Propaganda, and the Cold War, edited by Greg Barnhisel and Catherine Turner. Amherst: University of Massachusetts Press, 2010. Chris Reed (2007–2008) Reed, Christopher. Art and Homosexuality: A History of Ideas. New York: Oxford University Press, 2011. ______, 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. ______. “Enduring Evanescence and Anticipated History: The Paradoxical Edwardian Interior.” In The Edwardian Sense, edited by Michael Hatt and Morna O’Neil. New Haven: Yale University Press, 2010. Lois Rudnick (2005–2006)

Rudnick, Lois, editor. Cady Wells and Southwest Modernism. Albuquerque: Museum of New Mexico Press, 2009. Terri Weissman (2001–2002) Weissman, Terri, Sharon Corwin, and Jessica May, eds. American Modern: Documentary Photography by Abbott, Evans, and Bourke-White. Berkeley: University of California Press, 2010. _____. The Realisms of Berenice Abbott: Documentary Photography and Political Action. Berkeley: University of California Press, 2010. _____. “The Spectacle of Trauma: 9/11 in the Museum.” Visual Resources 21, 2 (June 2005): 1–20. 56

O ’ K E E F F E S U M M E R 2011

Rebecca Salsbury (Strand) James, Peace, 1937, Reverse Painting on Glass, 8 x 10 Inches, © Georgia O’Keeffe Museum.

A PAINTING BY REBECCA SALSBURY (STRAND) JAMES HAS BEEN GIVEN to the Museum: Peace, 1937, reverse painting on glass, 8 x 10 inches. O’Keeffe met and became friends with James in New York in the 1920s, when James was married to photographer Paul Strand. He was among the handful of artists supported by Alfred Stieglitz, America’s leading advocate of modern art, an internationally known photographer, and O’Keeffe’s husband and agent. O’Keeffe traveled by train with James to New Mexico when she first began painting there in 1929, and the two remained lifelong friends. This marvelous example of James’s work was given to the Museum by Mr. and Mrs. Richard D. Woods of Chicago and we are extremely grateful to them for this wonderful addition to our collection. We hope that others will join their efforts to expand our collection by making gifts to the Museum of works by O’Keeffe and her contemporaries.


O’Keeffe Acquisition



Museum Store 58

O ’ K E E F F E S U M M E R 2011

My Faraway One Edited by Sarah Greenough

TH E RE ARE F EW C OU P LE S I N TH E H I STO RY O F twentieth-century American art and culture more prominent than Georgia O’Keeffe (1887–1986) and Alfred Stieglitz (1864–1946). Between 1916, when they first began to write to each other, and 1946, when Stieglitz died, O’Keeffe and Stieglitz exchanged over 5,000 letters (more than 25,000 pages), many of which describe their daily lives in profoundly rich detail. In O’Keeffe’s sparse and vibrant style and Stieglitz’s fervent and lyrical manner, the letters describe how the two met and fell in love in the 1910s; how they carved out a life together in the 1920s; how their relationship nearly collapsed during the early years of the Depression; and how it was reconstructed in the 1930s and early 1940s. At the same time, the correspondence reveals the creative evolution of their art and ideas; their friendships with many of the most influential figures in early American Modernism, including Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and Paul Strand, to name only a few; and their relationships and conversations with an exceptionally wide range of key figures in American and European art and culture, including Marcel Duchamp, D. H. Lawrence, Duncan Phillips, Diego Rivera, and Frank Lloyd Wright. Furthermore, their often poignant prose reveals insights into the impact of larger cultural forces—World Wars I and II; the booming economy of the 1920s; and the Depression of the 1930s—on two articulate, creative individuals.

SHARED INTELLIGENCE, COMPANION CATALOG TO THE exhibition of the same name, explores the stimulating and productive relationexhibition will be on view at the Georgia O’Keeffe Museum from May 20 to September 11, 2011. The essays in this beautifully illustrated book describe how a dynamic developed between painting and photography as soon as the latter came into being in the 1830s. It includes work from the late nineteenth century to the present, from Thomas Eakins, the Stieglitz Circle artists, Pop artists, and the photo-realists to contemporary artists. Essays in it clarify that photography was not valued as an art form at first, in that it was perceived early on as nothing more than a mechanical process, and how it has gradually attained recognition as an art form equal to that of painting. Painters immediately turned to photography as a source of enrichment for their own work, but would not admit to doing so until after the 1950s, when Andy Warhol and other painters unhesitatingly used photography in their work, as it would have tarnished their reputation as creative forces. This beautiful volume, which reproduces all of the works in the exhibition, also includes interviews with artists Robert Bechtle, Barkley Hendricks, and Sherrie Levine, as it documents the complex and nuanced ways in which painting and photography have nourished one another. A great book for your library.

Book Highlights

ship between painting and photography in twentieth-century American art. The

Shared Intelligence: American Painting and the Photograph Edited by Barbara Buhler Lynes and Jonathan Weinberg



O ’ K E E F F E S U M M E R 2011

A tent setting in the Museum Courtyard

INVITE THE SPIRIT OF GEORGIA O’KEEFFE TO YOUR NEXT EVENT or reception. The Georgia O’Keeffe Museum’s intimate spaces are ideal venues for smaller gatherings. Located just off the historic Santa Fe Plaza, the Museum provides a unique setting in which to entertain your friends, family, and colleagues while surrounded by some of the world’s greatest art by some of the world’s greatest artists. Whether you are hosting a business function, cocktail party, or wedding rehearsal dinner, the Museum offers an artistic backdrop for your special event and makes for a memorable experience. There are several ways to enjoy our Museum spaces, and we are happy to help you create the occasion of your dreams. The Museum Courtyard is available for seated dining or a cocktail reception. It is located just off the Museum Lobby with easy access to the galleries. The capacity for a seated dinner is 70 people. The capacity for a reception is 150 people. You can visit the galleries at your leisure during the first two hours of your event. Docents are stationed throughout the galleries to answer questions and give small tours. The Museum Lobby is appropriate for a small gathering before or after a visit to the Museum galleries. The maximum capacity for the lobby is 100 people. An after-hours private viewing of the galleries is available for individuals and groups. Capacity is limited to 200 people. Docents are stationed throughout the galleries to answer questions and give small tours. When planning your event, each request is carefully reviewed based on space availability, internal event programming, and scheduling logistics. Please contact Christina Dallorso Kortz, Visitor Services Manager, for more information at 505.946.1019 or

More for Members THE GEORGIA O’KEEFFE MUSEUM’S MEMBERS COME FROM SANTA FE, FROM ACROSS the United States, and around the globe. Some live next door, others in Australia. However, what you all have in common is a love of art and art-based experiences . . . and sharing those experiences with others. It all starts with a simple visit to the Museum, whether by yourself as an individual or with family and friends, and unfolds as you discover the depth and breadth of everything else we offer: the special exhibitions, the scholarly lectures, the excitement of more than 250 activities annually, or maybe a “Breakfast with O’Keeffe,” or a tour of the O’Keeffe home and studio in Abiquiú. The O’Keeffe Museum experience culminates with the enjoyment and fulfillment of a world of fine art and personal creative engagement. We believe the Museum truly has something to offer everyone, and in order to extend these opportunities to more people, we recently revised our Membership Program for the first time in five years. We encourage you to start with a core membership (Individual or Household) and grow into Friends, Sustainers, Patrons, or any of the Premier membership levels. To enhance our service to our local communities, we have created a new category for all New Mexico residents. If you live here, you join for less. We encourage and appreciate your continued participation and support. Come, enjoy, share, and stay! To the right is a chart of our new membership levels and benefits. Find the one that is right for you and call us with any questions you may have.

Contact Camille Romero, Membership and Annual Fund Manager, at 505.946.1033, or We look forward to hearing from you!

Did you know? As a member of the Georgia O’Keeffe Museum, you can attend the Georgia O’Keeffe Museum Research Center Scholar Lectures for free.


* * * * * * * * * * *

unlimited admission for one year 15% discount in Museum Shop 10% discount at the O’Keeffe Café 20% discounts on facility rentals discounts on education programs and activities discounts on Research Center programs subscription to member publications invitations to exclusive openings and events acknowledgement in O’Keeffe Magazine discounted tour of Abiquiu home and studio complimentary admission for children under 18


Maria Chabot, Georgia O’Keeffe Hitching a Ride to Abiquiu with Maurice Grosser, 1944, Photographic print, 5 x 3 1/2 inches. Georgia O’Keeffe Museum, Gift of the Maria Chabot Literary Trust. © Georgia O’Keeffe Museum.




Includes all Member Benefits for 1 adult. New Mexico Individual $45 Individual $60


Includes all Member Benefits for 2 adults. New Mexico Household $65 Household $80



Includes all Member Benefits, plus: • 2 membership cards • 2 complimentary one-time admission passes including audio guides • Reciprocal benefits at 400+ museums across North America



Includes all Supporter level benefits, plus: • 2 additional complimentary one-time admission passes including audio guides (4 total) • Invitations to special Friends events across the US







President’s Council


O’Keeffe Circle


Includes all Sustainer level benefits, plus: • Complimentary tour for 2 of Georgia O’Keeffe Home and Studio in Abiquiu

Includes all Friend level benefits, plus: • 2 additional complimentary one-time admission passes with docent-led exhibition tour or audio guides (6 total)

Includes all Patron level benefits, plus: • 2 additional complimentary one-time admission passes with docent-led exhibition tour or audio guides (8 total) • Invitations to international openings and events

Includes all Benefactor level benefits, plus: • Private, guided Museum tour for up to 15 people • Public acknowledgement on Museum donor wall during membership year

Includes all President’s Council level benefits, plus: • Private tour for 2 of the Research Center • All Museum exhibition catalogues during membership year • Printed acknowledgement in Museum promotional literature during membership year

“My painting is what I have to give back to the world for what the world gives to me.” - Georgia O’Keeffe 62

O ’ K E E F F E S U M M E R 2011

Introducing Susan Fisher, Director of Development Susan Fisher is the new Director of Development at the Georgia O’Keeffe Museum. She brings 20 years of fundraising experience on behalf of cultural and educational nonprofits to the Museum, fulfilling her longtime dream of moving back to the West. With undergraduate degrees in French literature and studio art from the University of California at Santa Cruz, Susan moved to Philadelphia to get her MFA at the University of Pennsylvania and pursue a career in arts administration. She has come to the Georgia O’Keeffe Museum from the Philadelphia Museum of Art where she served for three and a half years as the Director of Foundation and Government Relations.

Become a Member today! Name (as it appears on membership card): ___________________________________________________________ Second Name (as needed for levels providing 2 memberships): __________________________________________ Mailing Address: _________________________________________________________________________________ City, State, Zip Code: ______________________________________________________________________________ Phone: _____________________________ Email: ______________________________________________________ Membership Type: _______________________________________________________________________________ Check enclosed for $ ___________________________________________________________________________ Charge my credit card for $ ______________________________________________________________________ Amex




Number: _____________________________________________

Account Number: _________________________________________ Expiration: ________ Security Code: __________ Name on Card: ______________________________ Signature (required for Credit Cards): ____________________ Enroll me for the Georgia O’Keeffe Museum e-newsletter


Georgia O’Keeffe, Abstraction White Rose, 1927, Oil on Canvas, 36 x 30 Inches, Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation © Georgia O’Keeffe Museum.

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LOO’K for it...The next issue of O’Keeffe Magazine will be dedicated to Georgia O’Keeffe’s local connections to and love for New Mexico.

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877.262.4666 198 State Road 592, Santa Fe, New Mexico

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O'Keeffe: The Georgia O'Keeffe Museum Magazine  
O'Keeffe: The Georgia O'Keeffe Museum Magazine  

O'Keeffe: The Georgia O'Keeffe Museum Magazine