THE GEORGIA O’KEEFFE MUSEUM MAGAZINE
W I N T E R
2 O 1 7
Santa Fe
STILL LIFE
SAVOR THE SOLITUDE OF A WINTER SOJOURN TO SANTA FE. PLAN YOUR JOURNEY TODAY AT SANTAFE.ORG
GEORGIA O’KEEFFE MUSEUM BOARD OF TRUSTEES 2O16–17 Elaine B. Agather Dallas, TX Jane Bagwell, Treasurer Santa Fe, NM Ronald D. Balser Atlanta, GA; Santa Fe, NM Deborah A. Beck River Hills, WI; Santa Fe, NM Nancy D. Carney Houston, TX; Santa Fe, NM Roxanne Decyk, Chair Chicago, IL; Santa Fe, NM Julie Spicer England Dallas, TX Felicitas Funke Ketchum, ID Susan J. Hirsch Dallas, TX; Santa Fe, NM Donald D. Humphreys Dallas, TX Jack L. Kinzie, President Dallas, TX; Santa Fe, NM John L. Marion Fort Worth, TX; Santa Fe, NM Deborah A. Peacock Albuquerque, NM Ramona Sakiestewa, Secretary Santa Fe, NM Christine Schuepbach Dallas, TX Barton E. Showalter Dallas, TX Marilynn J. Thoma Chicago, IL; Santa Fe, NM Joanna Lerner Townsend Dallas, TX; Santa Fe, NM David L. Warnock Baltimore, MD Robert A. Kret, ex officio Santa Fe, NM Anne W. Marion Founder and Chair Emeritus Fort Worth, TX; Santa Fe, NM Laura Bush, Honorary Dallas, TX Saul Cohen, Honorary Santa Fe, NM Lee E. Dirks, Honorary Lahaina, HI; Santa Fe, NM Emily Fisher Landau, Honorary New York, NY; Palm Beach, FL Joann K. Phillips, Honorary Santa Fe, NM Juan Hamilton Special Consultant to the Board Honolulu, HI; Abiquiú, NM; Santa Fe, NM Note: Board members can be reached through the Office of the Director at 505.946.1055. Updated October 28, 2016
CONTENTS WINTER 2O17
2 O’Keeffe Goes to Australia 3 From the Director 4 O’Keeffe at the University of Virginia 6 Time-Lapse Images of Ghost Ranch 7 Prestigious IMLS Grant to Enhance Collection Access 8 Happening at the O’Keeffe 10 Family Programs 11 Creative Activity 12 Where in the World Is the Georgia O’Keeffe Museum?
O’Keeffe Magazine is published for Members of the Georgia O’Keeffe Museum. Send correspondence to: Mara Christian Harris, Communications Manager 217 Johnson Street Santa Fe, New Mexico 87501 E-mail: mharris@okeeffemuseum.org Winter 2017 Published by the Georgia O’Keeffe Museum. © 2017. No reproduction of images or content permitted.
ON THE COV ER : Georgia O’Keeffe, Untitled (Rotunda – University of Virginia) Scrapbook U of V, 1912 – 1914. Watercolor on paper, 117/8 x 9 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation (2006.05.608). © Georgia O’Keeffe Museum.
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OPENINGS The artwork of Georgia O’Keeffe was introduced to an entirely new audience— as well as a new continent—as part of O’Keeffe, Preston, Cossington Smith: Making Modernism, an exhibition showcasing works by O’Keeffe alongside those of pioneering Australian artists Margaret Preston and Grace Cossington Smith. Museum staff were on hand for the October 12 opening at the Heide Museum of Modern Art, Melbourne, Australia. The exhibition will then travel to the Queensland Art Gallery, Brisbane (March 11–June 11, 2017), and to the Art Gallery of New South Wales, Sydney (July 1–October 1, 2017). 1, 3, 5. Patrons enjoy views of Ghost Ranch, O’Keeffe’s artwork, and the expansive gallery of O’Keeffe installations at the Heide Museum of Modern Art. 2. From left: Carolyn Kastner; Lesley Harding, Curator, Heide Museum of Modern Art; Cody Hartley; Jason Smith, Director, Geelong Gallery; Kirsty Grant, Director & CEO, Heide Museum of Modern Art; Robert A. Kret 4. From left: Steven Skala, AO, Chairman, Heide Museum of Modern Art; Kirsty Grant, Director & CEO, Heide Museum of Modern Art; Anthony Howard, QC; Robert A. Kret
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North America, at the Art Gallery of Ontario, Toronto (April 22– July 30, 2017). The Australian exhibition O’Keeffe, Preston, Cossington Smith: Making Modernism opened in October 2016 at the Heide Museum of Modern Art, near Melbourne. It will continue on to the Queensland Art Gallery, Brisbane (March 11– June 11, 2017), before making its final stop, at the Art Gallery of New South Wales, Sydney ( July 1–October 1, 2017). On view at the Georgia O’Keeffe Museum until September 24, 2017, is an installation of O’Keeffe’s early watercolors, O’Keeffe at the University of Virginia, 1912–1914. O’Keeffe’s watercolors are among the Museum’s great treasures—created while the artist was a student at the University of Virginia, these never-before-exhibited works demonstrate her early and immediate attraction to the ideas of modernism and abstraction. The Museum is also pleased to share a glimpse of the spectacular views from O’Keeffe’s home at Ghost Ranch, presented in time-lapse photography projected in the galleries, that showcases the grandeur of the landscape that surrounded her life in northern New Mexico. With the efforts outlined above, the O’Keeffe Museum demonstrates its global reach and local impact in Santa Fe. Finally, I want to thank you for your continued support and engagement as we evolve as an institution dedicated to preserving, presenting, and advancing the artistic legacy of Georgia O’Keeffe and modernism. Please come by the Museum—our galleries are continuously changing, highlighting new works and objects from O’Keeffe’s life. Kind regards,
FROM THE DIRECTOR Dear Members and Friends,
Robert A. Kret Director, Georgia O’Keeffe Museum
In 2017, the Georgia O’Keeffe Museum commemorates 20 years of celebrating a great American artist with a great American story. Throughout the year, the Museum will host a series of 20th-anniversary public programs that will include speakers, art activities, conversations, and workshops on subjects ranging from O’Keeffe’s artwork and homes, to conservation and science, to the reading of O’Keeffe’s correspondence. With concurrent exhibitions on three continents, O’Keeffe has been on the move internationally, and her artwork has been received with overwhelming enthusiasm. The retrospective Georgia O’Keeffe, organized in collaboration with the Tate Modern, the Art Gallery of Ontario, and the Bank Austria Kunstforum, has traveled to the Kunstforum Wien, Vienna (through March 26, 2017), and will then make its only stop in
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ON VIEW
MODERN WATERCOLORS AT THE UNIVERSITY OF VIRGINIA By 1912, five years had passed since Georgia O’Keeffe was enrolled at the Art Students League, in New York, studying under William Merritt Chase. In those years she had worked as a commercial illustrator and artist in Chicago, contracted measles, and moved to Charlottesville, Virginia, to recover while living with her family. O’Keeffe had landed a temporary teaching position at her former high school, Chatham Episcopal Institute, but was passed over for a permanent art-teaching position in Williamsburg, and likely knew she needed stronger qualifications. So, in 1912, she enrolled in a summer drawing course at the University of Virginia taught by Alon Bement, who during the academic school year taught at Columbia University’s Teachers College, in New York, under Arthur Wesley Dow, who was head of the Fine Arts Department. Dow’s ideas about making and teaching art, and his book Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers, were exactly the spark that O’Keeffe’s career needed. Composition was so popular that its first edition was printed five times between 1899 and 1903; the subsequent Doubleday version went through three printings from 1912 to 1913 alone. Dow’s revolutionary theory for making and teaching art rejected the time-honored process of trying to imitate visible subjects. Instead, he advocated a series of exercises that taught the use of “lines, masses and colors” to create compositions that, like music, used non-imitative imagery to communicate human experience. After that first course in 1912, and each summer through 1916, O’Keeffe served as Bement’s teaching assistant at UVA. She gained both fluency with Dow’s aesthetic theories and technical mastery of her art materials and techniques. Probably for a portfolio to demonstrate her skill and ability to teach art, O’Keeffe glued exercises onto three-ring binder cards. With this portfolio, O’Keeffe could demonstrate to any potential employers her ability to teach the most modern methods of the nation’s leading art educators. She kept the portfolio until the end of her life. “O’Keeffe’s early watercolors at the University of Virginia are extraordinary,” according to Dale Kronkright, Head of Conservation at the Georgia O’Keeffe Museum. “Extremely complex and technically demanding, O’Keeffe’s UVA works are entirely painted in handmade watercolors over graphite-line
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TOP: Georgia O’Keeffe, Untitled (University of Virginia), 1912-1914. Watercolor on paper, 117/8 x 9 in. Georgia O’Keeffe Museum Gift of The Georgia O’Keeffe Foundation (2006.05.614) © Georgia O’Keeffe Museum MIDDLE: (Detail of tree and roof).
Tonal harmony is achieved with yellow, blue, and red dilute washes over black outlines. BOTTOM: (Detail of right
hand side of brick walkway). Graphite underdrawing is followed by black painted outlines, overpainted with dilute washes of red, blue, and yellow.
underdrawing, using carefully trimmed brushes as taught by Dow in Composition.” Kronkright points to the selective use of dry powder pigments, the manipulation of fine and coarsely ground pigment particles, and the carefully controlled variation of gum binding media as proofs of O’Keeffe’s technical proficiency. Black paints outlining the forms and formal margins of the composition are finely ground and mixed into a dense, glossy paint using an abundance of gum acacia (aka gum Arabic). “Carefully following Dow’s exercises, O’Keeffe restricts herself to the use of three principal colors, limiting their intensity, or chroma, and the values of lightness and darkness,” explains Kronkright. “The initial color of a form is painted within the black-outlined forms using red, green, or blue watercolor. The intensities and values of those colors are darkened and harmonized with the surrounding positive and negative forms by using up to three successive, dilute, thinly applied washes of coarsely ground, additive colors. Each color is allowed to dry completely before being further toned by the layers above. “What appears to be brick red is an orange lead red layered with dispersed washes of chrome viridian green, lamp black, cadmium yellow, and carbonate white,” says Kronkright. “O’Keeffe is demonstrating her control of line, form, and tonal harmony between the background sky and any foreground
trees, shrubs, or floral elements.” While premixed commercial paints were available at that time, artists and art teachers had to know how to make a variety of paints, from glossy, media-rich, viscous paints to very dilute washes. To get a teaching job, an instructor would have to demonstrate his or her skills in selecting, grinding, and dispersing pigments in a properly prepared binding medium, giving the paints the desired capacity to tone or outline. “Analysis of the watercolors speaks volumes about the structured process and precision required to create simplicity, and harmonious values and tones, within a single composition,” says Kronkright. “All saturation and intensity have been muted by the washes. This collection clearly demonstrates O’Keeffe’s keen focus on her studies. You can almost picture her diligently performing each of the exercises, mastering new techniques.” By 1915, O’Keeffe’s skills as artist and teacher helped her secure a full-time teaching position at Columbia College, in South Carolina; then, in 1916, a faculty position at West Texas Normal State College, in Canyon, Texas. Fully informed by the latest ideas and methodologies of the day, O’Keeffe’s University of Virginia watercolors demonstrate her critical knowledge and technical fluency with these emerging practices, her first foray into abstraction, and her evolution as a great American artist.
O’KEEFFE AT THE UNIVERSITY OF VIRGINIA Georgia O’Keeffe’s watercolors are among the Museum’s great treasures because they demonstrate her early and immediate attraction to the ideas of modernism and abstraction. The watercolors produced while O’Keeffe was a student at the University of Virginia (UVA), on public display for the first time ever, present some of O’Keeffe’s earliest investigations of the ideas of simplified and refined compositions. No longer interested in mere representation, she begins to interpret her environment by experimenting with alternative configurations of flattened shapes. The works show her dramatic shift to the ideas of modernism in 1912, when she took a summer course at the University of Virginia taught by Alon Bement, who introduced her to the revolutionary ideas of his colleague Arthur Wesley Dow. As a student, O’Keeffe experimented with Dow’s new ideas in studies of the UVA Grounds. The UVA watercolors will complement galleries exploring Georgia O’Keeffe’s early artistic growth and adaption of new ideas, along with photographs and other archival documentation. As O’Keeffe embarked on her career, she continued to simplify and strengthen her work by boldly experimenting with composition, scale, and varying degrees of abstraction. Unknown Photographer, Georgia O’Keeffe at University of Virginia, circa 1912–1914. Black and white photograph, Gift of The Georgia O’Keeffe Foundation (2006.06.0711).
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HISTORIC PROPERTIES
TIME-LAPSE IMAGES OF GHOST RANCH IN THE MUSEUM GALLERIES “I had to create an equivalent for what I felt about what I was looking at – not copy it.” — GEO R GIA O ’ K EEF F E To experience Georgia O’Keeffe’s Ghost Ranch is a step into a breathtaking panoramic view of one of her paintings of the stunning Southwestern desert landscape. Dramatic geologic formations reflect the desert sun under an expanse of ever-changing blue sky punctuated with rolling clouds casting moving shadows. Regardless of the weather, this display plays out daily against a sprawling sky and a profound landscape. Fans of the artist, who may never have a chance to venture to see Ghost Ranch on their own, can now experience the scenic vistas painted by O’Keeffe by viewing a time-lapse video in the Georgia O’Keeffe Museum’s galleries, in Santa Fe. The museum’s Director of IT and Operations, Ben Finberg, captured sky and landscapes surrounding these properties with time-lapse photography taken during different seasons. The videos, recording the views south from the patio to the Pedernal and north from O’Keeffe’s studio to the cliffs behind her home, depict a different day from sunrise to sunset, compressed into the space of a few minutes. “These time lapses catch the expansive sky and sun and
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clouds that are constantly changing the color and aesthetic of the landscape,“ said Finberg. “This project is an attempt to help bring the experience of these landscapes into the Georgia O’Keeffe Museum galleries. To give some sense of the scale of these vistas, the videos are projected on a full wall in the Museum.“ The time-lapse project will continue, allowing the Museum to capture footage of additional views and locations. In our sharing of these landscapes through all four seasons, Museum patrons will be able to view the spectacular setting and perhaps gain insight into Georgia O’Keeffe’s interest in portraying these magnificent landscapes in her work. See the time-lapse on our website, gokm.org/grtimelapse.
ABOVE: Ben Finberg sets up the time-lapse camera. BELOW: April 15, 2016: morning view facing south to the Pedernal.
COLLECTIONS
TOP, LEFT TO RIGHT: Georgia O’Keeffe, Above the Clouds I, 1962/63. Oil on canvas, 361/8 x 481/4 in. Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation. © Georgia
O’Keeffe Museum. Unknown Photographer, Georgia O’Keeffe in Egypt, 1963. Color photograph. Gift of The Georgia O’Keeffe Foundation (2006.06.0780). Georgia O’Keeffe’s India Travel Boxes. Unknown Photographer, Georgia O’Keeffe and Friend in Estes Park, Colorado, 1917. Black and white photograph. Gift of The Georgia O’Keeffe Foundation (2006.06.0751). Detail of a postcard from Rosa Covarrubias to Georgia O’Keeffe. Helen Woodruff, Georgia O’Keeffe and Mr. Wu, 1960. Color photograph. Gift of The Georgia O’Keeffe Foundation (2006.06.0116). Georgia O’Keeffe, Untitled (Mt. Fuji), 1960. Oil on canvas, 48 x 721/2 in. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum. Unknown Photographer, Georgia O’Keeffe at Friday Mosque, Esfahan, 1959. Black and white photograph. Gift of The Georgia O’Keeffe Foundation (2006.06.0771).
MUSEUM AWARDED PRESTIGIOUS IMLS GRANT TO ENHANCE COLLECTION ACCESS The Georgia O’Keeffe Museum recently received a Museums for America grant from the Institute of Museum and Library Services (IMLS). This will allow the Museum to build a state-of-the-art digital infrastructure to provide access to its diverse collection of fine art, belongings, and archival documents. The Museum is the single largest repository of Georgia O’Keeffe’s artwork, belongings, and related archives, including important oral histories, correspondence, ephemera, and photographs. Objects in these extensive collections are documented in multiple databases that are tailored to the needs of individual collections, but are not cross-referenced and thus do not “speak” to each other, making searches cumbersome for staff and researchers. This year, the IMLS received 548 applications; of these, 206 projects were selected to receive funding for the Museums for America awards. The $150,000 federal grant received by the Georgia O’Keeffe Museum will be used to create an integrated digital archive that will link disparate collection records and resources, making them accessible through a single unified interface. This leading-edge project will eventually provide full access to the breadth and depth of the Museum’s holdings. This initiates a long-term project to grant access to the collections in unprecedented ways to staff, researchers, and eventually the
public, making it possible for them to follow their curiosity and discover new relationships among objects. By providing greater access to the Museum’s unparalleled resources, the project’s ultimate goal is to deepen the understanding of O’Keeffe and her position in the context of the modernist art movement. While many of the Museum’s collections are related, the links are not always evident. For example, a painting, associated drawings or photographs, correspondence about the artwork, historic condition reports, press clippings about or reviews of the work’s first exhibition, and installation shots of the painting in that exhibition might all be found in the Museum’s collections. However, such resources are currently tracked in several different systems, with no easy way to recognize the connections between different types of objects and archival records. The Institute of Museum and Library Services is the primary source of federal support for the nation’s 123,000 libraries and 35,000 museums. Its mission is to inspire libraries and museums to advance innovation, lifelong learning, and cultural and civic engagement. Its grant making, policy development, and research help libraries and museums deliver valuable services that make it possible for communities and individuals to thrive. OK EEFFEMU SEU M.ORG
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2O17 ACADEMIC FELLOWS ANNOUNCED
ACADEMIC FELLOWS FOR 2O17:
As part of its ongoing commitment to education at all levels, the Museum will welcome four scholars to the Research Center’s academic fellowship program in 2017. Since its inception, in 2001, the Museum Research Center fellowship program has provided stipends to more than 80 scholars in subjects as diverse as art history, architecture and design, literature, music, and photography, to foster research, exploration, and dialog about American Modernism and Museum Studies. Each fellow spends from a couple of weeks to several months using the resources of the Research Center library and archives, in a supportive environment that furthers research and writing. At the end of his or her stay, each Fellow delivers a public program on their research project.
Janet Berlo, a professor of art history and visual/ cultural studies at the University of Rochester, will work on her book project, Not Native American Art: Falsifications, Misrepresentations, and Vexed Identities. Professor Berlo is a distinguished scholar of American and Native American art; her project will examine the issues of authenticity, hybridity, and appropriation in Native American art. Faye R. Gleisser is an assistant professor at Indiana University. Her project explores how guerrilla tactics were employed in performance art staged throughout the 1970s. Frances Jacobus-Parker, a Ph.D. candidate at Princeton University, will work on a chapter of her dissertation, a comprehensive study of the artist Vija Celmins. This chapter will explore how the landscapes of Southern California and New Mexico played primary roles as both aesthetic influences and subjects in Celmins’s work. Kristine Ronan, an independent scholar, will explore Indian Pop, a Native art movement developed in the late 1960s by faculty and students at the Institute of American Indian Arts (IAIA).
GEORGIA O’KEEFFE HOME & STUDIO The Georgia O’Keeffe Home and Studio are closed for the season, but tickets for the 2017 season will be on sale beginning Monday, January 2. It’s not too soon to start planning your next visit to this essential O’Keeffe experience!
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When the Georgia O’Keeffe Museum opened, on July 17, 1997, it quickly became one of Santa Fe’s most-visited attractions. Since then, the Museum has welcomed more than three million visitors to its galleries and Research Center in Santa Fe, and to the artist’s home and studio in Abiquiú. The Museum has served thousands of adults and children with innovative workshops, lectures, school field trips, family programs, and award-winning summer youth programs. In 2017, the Museum will host a year’s worth of 20th-anniversary programs that will include speakers, art activities, conversations, and workshops on subjects from O’Keeffe’s artwork and homes, to conservation and science, to readings of O’Keeffe’s letters. Keep an eye out for announcements of special anniversary programs in e-mails, the quarterly calendar, or on the website—these will include the 20 icon, left. Be sure to follow us on social media as well, and join the conversation. We look forward to welcoming you during our exciting anniversary year.
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ROXANNE DECYK, BOARD CHAIR
A NEW CHAPTER FOR THE MUSEUM As it embarks on its 20th year, the Museum announces that Anne Marion, the founder of the Georgia O’Keeffe Museum, is now retiring. Mrs. Marion has led the organization through its nearly 20 years of growth as Chair of the Board of Trustees, and will assume the title of Founder and Chair Emeritus. Previous Board President, Roxanne Decyk, appointed the new Chair of the Board of Trustees. Opening day, July 17, 1997. Photos by Paul Slaughter. © Georgia O’Keeffe Museum. Top to bottom: Crowds in front of the Museum. Final preparations. Shopping at the Museum’s pop-up store. John and Anne Marion.
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FAMILY PROGRAMS Family Programs are free interactive activities designed for children and their favorite grownups. Come explore the world of art with your children. Georgia O’Keeffe Museum, 217 Johnson Street. FRIDAYS, JANUARY 6, FEBRUARY 3 & MARCH 3, 5–7 PM
First Friday Art Activity Join us in the galleries to create your own drawings while exploring the use of color in modern artwork! All ages welcome. SATURDAY, JANUARY 21, 9:30–11:30 AM
Family Program: Celebration Flags
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Join us for a morning of celebration! In honor of the Museum’s 20th anniversary, we will make celebratory flags by focusing on shapes and colors while using simple monoprint techniques on fabric. SATURDAY, FEBRUARY 11, 9:30–11:30 AM
Family Program: The Pastime of Drawing Georgia O’Keeffe was dedicated to drawing, and the Museum owns 700 of her drawings. We will learn techniques of composition that she studied as a student and used throughout her life. WEDNESDAY, MARCH 22, 1–4 PM
Family Program: Spring Break Fun Fest Join us in the Museum courtyard for hands-on art activities, and partake in an engaging scavenger hunt throughout the Museum galleries.
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Creative Activity WHAT’S OUTSIDE YOUR WINDOW? Georgia O’Keeffe was inspired by the beauty of the New Mexico desert. From her bedroom window in Abiquiu, she could see the vast sky above, hills and trees below, and a road stretching into the distance. She enjoyed this view so much that she completed many paintings, drawings, and even photographs of the mesa and the road to the east. Familiar places can be great as sources for artistic inspiration! What do you see when you look out your window?
View from O’Keeffe’s bedroom looking north, 2007. Photograph by Herbert Lotz, © Georgia O’Keeffe Museum. Georgia O’Keeffe, Mesa and Road East, 1952. Oil on canvas, 26 x 36 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation (2006.05.234). © Georgia O’Keeffe Museum
O ’ K E E F F E AT A G L A N C E
WHERE IN THE WORLD IS THE GEORGIA O’KEEFFE MUSEUM? BROOKLYN
VIENNA AND TORONTO
Georgia O’Keeffe: Living Modern is organized by the Brooklyn Museum and curated by Wanda M. Corn, a former Georgia O’Keeffe Museum Research Center fellow. The exhibition will pair O’Keeffe’s artwork and clothing with photographs of the artist to reveal her unified modernist aesthetic. The exhibition demonstrates how O’Keeffe extended the principles of her spare, organic, abstract artistic practice into everyday life. The clothing, drawn from the O’Keeffe Museum’s collection, dates from the earliest silk dresses, made by hand in the 1920s, to bespoke black worsted suits tailored for her in New York City, to the wrap dresses she commissioned in Santa Fe and wore late in her life. The O’Keeffe Museum is also lending to the exhibition 69 photographs and 10 paintings. On view March 3–July 23, 2017.
The well-received retrospective Georgia O’Keeffe, recently presented at the Tate Modern, in London, is on view at the Bank Austria Kunstforum Vienna, Austria, through March 12, 2017. The exhibition’s only North American venue, the Art Gallery of Ontario, will welcome it in Toronto April 1–June 25, 2017.
BELOW: Eight Wrap Dresses. Left to right: Black cotton, c. 1960s–70s; White cotton,
Carol Sarkisian, c. 1970s; Blue-gray cotton, c. 1960s; Pink cotton, Neiman Marcus, c. late 1950s; Blue cotton, Neiman Marcus, c. late 1950s; Brown cotton, Sidran, Inc., c. late 1950s; Green synthetic velvet, Carol Sarkisian, c. 1970s; Black cotton, c. 1960s–70s. Georgia O’Keeffe Museum, 2000.03.0602, 2000.03.0410, 2000.03.0411, 2000.03.0398, 2000.03.0394, 2000.03.0419, 2000.03.0357, and 2000.03.0601.Photo © Gavin Ashworth.
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PARIS O’Keeffe’s painting Series I – From the Plains (1919), on loan from the Museum, will be on view at the Musée d’Orsay, in Paris, March 13–July 25, 2017, as part of the exhibition Radiant Visions: The Mystical Landscape from Claude Monet to Emily Carr. AUSTRALIA O’Keeffe, Preston, Cossington Smith: Making Modernism opened at the Heide Museum of Modern Art, Melbourne, and runs through February 19, 2017. The exhibition will travel to the Queensland Art Gallery, Brisbane (March 11–June 11, 2017), and then to the Art Gallery of New South Wales, Sydney (July 1–October 1, 2017).
THE PEDERNAL SOCIETY
“It’s my private mountain. It belongs to me. God told me if I painted it enough, I could have it.” —GEORGIA O’KEEFFE
The Pedernal Mountain moved and inspired Georgia O’Keeffe as she studied and painted it from her home and studio at Ghost Ranch. After her death, her ashes were scattered atop Pedernal, as a testament to the bond she felt with the mountain. As Pedernal inspired O’Keeffe, we hope the Pedernal Society will inspire you in your planned giving. We invite you to join this newly formed society, comprising donors who have named the Georgia O’Keeffe Museum in their will, trust, retirement plan, life insurance policy, or financial accounts. A bequest of any size will qualify you to join this special group. Your gift will help the Museum fulfill its vision to cultivate memorable, authentic experiences inspired by the life, work, and world of Georgia O’Keeffe. For more information, or if you’ve already named the O’Keeffe Museum in your estate plans, please contact Betty Brownlee, Director of Museum Advancement, at 505.946.1023 or bbrownlee@okeeffemuseum.org. The Georgia O’Keeffe Museum cannot provide legal or tax advice. Before making a gift, please consult your attorney or financial planner. AB OVE : Georgia O’Keeffe, My Front Yard, Summer, 1941. Oil on canvas, 20 x 30 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
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KEEP. SHARE. GIFT. Stacking plates – Barro by Lucrecia = $6-$36 Letterpress Stationery = $5 Mixed metal jewelry by Sibilia = $12.50 - $79 Graphite objects = $34-$63
• 5O5.946.1OO1 • STORE.OKEEFFEMUSEUM.ORG