O'Keeffe Magazine, Winter 2019 by Georgia O'Keeffe Museum

THE GEORGIA O’KEEFFE MUSEUM MAGAZINE

Nice Touch From the useful to the luxurious, the Georgia O’Keeffe Museum Store is a destination for perfect accessories for your life and style. Hand-Embroidered Fine Wool Stole by Pavo – assorted colors = $120 Jewelry by Julie Cohn Designs in bronze and sterling = $195–$750 Postcards = $1.25

W I N T E R • 5O5.946.1OO1 • STORE.OKEEFFEMUSEUM.ORG

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GEORGIA O’KEEFFE MUSEUM BOARD OF TRUSTEES 2O18–19 Roxanne Decyk, Chair Chicago, IL

CONTENTS WINTER 2O19

Jack L. Kinzie, President Dallas, TX; Santa Fe, NM Ramona Sakiestewa, Secretary Santa Fe, NM Jane C. Bagwell, Treasurer Santa Fe, NM; Dallas, TX Ronald D. Balser Atlanta, GA; Santa Fe, NM Diane E. Buchanan Santa Fe, NM Kathleen H. Clarke Houston, TX; Santa Fe, NM Felicitas Funke Ketchum, ID Robert Holleyman Washington, DC; Santa Fe, NM Donald D. Humphreys Dallas, TX Raymond R. Krueger Whitefish Bay, WI

2 Openings 3 From the Director 4 Ida O’Keeffe: A Curatorial Conversation 7 A Tribute to Joann Phillips 8 Creative Activity 9 People at the O’Keeffe 10 Happening at the O’Keeffe 12 Members 16 Where in the World Is Georgia O’Keeffe?

John L. Marion Fort Worth, TX; Santa Fe, NM Deborah A. Peacock Albuquerque, NM Gary “Skip” Poliner Santa Fe, NM Jay S. Ralph Santa Fe, NM Christine Schuepbach Dallas, TX Barton E. Showalter Dallas, TX Joanna Lerner Townsend Dallas, TX; Santa Fe, NM David Warnock Baltimore, MD Robert A. Kret, ex-officio Santa Fe, NM Laura Bush, Honorary Dallas, TX

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 2019 Published by the Georgia O’Keeffe Museum. © 2019. No reproduction of images or content permitted.

Saul Cohen, Honorary Santa Fe, NM Lee E. Dirks, Honorary Jupiter, FL; Santa Fe, NM Emily Fisher Landau, Honorary New York, NY; Palm Beach, FL Juan Hamilton, Special Consultant to the Board Honolulu, HI; Abiquiú, NM; Santa Fe, NM Anne W. Marion, Chair Emeritus & Founder Fort Worth, TX; Santa Fe, NM

O N T H E C O VER : Alfred Stieglitz. Untitled (Ida and Georgia O’Keeffe), 1924. Gelatin silver print, 4 3/8 x 3 9/16 in. Georgia O’Keeffe Museum. Gift of June O’Keeffe Sebring. [2011.1.2]

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OPENINGS Photographer Jo Whaley opened her installation in the Museum Galleries by welcoming guests and the public on First Friday, November 2. On Tuesday, November 13, Whaley and guest curator Carolyn Kastner talked about the artist’s process and her photographs at a lecture at the Eldorado Hotel, followed by a member reception in the Galleries.

Georgia O’Keeffe Museum Director Robert A. Kret. Photo © Georgia O’Keeffe Museum.

1. Jo Whaley with Jeanne Relyea 2. Jo Whaley with First Friday visitors 3. Admiring Whaley’s Sacred Datura 4. Left to right: docent Evelyn Kennedy, Curator of Education and Interpretation Katrina Stacy, Joni Magee, and Andrea Pantano gather at the member reception. All are alumnae of the University of Massachusetts, Amherst 5. Jo Whaley discusses her process 6. Jo Whaley installation 7. Guest curator Carolyn Kastner visits with Stephen Pollack 8. Jo Whaley talks about her work at the member reception

FROM THE DIRECTOR

The beginning of a new year is a perfect opportunity to look back over the past year and turn toward what’s on the horizon. In May 2018 we opened the O’Keeffe Welcome Center in Abiquiú, and it quickly became a must-visit destination for O’Keeffe enthusiasts and local travelers. In 2018, 15,000 visitors toured the Home and Studio and another 10,000 visited the Welcome Center. The facility remains open all year; reservations are available now for the 2019 tour season, which begins in early March. More information about hours and tickets are available on the Museum’s website. Last year, we also welcomed to our campus a team of new curators. In this issue one of them, Ariel Plotek, Curator of Fine Art, interviews Sue Canterbury, the Pauline Gill Sullivan Associate Curator of American Art of the Dallas Museum of Art (see page 4). They discuss Georgia O’Keeffe and her sister Ida, who was also an artist. The lesser-known painter is the subject of Ida O’Keeffe: Escaping Georgia’s Shadow, currently on exhibit at the Dallas Museum of Fine Art. On page 16, see other locations where Georgia O’Keeffe’s artwork is on view at museums across the country this spring all featuring loans from our own collection. Here in Santa Fe, visitors can experience other viewpoints

on Georgia O’Keeffe’s life and work though two temporary installations: Jo Whaley: Echoes, the newest feature in our ongoing “Contemporary Voices” series; and The Candid Camera, which provides fresh glimpses of O’Keeffe through the lenses of friends such as Todd Webb and Ansel Adams. Both are currently in their final weeks on view in the Museum’s Galleries, in Santa Fe. Circles of support strengthen our organization, and throughout the Museum’s history we have been lucky to count as our friends some extraordinary individuals. We recently lost one such luminary, Joann Phillips. She was a founding Trustee of the Georgia O’Keeffe Museum, and a true champion of Santa Fe and contemporary art. In this issue we remember Joann—we are grateful for her impact, and she will always be a part of our story. Every issue of O’Keeffe reflects how our success and momentum are possible only with the support of members like you. Thank you for your dedication and enthusiasm. We have a lot to look forward to in 2019.

Robert A. Kret Director, Georgia O’Keeffe Museum

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INTERVIEW

IDA O’KEEFFE: A CURATORIAL CONVERSATION Georgia O’Keeffe Museum Curator of Fine Art Ariel Plotek spoke recently with Sue Canterbury, the Pauline Gill Sullivan Associate Curator of American Art at the Dallas Museum of Art, about Ida O’Keeffe: Escaping Georgia’s Shadow. The DMA-organized exhibition will be on view through February 24, 2019. Ariel Plotek: How did the project come about? Sue Canterbury: About five years ago I was visiting a local collector and spied one of Ida’s paintings, Variation on a Lighthouse, Theme II. I spotted it across the room and I was really intrigued by it. It looked very strong, and it reminded me of Arthur Dove, but it wasn’t by Dove. I was trying to puzzle it out. I went over to look at it, and that’s when I was told it was by Ida O’Keeffe. I had no idea that Georgia had a younger sister who painted. I was really quite surprised— shocked, almost. It appears hardly anybody else was aware of it, either. I started to look around to see if there was enough “there” there, and so here we are, five years—and lots of research— later. That’s basically how it all happened. There are some special challenges involved in a project like this, where one is uncovering and rediscovering an artist. There’s no catalogue raisonné for you to turn to, not even any exhibition catalogues, and nothing being written about her. Basically, the general clues were buried in Georgia’s various biographies, but they were always written from Georgia’s perspective, and I do think Georgia edited her life story to her advantage. So, at the beginning, I was basically teasing out all the clues from Georgia’s biographies and following those strands. In May 2014, when the Dallas Museum of Art officially announced we would be doing the exhibition, Eve Kahn did a piece in the New York Times, and she included in it that we were looking for works and information about Ida. One woman sent me a letter saying that during 1937–38, her mother rented out her room in New York to Ida O’Keeffe, and she cited the address. I looked over some of Ida’s correspondence, and sure enough, there was the address that nailed her to New York for that academic year. But the key thing was being contacted by a gentleman who started out saying, “You’re not going to believe this, but . . .” Several years before, he had purchased a box containing all of Ida’s files and exhibition records, some works of art,

her scrapbook, exhibition brochures, critical reviews of her work at her exhibitions—and that was critical to constructing the scaffolding of a thorough exhibition history for her. It was things like that along the way: people coming out of the woodwork and offering information that miraculously filled in blanks that I was trying to puzzle out. It was like a gift for me, the generosity of strangers or something. It was amazing. AP: There’s a time when Georgia refers to Ida as her more talented sibling, and from a fairly young age both were encouraged to pursue their interest in the arts. When did Georgia’s and Ida’s trajectories diverge? Was there a fork in the road? SC: They start out together, they study with the same people, and at the same schools in Wisconsin. It’s repeated in Virginia, at Chatham Hall. They also took summer coursework in art at the University of Virginia. Then they diverged on their separate paths, but both ended up being art teachers during the 1910s. Ida taught from about 1910 up to about 1917 at various little schools around southern and southwestern Virginia. Of course, Georgia was doing her thing, coming to Texas twice and teaching in South Carolina, but she also had that period of time in Chicago at the Art Institute, then in New York at the Art Students League, as well as her study at the Teachers’ College at Columbia University in 1914. Their paths converged again, however, in New York in 1918: Georgia being brought there from Texas by Stieglitz, and Ida to begin a three-year nursing program at Mt. Sinai Hospital. A surprising discovery for me was that while Ida had taken all this art coursework, she didn’t actually start painting until the summer of 1925. It was while she was doing a six-month assignment as a private-duty nurse in Norfolk, Connecticut, and she wrote to Alfred Stieglitz [about] how she’d started oil painting, but she has all of these questions to direct to Georgia about materials and proper process. She would say to him, “You know, I’ve never done this before,” or “You know, I’ve never had instruction in this.” And I’m like, “What?! How could this be? You took all this art coursework and you taught art for several years.” It led me down the rabbit hole of what art instruction was like for young women in the early 20th century. Art during that period was considered part of the domestic arts at girls’ schools. The aim was to improve the aesthetic eye of a young woman who’s destined to become a wife and mother, and instruction was limited mostly to drawing and watercolors. There was no need to go into oil painting, because that’s serious stuff reserved for people who are going to be professionals,

Ida Ten Eyck O’Keeffe. Variation on a Lighthouse Theme II, c. 1932. Oil on canvas. Private Collection.

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INTERVIEW

TRIBUTE

and young women were not being trained to be professional artists by any means. AP: This was work to be done at home, not in the studio. SC: Exactly. Oil painting was mostly considered the province of men. Those women who did oil painting were wealthy— or, if they had had instruction in oils, it was because they were in co-ed classes. That was the case with Georgia. However, there is an indication in one of the biographies that Mrs. Willis, a teacher at Chatham, probably did give Georgia some instruction in oils, but I think that might have been on the side. But Ida didn’t get that, obviously. After Ida started painting in 1925, she made fairly quick progress, which says something about her talent. Even the family had said that Ida was really the greater talent when they were children. So Ida did a rather accelerated sort of catchup, coming to painting so late in life, and then going back to school in ’29 for formal study. The sisters were close. There was that typical childhood friction, “Daddy likes you best,” that sort of thing—but I think, temperamentally speaking, Georgia was more like her mother, whereas Ida was more like her father. Ida was gregarious. She was the extrovert to Georgia’s introvert. But Georgia really liked her a lot. She always wrote to people about “my sister,” that “she’s a wonderful person, the kindest person you ever knew,” or “the nicest person I’ve ever met.” She always spoke of her in these terms, up into the 1920s. Then there’s this sort of vacuum that occurs in the ’30s. Any communication between the sisters is through other people, and other than letters to Ida from Stieglitz in ’32 and ’38, a substantial amount of correspondence is missing. I think the other interesting thing, in terms of the academic lineage, is the time Ida spent with Charles Martin at Columbia. Martin also taught Georgia, and he was teaching Ida exactly the same things he had taught her sister: the same methods of composition and, possibly, paint-surface approaches to dynamic symmetry. It’s very apparent in some of Ida’s paintings of lighthouses that she’s working with that. Now when I look at some of Georgia’s work, I say, “Hmm, I think that same thing is happening in there.” Thus when people say, “Well, her work looks similar to her sister’s,” what they are sensing, really, is the shared pedagogic influences that the sisters had in common— reaching all the way back to Wisconsin, then Chatham and UVA, and finally in New York at Columbia. One of the considerations I float in the catalogue and in the exhibition is that if Georgia had not been plucked from obscurity by Stieglitz in 1918, she would have continued to go from one little school to another. That is essentially what happens to Ida after she graduates with her master’s in 1932, when she starts exhibiting, but she has no gallery representation. It’s hard to get exhibitions, and she does pretty

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well, considering, but she launches her career with bad timing: right near the worst, darkest years of the Great Depression. She can’t get permanent work because nobody’s leaving their jobs. She ends up doing temporary postings to fill in for teachers taking leaves of absence or sabbaticals. She moves 13 times within 10 years. Most times, she doesn’t have access to a studio. What her life becomes is what Georgia’s could have remained, except for that fortunate, life-changing moment when Anita Pollitzer showed Georgia’s drawings to Stieglitz in 1916. Otherwise, we might be discovering Georgia today. It really makes clear that, yes, fate can be fickle. Georgia had a very exceptional situation with Stieglitz: yearly solo shows, yearly participation in the Stieglitz gallery group shows, and the backing of the impresario of American Modernism who introduced her to the right clients and critics and continually promoted her work—99.999% of all the other women artists never had that. They had to establish their own women’s artists’ organizations so they could create their own venues at which they could exhibit. Or, they submitted their work to non-juried events. These are things that Georgia never had to do. She was positioned as being above other women artists, and the equal of her male peers. When Ida said to her, “I’d be famous, too, if I had had a Stieglitz,” it was really pretty fair, actually. That was the sort of comment that drove Georgia nuts, and she spent the latter part of her life trying to expunge Stieglitz’s key role in the making of her career. So yes, there’s truth to Ida’s comment. It’s a very interesting story of family dynamics, but it’s also an interesting comment on the situation regarding opportunities for women artists. While much improved, it’s still imbalanced.

THROUGH FEBRUARY 24, 2019 DALLAS MUSEUM OF ART, DALLAS, TEXAS

Ida O’Keeffe: Escaping Georgia’s Shadow Ida Ten Eyck O’Keeffe was recognized as a gifted artist during her life, but her efforts were overshadowed by those of her more famous sister, Georgia. Ida O’Keeffe: Escaping Georgia’s Shadow brings to light rediscovered works by Ida O’Keeffe that reveal that she crafted an artistic identity that was distinct, in style and subject matter, from that of her celebrated sibling. This DMA-organized exhibition, the first venue of a national tour, will showcase for the first time approximately 50 works that include paintings, watercolors, prints, and drawings.

JOANN PHILLIPS With the passing of Joann Phillips, the Georgia O’Keeffe Museum has lost a valued friend and supporter. An art patron and collector, Joann was a founding member of the Museum’s Board of Trustees—initially called Directors—and served from its inception in 1997 until 2008, when she became a Trustee Emerita. She was a guiding light for Santa Fe’s cultural sector. Originally from Portland, Oregon, Joann grew up in Santa Monica, California. Her curiosity and vitality extended to poetry,

philosophy, and tennis. A committed Democrat, she was also active with the American Civil Liberties Union and the Urban League. An alumna of the University of California–Santa Barbara as well as UCLA, she studied social welfare, and was tireless in her civic engagement. Although she grew up out West, Joann’s devotion to cultural development was evident on both coasts. She was deeply involved with arts institutions, including the Los Angeles County Museum, the Los Angeles Institute of Contemporary Art, the International Council of the Museum of Modern Art, and, in Washington, DC, the Phillips Collection. Yet even as Joann and her husband, Gifford Phillips, who passed away in 2013, engaged with the communities and cultures of New York and California, their devotion to the Southwest was strong. The couple frequently stayed in Santa Fe from the 1950s onward, and moved here in the 1990s. We feel Joann’s impact deeply in our hometown. She was instrumental in developing Santa Fe’s major arts institutions, including the Georgia O’Keeffe Museum. Motivated by the belief that New Mexico’s creative communities belonged within the greater world of contemporary art, Joann also served as founder and board member of the Museum of New Mexico Foundation and of SITE Santa Fe. Notably, she and Gifford established the Chamiza Foundation, which aims to preserve and foster the New Mexican Pueblos’ cultural heritages through projects and grants. Honorary Trustee Saul Cohen, who served with her on the Board of Trustees, remembers her as an extraordinarily intelligent, hardworking board member. “I don’t think the Georgia O’Keeffe Museum would have succeeded in opening as quickly as it did without the hard work and dedication of people like Joann. She made great contributions early on, and went on to be an honorary trustee as a tribute to her service with the Board.” Joann peacefully passed away at her home on October 26, 2018. The Museum is grateful to Joann for her extraordinary support, and extends condolences to her family and many friends.

TOP: Photo © Marianna Cook. BOTTOM: Opening-day crowds in front of the Museum, July 17, 1997. Photo by Paul Slaughter. © Georgia O’Keeffe Museum.

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P E O P L E AT T H E O ’ K E E F F E

Creative Activity

PEOPLE AT THE O’KEEFFE Georgia O’Keeffe Museum staff are involved in their communities in a variety of ways: as first responders, as artists, and as volunteers. In this issue, meet two of our Abiquiú Home and Studio tour guides:

SELFIE PORTRAIT COLLAGE

We can learn a lot about Georgia O’Keeffe by looking at the many photographs taken of her throughout her life. The Candid Camera exhibition at the Georgia O’Keeffe Museum shows us new, informal views of O’Keeffe that we might not have thought of. Also currently on view are artist Jo Whaley’s carefully constructed photographic images of nature-based compositions. With this in mind, get ready to make a Selfie Portrait Collage using photographs and images that tell a story about you. A collage can be made of anything—pictures from magazines, drawings, different types of papers or fabrics, all glued onto a background of your choice. Be sure to include selfies in your collage, and think creatively about how you want to arrange your pictures. Have fun creating a beautiful work of art as original as you are!

WHERE’S THE FIRE? After college, Suzie Fowler-Tutt studied art history and worked at the Metropolitan Museum of Art. “Then,” she said, “I took a 20-year break from art to join the military.” Recently retired as a Navy Chief, Suzie moved to Abiquiú in spring 2017. Asked “Why Abiquiú?,” she gestured to the 360-degree view she stood in and said, “This!” She noted that the spectacular landscape isn’t all that different from the vastness of the ocean, and it’s closer to the outdoor activities she loves, as well as family in Santa Fe. When Suzie moved to Abiquiú, she cast about for ways to give back to her new community. She was quickly recruited by the Abiquiú Volunteer Fire Department because of her military background, and now works with them throughout Rio Arriba County as a first responder. She is also a board member of the Abiquiú Arts Council, which, in addition to organizing and sponsoring the studio tour each October (“so many artists!”), provides art education through the Boys and Girls Club and the Northern Youth Project. Familiar with Georgia O’Keeffe from previous visits, Suzie joined the Museum staff this fall as a tour guide at the Home and Studio. “I don’t consider my job at the O’Keeffe ‘work’ because I enjoy it so much!” We are grateful to have such a committed, energetic, and experienced member of our staff working so hard for our community in Abiquiú.

USE THIS SPACE TO CONSTRUCT YOUR SELFIE COLLAGE!

TAKE TIME TO LOOK

TOP: Suzie Fowler-Tutt. BOTTOM: Frank Shelton. © Georgia O’Keeffe Museum.

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Georgia O’Keeffe settled in northern New Mexico for its beautiful surroundings and rich culture, and since then many artists have followed. Home and Studio tour guide Frank Shelton counts himself among them. He and his wife, Debra Fritts, have lived full-time in Abiquiú for six years now, and for five of those years he’s been a popular tour guide. He and Debra, also an artist, moved to New Mexico after visiting for many years, and established their home and side-by-side studios—which occupy a former chicken coop in an alfalfa field—not far from the White Place. Frank was familiar with Georgia O’Keeffe’s life and work before they settled in Abiquiú—in his previous life, he’d taught art in school, including lessons in American Modernism and O’Keeffe. Primarily an abstract artist, he’s been working on a series of small works based on a poem by Mary Oliver, “My Work Is Loving the World,” in which the poet writes of “standing still and learning to be astonished.” Frank finds inspiration from his many walks in the surrounding landscape. “Everything we do informs us,” he says; “it’s just paying attention”—a sentiment often echoed by Georgia O’Keeffe herself.

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2019 FELLOWS The Georgia O’Keeffe Museum Academic Fellows for 2019 have been announced. Lee Ann Custer is a doctoral candidate in History of Art at the University of Pennsylvania, where she is currently a Luce/ACLS Dissertation Fellow in American Art. Her research specializes in the art, architecture, and urbanism of the United States. Custer’s dissertation investigates architectural development and open space in New York City at the turn of the 20th century. As an Academic Fellow at the Museum, Custer will examine Georgia O’Keeffe’s cityscapethemed artworks from an architectural viewpoint. Ellery Foutch is an Assistant Professor of American Studies at Middlebury College. In addition to teaching, she is a co-editor of Common-place, an online journal of early American Life. Her upcoming book, Arresting Beauty: The Perfectionist Impulse TOP TO BOTTOM: Georgia O’Keeffe, Untitled of 19th-Century Art & Culture, (City Night), 1970s. Oil on canvas, 83 x 47 / in. Georgia O’Keeffe Museum. Gift of The Georgia details 19th century interests O’Keeffe Foundation. © Georgia O’Keeffe Museum. in perfection and preservation. [2006.05.542]. Shells from O’Keeffe’s collection. © Georgia O’Keeffe Museum. While at the Museum, Foutch will research artists’ collections of natural history and depictions of these objects in paintings, with a specific focus on Georgia O’Keeffe’s collections of shells, skulls, and bones. The goal of the Museum’s Academic Fellowship Program is to foster new research, exploration, and dialogue about Georgia O’Keeffe and American Modernism. Later in 2019, the Georgia O’Keeffe Museum will present public programs featuring the fellows and their research. 3 4

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INSPIRED BY INSECTS Join artist Jo Whaley and entomologist Linda Wiener for a discussion of Whaley’s artwork as featured in her book, The Theater of Insects. Whaley’ work is currently on view in the Museum Galleries as part of the Contemporary Voices series. Linda Wiener has a Ph.D. in entomology from the University of Wisconsin–Madison, curated insects at the Museum of Comparative Zoology at Harvard University, and has been a tutor at St. John’s College since 1985. She is also known as The Bug Lady in Santa Fe, a consulting business that explores entymological issues for conservation and agricultural businesses worldwide. = Tuesday, March 12, 6 PM = Museum Education Annex, 123 Grant Avenue = $15; members, $5. Reservations required. Jo Whaley. Geometrid, 2000 (print date 2018). Archival pigment photograph. Courtesy of Photo-eye Gallery, Santa Fe. © Jo Whaley.

2018 GEORGIA O’KEEFFE MUSEUM BOOK PRIZE ShiPu Wang, author of The Other American Moderns: Matsura, Ishigaki, Noda, Hayakawa, is the winner of the Georgia O’Keeffe Museum 2018 Museum Book Prize. Every three years, the Book Prize honors the author of a book that has influenced ideas about American Modernism, a cultural movement that shaped art, philosophy, and style, and of which Georgia O’Keeffe was a notable part. In The Other American Moderns, Wang takes a close look at the creations of four 20th-century American artists of Japanese descent: Frank Matsura, Eitaro Ishigaki, Hideo Noda, and Miki Hayakawa. He explores their contributions to American culture and the idea of “Americanness.” Wang is Professor of Art History and the Coats Family Chair in the Arts at the University of California–Merced. He specializes in pre-WWII American art and visual culture produced by diasporic artists of Asian descent. Through research and engaging storytelling, The Other American Moderns encourages a greater understanding of recent art history. An external jury of distinguished art scholars selected The Other American Moderns from more than a dozen nominees for its impact on scholarship and cultural interest, as well as its accessible style. Join us on Tuesday, April 9 for a lecture by Professor Wang, followed by a brief celebration. Complete details of the event will be posted on the Museum’s website on January 15.

WE WANT YOU!! Do you have an enthusiasm for art? Are you high-energy? Do you enjoy working with kids? Consider becoming a docent at the O’Keeffe Museum! Classes are every Monday, 9—11 AM, for 14 weeks, March 11 through June 17. Sessions cover the art and life of Georgia O’Keeffe, as well as training to lead K–6 schoolchildren through museum spaces. Bilingual skills are especially welcome. Contact Katrina Stacy, Curator of Education and Interpretation, at kstacy@gokm.org.

DRAWING AFTER HOURS The Museum offers a monthly Drawing After Hours workshop, an intimate evening in the galleries during which you’ll have the opportunity to try your hand at drawing methods that guided the young O’Keeffe in her student days. In each session we’ll explore different exercises from Arthur Wesley Dow’s Composition, the book that had such a great effect on O’Keeffe herself. Led by local artist Liz Brindley. All supplies provided. = Thursdays, January 17, February 21, and March 21, 5:30–7:30 PM = Georgia O’Keeffe Museum, 217 Johnson Street = $35; members, $20. Space is limited; reservations recommended.

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MEMBERSHIP

MEMBERS Our members generously support all areas of the Museum’s endeavors, from cutting-edge research and conservation to engaging community programs and educational initiatives. The Museum would like to acknowledge and thank the following individuals and organizations for their continued support.

BENEFACTORS’ CIRCLE

PATRONS

Fred and Nancy Lutgens

$1,000–$2,499

$500

Dennis and Janis Lyon

Ann Ash

Allyson Adams and Edwin Sweeney

Barbara Marburger

Elizabeth Boeckman

Jack and Diane Bacastow

Janet and Jack McCullar

Joseph Bryan Jr.

Steven Baker and Jeff Simecek

Tyneil and F. A. Northcott McFaddin

Deborah Caillet

JoAnn and Bob Balzer

Laurie and Richard Meyer

Janette and Terry Caviness

Steven and Lorraine Beckham

Esther and Ralph Milnes

Denton Creighton and

Janice Benham and David Bearden

Jere Mitchell, MD

Kristine Vikmanis

Kathleen Beres

James and Jeannie O’Bannon

Sharon Curran-Wescott and

Kathleen Blake and Robert Ballance

Norman and Jane Punneo

O’KEEFFE CIRCLE

Barbara and Mike Lynn

Skip Wescott

Julie Brinkerhoff-Jacobs and Donald Jacobs

Steve and Patti Raben

$5,000+

Anne and John Marion

Steven Dayton

Michael and Elaine Brown

Dennis and Judy Reinhartz

Susie and John Adams

Charlene and Tom Marsh

Bruce Donnell

Maria and Mark Chase

Bill Riley

Elaine and V. Neils Agather

Nedra and Richard Matteucci

Donald Freeman Jr. and Beverly Freeman

Karen Mosbacher Clewell and

Cheryl Rofer

Jane and John Bagwell

Thomas and Jane O’Toole

Richard Hertz and Doris Meyer

Donald Clewell

James Rosenfield

Emy Lou and Jerald Baldridge

Nathaniel and Jamie Owings

Mary Hines

Laura Cofrin

Robert and Trish Schenck

Ronald and Barbara Balser

Deborah Peacock, JD, and

Lynne Hohlfeld

Philip Coviello Jr. and Carole Coviello

Elizabeth and Richard Schnieders

Sid Bass

Nathan Korn

Karl and Susan Horn

Cydney Crampton

Melinda Schwartz

Deborah Beck and Fred Sweet

Skip and Ildy Poliner

Pamela and James Howard

Benjamin Crane

Susan and Jeremy Shamos

Heather and Jason Brady

Caren Prothro

Ellen and Jim Hubbell

Carl Croft and Steve Fletcher

Robert and Judith Sherman

Sarah and John Bienvenu

Diane Buchanan and Richard Andrew

Jay and Donna Ralph

Charlene and Sanford Kanter

Michael Dale

Franklin and Merle Strauss

Muriel Bochnak

Kathy and David Chase

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Barrett Toan

Megan and John Boudreau

Kathleen and Bob Clarke

Ramona Sakiestewa and

Colleen Kelly and Brian DeLay

Shelia Davis and Irv Kron

Carole Topalian and Tracey Ryder

Karen Bowden

Peter and Lynn Coneway

Andrew Merriell

Patricia Kenner

Joel and Janet DeLisa

Eddy and Beckie Turner

Jennifer Box

Ann Murphy Daily and

Christine and Martin Schuepbach

Elizabeth and Albert Kidd

James Dunn

Dianne Chalmers Wiley and

La Merle Boyd and Frank Hoback

William W. Daily

Marvin and Donna Schwartz

MaryJane and Keith Lazz

Cindy Ewing

William Wiley

Vernon Brown

Roxanne Decyk and Lew Watts

Barton and Elizabeth Showalter

Philip and Susan Marineau

David and Pam Fleischaker

Jane and Mark Williams

Michael Campbell

Lee Dirks and Donna Bradley

Marc Still and Karen Rogers Still

Gwyn and Wilson Mason

Steve Foltyn

Barbara Zelley

George Chelius III and Lynn Derry

Michael and Lehua Engl

Melinda and Paul Sullivan

Cindy Miscikowski

Martin and Maureen Fox

Julie and Bob England

Marilynn and Carl Thoma

Thomas Neff

Thomas and Ilona Fox

FRIENDS

Melvin and Cindy Conway

Felicitas Funke

Joanna and Peter Townsend

Dusty Nelson

Doris Francis-Erhard

$250

Philip Cook

Elizabeth Goldberg

David Warnock and Michele Speaks

Linda and Joe Olsen

J. Freed

Myssie and Barry Acomb

Ronald Costell, MD, and Marsha Swiss

Bill O’Neal

Linda Giller

Catherine Allen

Jill Cowley

Irene Goodkind

TOP TO BOTTOM: Katelyn Kammers and Jeremy Rosiecki at a recent Gruet/Precept Wines members’ event. Director Rob Kret with Gruet winemaker Sofian Himeur. Images © Georgia O’Keeffe Museum.

Harriet Christian

Deborah Hankinson

DIRECTOR’S CIRCLE

Elizabeth and Duncan Osborne

Barbara and Larry Good

Richard and Janet Andre

Michael and Jennie Crews

Susan and Laurence Hirsch

$2,500–$4,999

Tony and Jo Paap

Pat and Jim Hall

Edward Angel and Rose Mary Molnar

Daniel Danzig and Leah Lievrouw

Robert W. Holleyman and

Van and Tracey Beckwith

Carol Roehrig and Fred Seipp

Mary Hanahan

Bruce Artwick and Christine Strandquist

Kellene and Larry Davis

Bill J. Keller

Merrilee Caldwell and

Louisa Sarofim

Richard and Pamela Hanlon

Gladys and James Banta

Pattilou and Wolf Dawkins

Donald and Cathey Humphreys

Marcus Randolph

Peter Sheldon

Steven and Roddie Harris

Paul Barnes and Vernon James

Paula and Theo Debnar

William and Lillias Johnston

Michael and Diane Cannon

Alice Simkins

Charles Hendrix

Sybil Barnes

Barbara and Clark de Nevers

Donna Kinzer

Cody Hartley and Santiago Rodriguez

Scott and Joann Snowden

Thomas Higley and Alan Fleischauer

Annamaria Begemann and

Kristin and Ronald Dick

Jack and Karin Kinzie

Kathleen and Gerald Petitt

Carl Stern and Holly Hayes

David and Kay Ingalls

Michael Morter

Judith Dillin

Robert and Miryam Knutson

Carol Prins and John Hart

Arnold and Lorlee Tenenbaum

Bruce Johnson and Diane Ramsey

Vincent and Denise Beggs

Robert and Leatrice Donaldson

Robert Kret and Theodora Judge-Kret

Paul Schorr III and June Schorr

Paula and Charles Work

Robert Jonsson and Coco Dowley

Jean and John Berghoff

Donn and Pamela Duncan

Jacqueline Lovelace and Lynn Johnson

Eugene Stark Jr. and Jean Stark

Polly Wotherspoon

Maura Kintzer

Ken Bergren

Linda and Gilbert Duritz

O’K EEF F E

W I N TER 2 O 1 9

O KEEFF E MUS E UM. OR G

MEMBERSHIP

Glenn Edens and Amelia Bellows

Ruthann Marcelle and Paul Gozemba Jr.

Janet and Thomas Unterman

Karen Farias and Nick LaRue

Thomas McCloskey

Karl and Mindi Vanevery

Benjamin Finberg and Mollie Parsons

Tom and Judy McMeans

Philip Vasta and Joan Wilson

Steve and Georgia Flannigan

Margaret McNamora

Diane Waters and Charles Braun

Chris and Jude Ford

Deirdre and James Mercurio

Jean and Roderick Watts

Janice Franklin

Gregory and Peggy Miller

Susan Weir-Ancker and Leif Ancker

Gordon and Jan Franz

Sterling Miller

Janet Wilson

Marie and Stephen Fritz

Peter and Fan Morris

Susan Wilson

Mike and Jodie Gallagher

H. Louis Morrison III and Ilu Morrison

Don and Dot Wortman

Tanner and David Gay

Lisa Nagro

Madeleine and Booker Wright

Lora Gilbert

Stephen and Barbara Nash

Julia and Charles Gill

Robert and Townley Neill

CORPORATE O’KEEFFE CIRCLE

Barb and Dennis Glover

Maura O’Leary

$5,000+

Carol Burton Gray

Dennis and Trudy O’Toole

Century Bank

Daniel and Judith Gresham

Therese Padilla

Drury Plaza Hotel in Santa Fe

Karen Gulmon

Victoria and Howard Palefsky

Gruet/Precept Wine

Gerry and Cherie Hale

Rose and Tim Pasek

Heritage Hotels and Resorts

Cheryl Hannah and Helen McKenna

James Pass

Hutton Broadcasting

Bertram and Pauline Heil

Jennifer and Benjamin Pedneau

The Owings Gallery

Jim and Nancy Hixon

Douglas and Teresa Peterson

THE Magazine

Elise and Richard Holliday

Glenn and Patricia Polenz

Thornburg Investment Management

Linda Horvath

William and Kay Pollock

Lori Hoy

Barry Qualls

CORPORATE DIRECTOR’S CIRCLE

Penelope Hunter-Stiebel and

Barbara and Doug Rasor

$2,500–$4,999

Gerald Stiebel

William and Teresa Reynolds

Arthur J. Gallagher & Co.

Richard Hughes

Susie and Bill Robertson

Hinkle Shanor LLP

Charles and Charlene Hyle

Helen and William Rogers

La Fonda on the Plaza

Samuel and Karen Kaplan

Alan Rolley

Santa Fe School of Cooking

Barbara Kimbell and William Michener

Susan Rosenbaum and Eric Schoen

Patricia Klock

Ervin and Linda Sandlin

BUSINESS BENEFACTORS’ CIRCLE

Stephen and Karen Knight

Barbara and Gene Sanger

$1,000–$2,499

Judith Knops

Larri Short and Stephen Reilly

David Mendez Design

Frances and James Knudson

Benjamin D. Smiley

Maggie’s Cakes

Mary and Nathan Kotz

Jennifer and Lloyd Smith

Santa Fe Selection

Gerald and Joan Krause

Laura Finlay Smith and Emma Smith

Sommer, Udall, Hardwick & Jones P.A.

Raymond and Barbara Krueger

Karen Smithson

David Langworthy

Shirl Spaulding

BUSINESS PATRONS

Pete and Julie Laun

Georgiana Stanley

$500–$999

Brenda Lavieri

Jane Stevenson

Addison Rowe Gallery

Judy and Paul Lazarus

Mary Strizek

Bode’s Mercantile Inc.

Anne Leary

Sue Taylor

Museum of New Mexico Foundation

Anne Leighty

Tim and Evelyn Taylor

Shiprock Santa Fe

Julia and Zachary Leonard

Suzanne Timble

Linda and Kenneth Lutkiewicz

Cynthia and Howard Turner

O’K EEF F E

W I N TER 2 O 1 9

“O’Keeffe is . . . very much with me as I create my art quilts. When I finally decided to create a living trust several years ago, it was an easy decision to leave a goodly part of my estate to the Georgia O’Keeffe Museum. I have to admit that I was very excited when I realized that I could actually do this. O’Keeffe has been a positive influence in my life in many ways and for many, many years. She has been like a fantastic encouraging sister to me, and it makes me very happy that I can contribute to her continuing legacy by way of my estate.” —JUDY DILLIN, PEDERNAL SOCIETY MEMBER, VENTURA, CALIFORNIA

Judy Dillin with Variations on a Theme: O’Keeffe’s Pedernal, May 2018. Original design by Judy Dillin. Composed of cotton fabric and pieced, appliquéd, and quilted by machine by the artist. 253/4 x 35 in. Photo by Thomas Moon.

THE PEDERNAL SOCIETY We invite you to join Judy as a member of the Pedernal Society, comprising donors who have made the special commitment to name the Georgia O’Keeffe Museum in their will, trust, retirement plan, life insurance policy, or financial accounts. For more information, or if you’ve already named the O’Keeffe Museum in your estate plans, please contact Jennifer Pedneau, Institutional Giving Manager, at 505.946.1035 or jpedneau@okeeffemuseum.org.

AS OF DECEMBER 20, 2018

THE GEORGIA O’KEEFFE MUSEUM CANNOT PROVIDE LEGAL OR TAX ADVICE. BEFORE MAKING A GIFT, PLEASE CONSULT YOUR ATTORNEY OR FINANCIAL PLANNER.

ON VIEW

WHERE IN THE WORLD IS GEORGIA O’KEEFFE? In addition to Ida O’Keeffe: Escaping Georgia’s Shadow at the Dallas Museum of Art (page 4), now through February 24, 2019, Georgia O’Keeffe continues to reach new audiences around the United States with exhibitions featuring loans from the Museum’s collection.

Inn and Spa at Loretto

Santa Fe

1. Through January 20, 2019 North Carolina Art Museum, Raleigh, NC February 22– June 2, 2019 New Britain Museum of American Art The Beyond: Georgia O’Keeffe and Contemporary Art

HHandR.com

2. Through January 27, 2019 The Fralin Museum of Art, University of Virginia, Charlottesville, VA Unexpected O’Keeffe: The Virginia Watercolors and Later Paintings 3. Through March 3, 2019 Cleveland Museum of Art, Cleveland, OH Georgia O’Keeffe: Living Modern

El Monte Sagrado

Palacio de Marquesa

Hotel Chimayo de Santa Fe

Hotel Chaco

Taos

Eldorado Hotel & Spa Santa Fe

Hotel St. Francis Santa Fe

4. Through February 24, 2019 Memphis Brooks Museum of Art, Memphis, TN Georgia O’Keeffe: Visions of Hawai`i

O’K EEF F E

W I N TER 2 O 1 9

1. Georgia O’Keeffe. Jimson Weed, 1932, Oil on canvas, 48 x 40 in. Courtesy of Crystal Bridges Museum of American Art, Bentonville, Arkansas. Photography by Edward C. Robison III. © Georgia O’Keeffe Museum. 2. Harold Stein. Georgia O’Keeffe in Hawaii, 1939. Gelatin silver print, 5 x 41/2 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation. [2006.6.754]. 3. Georgia O’Keeffe: Living Modern at the Brooklyn Museum, exhibition installation image, 2017. Photograph by Jonathan Dorado. © Georgia O’Keeffe Museum. 4. 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 [2006.5.614]. © Georgia O’Keeffe Museum.

Albuquerque

Hotel Albuquerque at Old Town

Hotel Encanto de Las Cruces