The Georgia O’Keeffe Museum Mag azi ne
Fall 2011
Loretto loves O’Keeffe
EXT EN D THE EX PER I ENCE LUMINARIA RESTAURANT & PATIO Featuring Executive Chef Matt Ostrander and his
“Conscious Cuisine”. Dine indoors or al fresco under the stars. Serving breakfast, lunch, dinner, and Sunday brunch. The Living Room offers late night casual dining and weekend entertainment. Reservations: 505-984-7915.
THE SPA Ranked #13 in North America by Conde’ Nast Traveler Magazine. The Spa at Loretto
takes a holistic approach to the art of massage therapy and well-being. Upgrade to handcrafted aromatherapy oils with ticket stubs. Reservations: 505-984-7997
THE INN Located at the end of The Santa Fe Trail, the AAA Four-Diamond Inn is ranked as one of Condé Nast’s top 100 Hotels in the US. Reservations: 505-988-5531
211 Old Santa Fe Trail | 505.988.5531 | lorettoexperience.com
on the plaza in santa fe NEW MEXICO MUSEUM OF ART HOW THE WEST IS ONE: THE ART OF NEW MEXICO 505.476.5072
NEW MEXICO HISTORY MUSEUM/ PA L A C E O F THE GOVERNORS TELLING NEW MEXICO: STORIES FROM THEN AND NOW 505.476.5100
on museum hill in santa fe MUSEUM OF INDIAN A R T S & C U LT U R E CREATIVE SPARK! THE LIFE AND ART OF TONY DA 505.476.1250
MUSEUM OF I N T E R N AT I O N A L FOLK ART FOLK ART OF THE ANDES 505.476.1200
GOLDEN DAWN GALLERY You Get Significant Art...
She’s the most culturally significant female painter born in America in the last 100 years!
Pablita Velarde - 1918 - 2006
201 Galisteo St., Santa Fe, New Mexico 87501 - 505-988-2024 - www.goldendawngallery.com Exclusive Estate Representative for Helen Hardin and Pablita Velarde
8
Welcome Reader: A greeting from the Director
12
National Council, National Impact: Loyal donors help advance the Museum’s mission
14
54
14
4 4
Symposium Recap: Celebrating the recent success of Challenging 1945
6 4 50
Rediscovered Works by O’Keeffe: Tracking down items for O’Keeffe’s Catalogue Raisonne´ It’s O’K to Write! It’s O’K to Ask: The Museum answers your questions and comments
2 5
O’Keeffe & More—American Modernism at the Museum: Visitors express their enthusiasm for Shared Intelligence
4 5
Cook Up Some Fun: Fresh new items from the Museum Store
7 5
The Georgia O’Keeffe Museum’s Business Partners
58
Museum Calendar: The Museum’s schedule this fall
Georgia O’Keeffe and Ghost Ranch: Exciting outdoor tours give a unique perspective on the land O’Keeffe loved
2 2
From New York to Corrymore: Robert Henri & Ireland: An up-close look at one of the Museum’s current exhibitions
5 2
Jaune Quick-to-See Smith: Landscapes of an American Modernist
8 2
Bringing Ideas Alive Through Art: The Museum’s Education Programs help children develop critical learning skills
2 3
You Belong in this American Masterpiece: Join the Museum today, don’t miss a minute
2 6
Love Birds: Marriage in the Museum’s indoor or outdoor spaces
4 3
O’Keeffe’s “Little People”: O’Keeffe’s enduring devotion to her beloved dogs
4 6
In the Next Issue: Find out what’s coming up in the spring issue of O’Keeffe magazine
8 3
Clues & Questions: Archiving O’Keeffe’s libraries
38
Photo credits: Julien McRoberts; Kristin Lynn Kautz; Elizabeth Ehrnst.
The Georgia O’Keeffe Museum Magazine
Announcing The
“A Celebration Of Indian Women Of All Art Genres”
Opening Soon! Founders:
Margarete Bagshaw, Dan McGuinness, Roxanne Swintzell, Tim Star, Jaune Quick-To-See Smith, Marigold Linton, Cate Stetson, Eric Phillips, Bruce Adams
for information: info@PVMIWA.org
The Georgia O’Keeffe Museum Magazine Bruce Adams President Anne Mulvaney Publisher B.Y. Cooper Creative Director Amy Hegarty Editor Sybil Watson Graphic Designer Ginny Stewart-Jaramillo Operations Manager Michelle Odom Contributing Designer Monique Martinez Graphic Design Intern Robbie O’Neill Emilie McIntyre David Wilkinson Sales Representatives A Publication of Bella Media, LLC For advertising information: amulvaney@santafean.com 215 W. San Francisco Street, Suite 300 Santa Fe, NM 87501 Telephone 505.983.1444; fax 505.983.1555 santafean@pcspublink.com Copyright 2011, Georgia O’Keeffe Mueum. Reproduction in whole or in part without permission is prohibited. CPM#40065056 O’Keeffe Magazine (ISSN 1094-1487) is published three times a year by Bella Media, LLC, 215 W. San Francisco Street, Suite 300, Santa Fe, NM 87501. Periodicals postage paid at Santa Fe, NM, and additional mailing offices. Postmaster: Send address changes to Santa Fean P.O. Box 469089, Escondido, CA 92046-9710. okeeffemuseum.org
7
The Georgia O’Keeffe Museum Mag azi ne
Fall 2011
WE ARE INTERESTED IN HEARING FROM YOU AND WELCOME YOUR THOUGHTS AND OPINIONS
On the cover: Georgia O’Keeffe, Trees in Autumn, 1920/21, Oil on Canvas, 25 1/4 x 20 1/4 Inches, Georgia O’Keeffe Museum, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
8
I always look forward to the fall. There is something special about the end of summer and the rhythm of the new school year, with the holidays just around the corner. In addition to another birthday, I will also celebrate my second anniversary as the Director of the Georgia O’Keeffe Museum in October. This past summer saw several milestones at the Museum. The Georgia O’Keeffe Museum Research Center celebrated its 10-year anniversary with the symposium Challenging 1945: Exploring Continuities in American Art, 1890s to the Present. If you were unable to participate in the enlightening discussions in person, you can read about the symposium on page 44. In addition, the Board of Directors approved a new strategic plan for the institution that places you, the visitor, at the center of all our efforts. We also surpassed the 2.6 million mark in attendance since the Museum opened in 1997. This autumn, for the first time, we are offering a once-in-a-lifetime travel opportunity for Museum members in connection with the opening of the exhibition Georgia O’Keeffe: A Retrospective at the Fondazione Roma Museo. If you are interested in private visits and tours of the splendors of Rome with members of the Georgia O’Keeffe Museum’s staff, please see the article on page 12. For 2012, we are eagerly preparing important events celebrating the centennial anniversary of New Mexico’s statehood and the 15th anniversary of the Georgia O’Keeffe Museum. Already, in our short but exciting history, the Museum has so much to be proud of: critically acclaimed exhibitions and publications; award-winning education programs; and the stunning growth of the collection from roughly 100 holdings to more than 3,000. The Research Center Library has also grown from 2,000 volumes to more than 12,000 and the number of items in the digital archives has increased from none to more than 19,000. To learn how the staff of the Museum’s Research Center archived Georgia O’Keeffe’s libraries, see page 38. The Georgia O’Keeffe Museum is an ambitious cultural organization with a big future. You can see by the scope and breadth of the articles in this magazine that, although richly grounded in the art of Georgia O’Keeffe and American Modernism, the Museum pursues a broad vision of its mission at the international, national, and local-community level. I hope your travels bring you to Santa Fe this fall or winter, and that a visit to the Georgia O’Keeffe Museum is in your plans. If you have not yet celebrated the holiday season in Santa Fe, it is well worth the trip. As always, we are interested in hearing from you and welcome your thoughts and opinions. We might even publish them in an upcoming issue of this magazine (see page 50). Thank you for your membership. We appreciate your continued interest and support. Sincerely,
Robert A. Kret Director
Photo credit: Julien McRoberts.
Welcome Reader
ASAD 2011-503 O'Keeffe Mag 2-3 ƒ pg_2/3 pg 4/22/11 12:54 PM Page 1
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
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.
The Georgia O’Keeffe Museum would sincerely like to thank the following staff members who dedicated their time and proofreading expertise to this issue: Ellen Andes V. Susan Fisher Shannon Hanson Eumie Imm-Stroukoff Kristin Lynn Kautz Christina Dallorso Kortz Jackie M Camille Romero Xen Stanhope Sarah Zurick
Photo by Brad Bealmear ©The Santa Fe Catalogue
Jackie M Director of Education and Public Programs _____________________________
asian adobe
Antique Furniture, Art and Accessories 1 block west of the Georgia O’Keeffe Museum 310 Johnson Street Santa Fe 505-992-6846 Mon - Sat 10 to 5 www.asianadobe.com
okeeffemuseum.org
9
O’K News The Georgia O’Keeffe Museum would like to recognize outgoing President of the Board, Saul Cohen, for his dedicated leadership of more than 15 years.
Photo credit: Julien McRoberts.
Thank You, Saul!
Happy Birthday, Georgia! One of the most significant artists of the twentieth century, Georgia Totto O’Keeffe was born on November 15, 1887, near Sun Prairie, Wisconsin. She was devoted to creating imagery that expressed what she called “the wideness and wonder of the world as I live in it.”
Congratulations, Conservation! The Georgia O’Keeffe Museum has been selected for a federal competitive preservation technology and training grant from the National Park Service. Praised for bringing the best skills and technology of the present to preserve the treasures of the past, the Museum will evaluate practical applications of low-cost digital photogrammetric methods for preservation documentation.
Celebrate Summer 2012! The Georgia O’Keeffe Museum presents Georgia O’Keeffe and the Faraway: Nature and Image from June 2012−January, 2013. The exhibition includes paintings and drawings O’Keeffe made of the Southwestern landscape, as well as photographs of her camping trips and a reconstruction of a camping site made up of the gear that she used. Maria Chabot, Georgia O’Keeffe, Breakfast, The Black Place, 1944, Photographic Print, 5 x 3 1/2 Inches, Georgia O’Keeffe Museum, Maria Chabot Archive, Gift of Maria Chabot. © Georgia O’Keeffe Museum. 10
O ’ K E E F F E Fa l l 2011
Photo credit: Julien McRoberts, Dale Kronkright, 2011.
Unidentified photographer, Georgia O’Keeffe in Abiquiú, 1972. © Georgia O’Keeffe Museum.
Georgia O’Keeffe Museum Board of Directors
Judah Best Arlington, VA Santa Fe, NM Laura Bush (honorary) Dallas, TX Katherin L. Chase Santa Fe, NM Saul Cohen (honorary) Santa Fe, NM
Robert B. Knutson Boca Grande, FL Santa Fe, NM Emily Fisher Landau (honorary) New York, NY Palm Beach, FL
Andrew A. Davis Santa Fe, NM
Clare O’Keeffe Palm Beach, FL
Roxanne Decyk Santa Fe, NM Chicago, IL
Thomas F. O’Toole Dallas, TX Santa Fe, NM
Lee E. Dirks, President Santa Fe, NM
R. Steven Padilla, MD, MBA, Treasurer Albuquerque, NM Santa Fe, NM
William P. Johnston Nashville, TN Barry G. King, Jr., MD, Secretary Santa Fe, NM El Paso, TX
11
Stanley Marcus (honorary-deceased) Dallas, TX Anne W. Marion, Chairman Fort Worth, TX Santa Fe, NM
Susan J. Hirsch Dallas, TX
Dallas
Robert A. Kret, ex-officio Santa Fe, NM
Cira Crowell Venice, CA Santa Fe, NM
Julie Spicer England Dallas, TX
●
Joann K. Phillips (honorary) Santa Fe, NM Lissa N. Wagner Midland, TX David L. Warnock Baltimore, MD
Verlaine
A. Samuel Adelo Santa Fe, NM
Santa Fe
cicadacollection.com 221 Galisteo Street Santa Fe ●
6817 Snider Plaza Dallas TX ●
okeeffemuseum.org
11
National Council, National Impact by V. Susan Fisher, Director of Development What most visitors see when they come to the Georgia O’Keeffe Museum is an exhibition exploring the genius of Georgia O’Keeffe and American Modernism. However, the institution also maintains outstanding research, educational, and conservation programs that have gained national recognition in their own right, and it administers two historic properties of international stature and significance. How can an institution on the intimate scale of the Georgia O’Keeffe Museum achieve and sustain accomplishments of such importance to our national heritage and to the museum field worldwide? The answer is complex, encompassing the global appeal of O’Keeffe’s vision, the institutional leadership of a sophisticated Board of Directors, the dedication of a skilled professional staff, and lasting relationships with donors and members who share the Museum’s values and mission. As a relatively new institution, the Museum is fortunate to have so many friends who demonstrate tremendous generosity and vision. Among the Museum’s most loyal donors are the members of its National Council, a circle of individuals who share a deep interest in O’Keeffe and American Modernism, as well as a
12
O ’ K E E F F E Fa l l 2011
Photo credit: V. Susan Fisher.
sense of responsibility for preserving, interpreting, and promoting it. Through individual contributions of $5,000 a year, National Council members ensure support for special research, exhibitions, and education projects, advancing the Museum’s mission while keeping admission costs at a minimum—a fundamental factor in welcoming and serving as broad a public as possible. National Council members enjoy a unique network of friendships based on shared goals, experiences, and travel opportunities that offer special access to public and private art collections in the United States and abroad. They also serve as ambassadors for the Museum in their home communities, which span the nation from California to New York, Texas to Tennessee, Florida to Idaho, and Maryland to Hawaii. What they have in common, and represent so well, is the Georgia O’Keeffe Museum. Support from the National Council has made it possible for the Museum to produce critically acclaimed special exhibitions and catalogues such as Georgia O’Keeffe: Abstraction and Georgia O’Keeffe and Ansel Adams: Natural Affinities, and to organize symposia such as this year’s Challenging 1945: Exploring Continuities in American Art, 1890s to the Present, which convened stellar scholars and artists from around the nation. In this way, National Council members share their own enjoyment of American art with thousands of Museum visitors and support significant new scholarship in the fields of art history and American studies. Above all, the National Council shares in the life of the Museum, offering members access to the highest level of Board and staff leadership, who attend the National
Reserve your place now for the National Council’s trip to see private residences and collections in Rome! Council’s biannual meetings. Over the years, a number of National Council members have joined the Museum’s Board of Directors. The National Council’s Annual Meeting is held in Santa Fe each summer and may include special tours of the Museum’s current exhibition, Research Center, and conservation projects; private trips to Georgia O’Keeffe’s homes in Abiquiú and at Ghost Ranch; or exclusive visits to exceptional homes and viewings of fine art collections. Council members also enjoy an extraordinary travel opportunity each year. Trips are arranged by the Museum to provide curator-led visits to private collections and cultural sites of exceptional importance, as well as fine dining and social opportunities. This fall, the National Council visits Rome in connection with the international tour of Georgia O’Keeffe: A Retrospective (which was featured in the summer issue of O’Keeffe magazine). The Rome itinerary includes accommodation at a five-star hotel and private visits with Museum Director Robert Kret and Curator Barbara Buhler Lynes to the Villa Medici, the Palazzo Barberini, and the Vatican museums and Sistine Chapel, among other landmarks. An art historian and staff representative from the Rome-based cultural tour planning firm A Private View of Italy will also accompany the visits. Preliminary plans are in progress for trips to Helsinki, St. Petersburg, and Tokyo. A detailed itinerary of the five-night National Council trip to Rome is available at okeeffemuseum.org/national-council.html. Take a look and join the trip! Readers interested in joining the National Council are invited to contact V. Susan Fisher by calling 505.946.1020 or writing to susan.fisher@okeeffemuseum.org.
National Council at work and at play at O’Keeffe’s Home and Studio in Abiquiú.
okeeffemuseum.org
13
Georgia O’ and Ghost Ranch
14
O ’ K E E F F E Fa l l 2011
Keeffe
by Linda Seebantz, Ghost Ranch, Director of Marketing
In the summer of 1934, Georgia O’Keeffe learned about Ghost Ranch, a 30,000-acre dude ranch in northern New Mexico that was owned and managed by Arthur Pack. This discovery led to a pattern O’Keeffe would follow for years: spending summers at Ghost Ranch exploring the beauty of the place on foot and on canvas, and spending winters in New York City. At Ghost Ranch, O’Keeffe sought housing that was isolated from the headquarters and the general public and in 1940 she was able to purchase a very small piece of remote land on the property, a house called Rancho de los Burros, set on seven acres.
Photo credit: Herb Lot z. © Georgia O’Keeffe Museum.
“Living out here has just meant happiness. Sometimes I think I’m half mad with love for this place.” —Georgia O’Keeffe
Georgia O’Keeffe, Untitled (Red and Yellow Cliffs), 1940, Oil on Canvas, 24 X 36 Inches, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
okeeffemuseum.org
15
14 Georgia O’Keeffe, My Front Yard, Summer, 1941, Oil on Canvas, 20 x 30 Inches, Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
Knowledgeable visitors can identify many of the scenes O’Keeffe painted at Ghost Ranch. Red and gray hills, like those across from the roadside park south of the ranch headquarters, were frequent subjects. She painted the red and yellow cliffs of Kitchen Mesa at the upper end of the valley many times. Pedernal, the flat-topped mountain to the south, was probably her favorite subject. “It’s my private mountain. God told me if I painted it often enough I could In 1955, Pack turned Ghost Ranch over to the Presbyterian Church. Initially, O’Keeffe was aghast, but the Church worked to preserve the privacy of their famous neighbor. Visitors were told that Rancho de los Burros was on private land with no public access and, gradually, O’Keeffe’s fears were allayed and the relationship grew warmer. O’Keeffe became friendly enough with longtime ranch direc16
O ’ K E E F F E Fa l l 2011
Photo credit: V. Susan Fisher, Pedernal, 2011.
have it,” she stated with certainty.
Tony Vaccaro, O’Keeffe at the Ranch, 1960, Gelatin Silver Print, 12 1/4 x 18 3/4 Inches, Georgia O’Keeffe Museum. © Tony Vaccaro.
okeeffemuseum.org
17
tor Jim Hall and his wife, Ruth, to have Christmas dinner with them. She even made a monetary gift toward construction of the Halls’ retirement home on the ranch. When fire destroyed the headquarters building in 1983, O’Keeffe immediately donated $50,000 and lent her name to a challenge fund for the Phoenix Campaign, which resulted in replacing the building and adding the Social Center and the Ruth Hall Museum of Paleontology. Today, Ghost Ranch operates as a 21,000acre education and retreat center. Along with offering more than 300 six-day courses a year, Ghost Ranch is also home to the Florence Hawley Ellis Museum of Anthropology and the Piedra Lumbre Visitor Center. Visitors to the ranch will find hiking trails, gift shops, art galleries, a coffee shop, a 24-hour library, conference and meeting spaces, and overnight accommodations. For O’Keeffe fans who are looking for more on the artist, Ghost Ranch offers the
Georgia O’Keeffe and the Ghost Ranch Landscape Tour Ride a tour bus to a restricted area of Ghost Ranch and see the actual settings of numerous O’Keeffe paintings. The tour showcases the shining cliffs of the Piedra Lumbre Valley, the black trails of waterfalls against canyon walls, and O’Keeffe’s beloved Pedernal Mountain, interwoven with stories of her 50 years at Ghost Ranch.
Left: Georgia O’Keeffe, The Cliff Chimneys, 1938, Oil on Canvas, 36 x 30 Inches, Milwaukee Art Museum, Gift of Jane Bradley Pettit Foundation and The Georgia O’Keeffe Foundation, Photo Credit Larry Sanders. © Milwaukee Art Museum. Opposite, Above: Georgia O’Keeffe, Gerald’s Tree I, 1937, Oil on Canvas, 40 x 30 1/8 Inches, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
18
O ’ K E E F F E Fa l l 2011
Photo credit: Kristin Lynn Kautz, Karen Butts, Ghost Ranch Tour Guide, 2011.
following unique, outdoor experiences:
—Mid-March to late November —Tuesday, Thursday, Friday, and Saturday at 1:30 pm and 3:00 pm —The Landscape tour is 1 hour and 15 minutes long —Cost is $25 per person Walk in Georgia O’Keeffe’s Footsteps: A Walking Landscape Tour Down a private road, in a restricted area of Ghost Ranch, and away from the main campus, you are invited to join a walking tour of the area where O’Keeffe lived, painted, and found inspiration. The walking tour takes you through what O’Keeffe called “her red hills,” the Chinle formation. Your guide will show you prints of O’Keeffe paintings in the places she painted them. You will learn
about the history, geology, flora, fauna, and culture of the area. The walking tour takes about one and a half hours on uneven ground at an elevation of 6,200 feet. You will need sturdy shoes, a hat, water, sunscreen, and a long-sleeved shirt or wind-breaker. —Mid-March to late November —Friday only, 9:00–10:30 am (weather permitting) —Limited to 8 people per tour —Walking distance is approximately 1.5 miles —Cost is $30 per person For more information on Ghost Ranch or the O’Keeffe landscape tours, please contact Linda Seebantz at 505.685.4333, ext. 4106, or ljseebantz@ghostranch.org. Learn more at ghostranch.org.
The guide on your tour of Ghost Ranch will inform you about O’Keeffe and her experiences at Ghost Ranch. You will stop at places where she painted, comparing the landscape of today with prints of her paintings.
Did Georgia O’Keeffe own Ghost Ranch? Georgia O’Keeffe never owned Ghost Ranch. In 1940, she purchased a home and 7.6 acres from Arthur Pack within the property known as Ghost Ranch, which at the time consisted of more than 30,000 acres in its entirety. Georgia O’Keeffe may have felt that she owned Ghost Ranch, and because she was such a powerful force, she instilled that into the consciousness of her world of admirers. However, she never owned anything else at Ghost Ranch other than her home and the few surrounding acres. Today, Ghost Ranch is an education and retreat center. The Ranch cannot access the O’Keeffe home, nor its surrounding acres. Her home is owned by the Georgia O’Keeffe Museum and not open to the public due to the fragility of the residence and environment.
Above: Georgia O’Keeffe, My Red Hills, 1938, Oil on Canvas, 19 x 36 Inches, Private Collection. © Georgia O’Keeffe Museum. Below: Georgia O’Keeffe, Hill, New Mexico, 1935, Oil on Canvas, 30 x 40 Inches, Private Collection. © Georgia O’Keeffe Museum. 20
O ’ K E E F F E Fa l l 2011
Photo credit: Kristin Lynn Kautz.
“When I got to New Mexico that was mine. As soon as I saw it, that was my country. It fitted to me exactly.” —Georgia O’Keeffe, 1977
What Do You Give the Ultimate O’Keeffe Enthusiast? A once-in-a-lifetime opportunity to visit Georgia O’Keeffe’s Home at Ghost Ranch! Georgia O’Keeffe’s home at Ghost Ranch is not open to the public. However, the Museum is auctioning off a one-of-a-kind tour just in time to give as the ultimate holiday gift for the greatest O’Keeffe fan. The winning bid features a full day of fun plus an overnight stay at Ghost Ranch for four guests. Activities include a private tour of O’Keeffe’s Ghost Ranch home with Barbara Buhler Lynes, Curator of the Georgia O’Keeffe Museum; lunch at the Abiquiú Inn with Robert Kret, Director of the Georgia O’Keeffe Museum; a private tour of O’Keeffe’s Home and Studio in Abiquiú with Judy Agapita Lopez, Director of Abiquiú Historic Properties and one-time personal secretary to O’Keeffe; and a private tour of the Museum and Research Center with Carolyn Kastner and Dale Kronkright, Associate Curator and Conservator, respectively. Added to this already spectacular package are two household memberships to the Museum for one year, two copies of the Catalogue Raisonné, and two $50 gift certificates to the Museum Store. We will work with you to coordinate the best possible date to accommodate everyone’s schedule. The auction is online from October 1—November 15. Watch our website, check your email, friend us on Facebook, and follow us on Twitter (@okeeffemuseum) for reminders of when and where to bid. Additionally, you can call V. Susan Fisher at 505.946.1020 for more information. Good luck!
Malcolm Varon, Ghost Ranch Patio. © Georgia O’Keeffe Museum.
Malcolm Varon, Breakfast Room at Ghost Ranch House. © Georgia O’Keeffe Museum.
O’Keeffe lived and worked at the Ghost Ranch house part of each year beginning in the mid-1930s and purchased it in 1940. Approximately 60 miles northwest of Santa Fe, the Ghost Ranch house is surrounded by the stunning landscape that inspired O’Keeffe’s art. O’Keeffe moved from New York to make New Mexico her permanent home in 1949, and she lived at either her Abiquiú or Ghost Ranch house until 1984.
Current Exhibition
From New York to Corrymore: Robert Henri & Ireland September 23, 2011− January15, 2012 by Barbara Buhler Lynes, Curator, Georgia O’Keeffe Museum, and The Emily Fisher Landau Director, Georgia O’Keeffe Museum Research Center Robert Henri Cozad (pronounced Hen-rye) was born in 1865 in Cincinnati, Ohio, and moved with his parents to two other cities his father founded, Cozaddale, Ohio, in 1871, and Cozad, Nebraska, in 1873. A gambler and real estate developer, his father fled Cozad in 1882 to avoid arrest after killing a man. To avoid association with the situation, the family changed last names, followed the father to Denver, Colorado, and moved to Atlantic City, New Jersey, in 1883. Three years later, Henri began classes at the Pennsylvania Academy of the Fine Arts, Philadelphia, and for the next four years made three trips to and from Paris, where he studied at the Académie Julian and then at the École des Beaux Arts. He was attracted to the work of painters he saw whose palettes were dark and who applied paint freely with the brush, such as Edouard Manet, Frans Hals, and Diego Velazquez. He also came to know and was influenced by the lighter palettes and innovative brushwork of the French Impressionist painters. While teaching at the Pennsylvania Academy of the Fine Arts, he was influenced by the work of his colleague, realist Thomas Eakins (1844–1916). Henri soon became the leader of a group of artists who would later follow Robert Henri, Her Sunday Shawl, 1924, Oil on Canvas, him when he moved to New York in 1902, where he first 24 x 20 1/4 Inches, Virginia Museum of Fine Arts, Gift of taught at the New York School of Art, then at the Modern Charles G. Thalhimer in Memory of His Wife, Rhoda. School in 1911, and thereafter at the Art Students League from 1915 to 1927. These painters became known as “The Eight,” or the Ashcan painters, because of their deep commitment to realistic depictions of everyday life and especially of people of low social standing and of various ethnicities: William Glackens (1870–1938), George Luks (1867–1933), Everett Shinn (1876–1953), and John French Sloan (1871–1951). Others whose objectives were different from those of the Ashcan painters joined “The Eight”: Arthur B. Davies (1862–1928), Ernest Lawson (1873–1939), and Maurice Prendergast (1859–1924). These painters were named “The Eight” in 1908, when an exhibition of that name took place at the MacBeth Gallery in New York. It was made up of their work, which had been rejected by the jury for an exhibition at the prestigious National Academy of Design, primarily because of the unconventional subject matter of their work. The 1908 exhibition and the Ashcan painters were later hailed as harbingers of the American modern art movement.
“When the artist is alive in any person . . . he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for better understanding.”—Robert Henri
Robert Henri, Mary Agnes, 1924, Oil on Canvas, 24 x 20 Inches, Private Collection of Tia. okeeffemuseum.org
23
Henri’s works are modern in terms of subject matter only, and he became best known working in the tradition of imitative realism as a portrait painter, and was especially interested in portraits of children. During his trips to Ireland in 1913, 1924–1926, and 1928, he lived in Corrymore House near the town of Dooagh, Achill Island, and made the people of that community the primary focus of his work. The exhibition New York to Corrymore: Robert Henri & Ireland was organized by curators Valerie Leeds, independent scholar, and Jonathan Stuhlman, Curator of American Art, Mint Museum of Art, Charlotte, North Carolina, where it opened in May 2011. The exhibition includes work completed by Henri on these trips, such as portraits of some of Dooagh’s elders, Johnny Commons and his wife, and Brien O’Mallley, as in My Friend Brien, 1913. Henri devoted the majority of his time on return trips to Ireland to portraits of the town’s children, whom he found particularly engaging, such as Her Sunday Shawl, 1924, and Girl in Pink (Annie Lavelle), 1928. These and the other works of children are among the most charming portraits of his career. Henri described his fascination with portraying children, as well as its difficulties and rewards, when he wrote: “Children do not sit still. One of the reasons so few children are painted is because they do not sit still. Yet this is the very reason they are good to
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.
paint. They are living energies. No copy can be made of them. The whole work must be an invention and the result, when successful, must be an organization, a design which works, holds together, is unified. And it has got to come out of the mind of the artist, be his invention . . . If one has a love of children as human beings and realizes the greatness that is in them, no better subject for painting can be found. The majority of people patronize children and look down on them rather than up to them . . . In reality, it is the children that have not yet been buried under . . . conventions and details which burden most grownups.” The highly engaging paintings in this exhibition are displayed in conjunction with numerous early works by O’Keeffe that demonstrate her mastery of the tradition of imitative realism. It also includes many works she produced beginning in the mid-1910s that are modernist in character and, thus, represent an entirely new direction in her art and in the history of American art. The exhibition is on view at the Museum through January 15, 2012. Its catalogue, which includes reproductions of all Henri works in the exhibition, is available at the Museum Store. Robert Henri, My Friend Brien,1913, Oil on Canvas, 41 x 33 Inches, Gift of Mr. and Mrs. John L. Crist, Jr., In Memory of John L. Crist, Sr.
Jaune
Upcoming Exhibition
Quick-to-See Landscapes of an American Modernist
Smith
by Carolyn Kastner, Associate Curator
It’s no secret that New Mexico has long exerted an almost magnetic pull on painters. The state’s breathtaking scenery, exquisite light, and serene spaciousness make it irresistible for those pursuing an artistic life. Though Georgia O’Keeffe is perhaps the most famous painter to make New Mexico her home, one of the most renowned Native American artists of the late twentieth century, Jaune Quick-to-See Smith, was also drawn to the Southwest in 1976. Born in Montana, Smith is an enrolled Sqelix’u (Salish) member of the Confederated Salish and Kootenai Nation. Like O’Keeffe before her, Smith embraced her new home and environment and began painting landscapes that express a deeply personal sense of place. But while O’Keeffe focused her attention on timeless, uninhabited landscapes of her adopted home, Smith’s “inhabited landscapes” express the conflicts marked on the land during the twentieth century. Though Smith’s work has been widely exhibited and collected throughout the United States and Europe, it has never been critically analyzed within the discourse of the American landscape tradition— until now. The Georgia O’Keeffe Museum is pleased to honor Smith as the fourth artist in the Living Artists of Distinction series with the upcoming exhibition Jaune Quick-to-See Smith: Landscapes of an American Modernist, on view from January 27 to May Jaune Quick-to-See Smith, Georgia on My Mind, 1986, Oil on Canvas, 13, 2012, which recognizes her contributions to 64 x 48 Inches, Yellowstone Art Museum, Gift of Miriam Sample. modernist landscape painting. I began organizing this exhibition in 2008, during my tenure as a scholar at the Georgia O’Keeffe Museum Research Center. The scholar program supports research in American Modernism (late-nineteenth century to present) by awarding stipends not only to historians in the fields of art, architecture, design, literature, music, and photography, but also to museum professionals who wish to organize an exhibition at the Georgia O’Keeffe Museum. At the invitation of Barbara Buhler Lynes, Emily Fisher Landau Director of the Research Center, I began to envision an exhibition of Smith’s modernist landscapes. Encouraged by the scholars in residence—and by the Georgia O’Keeffe Museum curatorial and research center staff—I concentrated on the “inhabited landscapes” Smith created between 1978 and 1991. The artwork presented in Jaune Quick-to-See Smith: Landscapes of an American Modernist is organized to highlight the unique ways in which the artist expands the American landscape tradition by joining modernist color and technique okeeffemuseum.org
25
Jaune Quick-to-See Smith, Untitled, Wallowa Waterhole Series, 1978, Pastel on Paper, 30 x 22 Inches, Courtesy of the Artist.
with her distinctive vocabulary of cultural figures. Smith’s earliest landscapes from the Wallowa Waterhole Series (1978–1979) express a lyrical, pastoral, and even nostalgic sense of place. The artist credits Paul Klee’s color and composition as the inspiration for the series, which was named for the verdant Oregon valley that was home to Nez Perce Chief Joseph and his people. It is in the interplay of these two disparate influences that Smith first began to create a compelling and complex balance between indigenous traditions and modernist style. Each pastel drawing in the series forms a memory map composed of color fields representing grasslands, flowers, and water, as well as graphic marks that trace travel through the landscape by animals and humans. Smith’s signature style emerged as she added political, historical, and cultural images to abstract fields of brilliant, saturated oil paint in the Petroglyph Park Series (1985–1987). “My work has layered meanings, so you can see many different levels within one single work,” Smith has said. “I like to bring the viewer in with a seductive texture, a beautiful drawing, and then let them have one of the messages.” Six paintings from the Petroglyph Park Series are included in the exhibition. Begun just five years after she earned a master’s degree in art from the University of New Mexico in 1980, they deftly 26
O ’ K E E F F E Fa l l 2011
illustrate this strategy. The collision of figures painted across the surface complicates the formal beauty of the landscape, recasting the American landscape as a site of cultural conflict. While the figures are meant to add to the complexity of the viewer’s experience, they often become the focus of attention, to the exclusion of Smith’s modernist style and technique. But it is the tension between the abstract composition and the specificity of the figures that evokes the physical location of the battle: the escarpment west of Albuquerque, New Mexico. Smith’s complex landscapes evolve out of a practice of painting on several canvases simultaneously, and, as she works, the paintings form a temporal record of her life and passions. Smith created the Petroglyph Park Series when ancient petroglyphs on the steep volcanic cliffs near her home were threatened by real estate development. The titles of the paintings in this series (Sunset on the Escarpment, War Zone, The Great Divide, and Court House Steps) trace her perception of the political struggle to preserve the landscape sacred to indigenous peoples of the region. The agitated composition of Court House Steps (1987) was created after a real estate developer removed a basalt boulder, marked with ancient petroglyphs, from its original site. On September 4, 1987, using a forklift and truck, he delivered the boulder to the steps of the local courthouse to protest legal negotiations that were blocking him from building on what was technically his own private land. Smith responded artistically and emotionally to this violation of the sacred site in a composition of colliding forms. The stable right angles that describe sacred Kiva steps, in the lower left of the canvas, are distorted in the upper right to form unbalanced outlines of high-rise buildings, which seem to rise and fall simultaneously. Similarly, Smith’s painting Georgia On My Mind (1986) marks Georgia O’Keeffe’s death, which occurred while Smith was working on the Petroglpyh Park Series. Georgia On My Mind is related stylistically to the series, though it is a personal reference and homage to the famous artist whose iconic New Mexico landscapes changed the course of American Modernism. In 1989, Smith began another series of landscapes named for Chief Seattle, whose eloquent speech of 1854 is still remembered as an ecological prophecy. Two pastels from the series are in the exhibition and mark yet another shift in her style, as she adopted a postmodern technique using text and images. The message of the Chief Seattle Series focuses on the threatened American environment, and Smith uses beautiful but threatening images of the ruined landscape of the late-twentieth century to create a sense of urgency in the viewer. One
Jaune Quick-to-See Smith, Court House Steps, 1987, Oil on Canvas, 72 x 60 Inches, Private Collection.
of Smith’s defining characteristics as an artist is the primacy she places on aesthetics, even when she is addressing political issues. However, by 1991 Smith’s pastel drawings no longer reference the romance of a lost paradise. Instead, she generates a new kind of visual tension with the raw energy of her intense pastel marks on paper. The immediacy and anxiety expressed in this body of work set it apart from all of her previous landscapes. In each landscape Smith created between 1978 and 1991, the overarching theme is the relationship of people to the land they inhabit. As she worked to deliver her “messages” she created a body of work that also established her heritage as a modernist. In the tradition of Georgia O’Keeffe, Jaune Quick-toSee Smith’s art expresses a personal and passionate attachment to New Mexico that transforms our vision of the American landscape.
“I like to bring the viewer in with a seductive texture, a beautiful drawing, and then let them have one of the messages.” —Jaune Quick-to-See Smith
okeeffemuseum.org
27
Bringing Ideas Alive through Art by Jackie M, Director of Education and Public Programs
The Georgia O’Keeffe Museum is pioneering ways to engage and benefit twenty-first-century learners. Supported by a generous grant from the William Randolph Hearst Foundation, the education staff and teaching artists provide hands-on experiences for teachers, students, and families, both at the Museum and off-site—in hospitals, group homes, teacher’s conferences, and after-school programs. How can the Museum support core school curriculum and reach beyond to encourage critical-thinking skills? The answer lies in the importance of family. We offer opportunities for cooperative learning that engage both the parent and child in open-ended, creative, purposeful play and provide activities to explore at home. The programs take place in an environment that supports social interaction and encourages healthy family relations, whether they are happening in a school, a pediatric ward, or at the Museum. Our early childhood programs (Pre-K Lab and K Lab) use the arts to support language development skills vital to literacy. Activities focus on the vivid imagination of the young child and help educators use the visual arts to develop learning and social skills along with creative thinking. Students visit the Museum with their family members to enjoy and learn from original works of art. Classroom support is provided by Sarah Zurick, Education Coordinator and Family Programs Manager, and reading specialist Cyndi Korzec. “Sharing the world of art and ideas with young children is life affirming!” says Zurick. In addition to working with students, the Museum takes a lead role in supporting the professional development of educators. Central to this program is arts integration training, which incorporates arts learning with other subject matter. For every teacher we teach, we reach an average of 30 students, therefore multiplying the impact our education programs have throughout the state. Exposure to the arts can suggest new ways for both teachers and students to explore science, social studies, math, and language arts. The Museum has presented national and statewide arts integration training for teachers from small, rural districts to larger, urban districts, and for public schools, private schools, and homeschoolers. One of the most important times of the day for students is after school. Outreach programs such as the Abiquiú Boys and Girls Club provide youth in rural communities with homework support and creative activities that enrich their learning. The Museum has provided after-school arts programming for the Boys and Girls Club for the past five years. Shannon Bay, Education Assistant and Art and Leadership Program Coordinator, leads lessons that build artistic and social skills and deepen the children’s awareness of themselves and their place in the world. In 2011, the Museum entered into a special partnership with Albuquerque’s Museum educators and teachers enjoy a day near O’Keeffe’s Ghost Ranch house in Abiquiú. 28
O ’ K E E F F E Fa l l 2011
Catholic Charities agency to provide after-school programs for young refugees from Africa, Asia, and the Middle East. The Museum’s program serves middle school students by offering lessons that support their transition to growing up in America and imagining their future here. Art and leadership training has also been offered to teens in foster care in Roswell, high school students on the Navajo reservation, and youth receiving cancer treatment at the University of New Mexico’s Pediatric Oncology center. In addition, every summer the Museum teaches artists to work with Camp Enchantment, a joint program of UNM and the American Cancer Society Foundation. Lois H. Silverman, author of The Social Work of Museums (Routledge) and guest speaker for the Education Committee at the Association of American Museums’ annual meeting, noted, “Museums have always been institutions of social service. For countless years and all around the world, museums have both intentionally and unintentionally facilitated the expression and transformation of individuals and their sense
“Sharing the world of art and ideas with young children is life affirming!” —Sarah Zurick of identity and contributed to the development and maintenance of friendships, family, and other important social bonds. They have fostered solidarity among people with commonalities and facilitated interactions among people with differences. Museums have also aimed to influence public knowledge, attitudes, and behavior; deliver public health and social welfare campaigns; reduce stigma and bias; empower citizens and communities; and mobilize other forms of social action and social change. Museums have long used their unique resources to pursue the same basic goals that define the progression of social work: helping individuals, groups, or communities enhance or restore their capacity for social functioning and creating social conditions favorable to this goal.” The primary goal of the Georgia O’Keeffe Museum’s Education Department is to make content and ideas accessible, bring facts and feelings together, and foster interest and curiosity, while inspiring motivation to pursue continued learning. These elements have the potential to change the visitors’ knowledge, skills, attitudes, and beliefs. Whether in a class or in the private art experiences made possible by the Museum, our programs have the potential to enrich lives. Join us in this adventure!
Above: Education Coordinator and Family Programs Manager, Sarah Zurick, gives hands-on attention to an aspiring young artist; Below: The Museum’s early childhood programs use art to help children develop critical-thinking skills. okeeffemuseum.org
29
From Patio to Palazzo... All Roads Lead to Rome PACK YOUR BAGS AND POLISH UP YOUR ITALIAN! Make your reservations now to join us in Rome for a private preview of the new European exhibition Georgia O’Keeffe: A Retrospective at the Fondazione Roma Museo. The 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. GEORGIA O’KEEFFE, Patio Door, 1955, OIL ON CANvAS, 23 x 14 INCHES, COLLECTION OF DAvID AND DEIDRE WARNOCK, BALTIMORE, MARYLAND © GEORGIA O’KEEFFE MUSEUM
Your trip includes visits to private collections and special access to unique public cultural treasures. To express your interest, please contact: Camille Romero, Membership Manager 505.946.1033 camille.romero@okeeffemuseum.org
CAPITOLINE MUSEUM, ROME
Vediamoci a Roma con O’Keeffe! 30
O ’ K E E F F E Fa l l 2011
CLOTH: The Currency of Culture
124½ Galisteo U Santa Fe NM 87501 505-982-1737 U rusee@aol.com santafeweavinggallery.com
Leather top and jacket by Susan Riedweg Beaded earrings by Julie Powell U Organza Scarf by Nuno photo: Studio Seven
Over 100 Galleries Boutiques & Restaurants
CANYON ROAD S A N TA
F E
Experience fine art, great shopping and exquisite dining on Canyon Road Stroll the magical Historic District In the foothills of the Sangre de Christo Mountains
www.visitcanyonroad.com
okeeffemuseum.org
31
* * * * * * * * * * *
* * * * * * * * * * *
unlimited unlimited admission admission forfor one one year year 15% 15% discount discount in in Museum Museum Shop Shop 10% 10% discount discount at at thethe O’Keeffe O’Keeffe Café Café 20% 20% discounts discounts onon facility facility rentals rentals discounts discounts onon education education programs programs and and activities activities discounts discounts onon Research Research Center Center programs programs subscription subscription to to member member publications publications invitations invitations to to exclusive exclusive openings openings and and events events acknowledgement acknowledgement in in O’Keeffe O’Keeffe Magazine Magazine discounted discounted tour tour of of Abiquiu Abiquiu home home and and studio studio complimentary complimentary admission admission forfor children children under under 1818
LEVELS LEVELS
Maria Chabot, Georgia O’Keeffe Hitching a Ride to Abiquiu with Maurice Grosser, 1944, Maria Chabot,print, Georgia Hitching a Photographic 5 x 3O’Keeffe 1/2 inches. Georgia Ride to Abiquiu withGift Maurice 1944, O’Keeffe Museum, of the Grosser, Maria Chabot Photographic print, 5 x 3 O’Keeffe 1/2 inches. Georgia Literary Trust. © Georgia Museum. O’Keeffe Museum, Gift of the Maria Chabot Literary Trust. © Georgia O’Keeffe Museum.
JOIN JOIN OR OR RENEW RENEW TODAY... TODAY... BENEFITS BENEFITS
GEORGIA GEORGIAO’KEEFFE O’KEEFFEMUSEUM MUSEUMMEMBERSHIP MEMBERSHIP
Individual Individual
Includes Includes allall Member Member Benefits Benefits forfor 1 adult. 1 adult. New New Mexico Mexico Individual Individual $45 $45 Individual Individual $60 $60
Household Household
Includes Includes allall Member Member Benefits Benefits forfor 2 adults. 2 adults. New New Mexico Mexico Household Household $65 $65 Household Household $80 $80
Supporter Supporter
$150 $150
Includes Includes allall Member Member Benefits, Benefits, plus: plus: • • 2 membership 2 membership cards cards • • 2 complimentary 2 complimentary one-time one-time admission admission passes passes including including audio audio guides guides • • Reciprocal Reciprocal benefits benefits at at 400+ 400+ museums museums across across North North America America
Friend Friend
$250 $250
Includes Includes allall Supporter Supporter level level benefits, benefits, plus: plus: • • 2 additional 2 additional complimentary complimentary one-time one-time admission admission passes passes including including audio audio guides guides (4(4 total) total) • • Invitations Invitations to to special special Friends Friends events events across across thethe USUS
Sustainer Sustainer
$350 $350
Includes Includes allall Friend Friend level level benefits, benefits, plus: plus: • • 2 additional 2 additional complimentary complimentary one-time one-time admission admission passes passes with with docent-led docent-led exhibition exhibition tour tour or or audio audio guides guides (6(6 total) total)
Patron Patron
$500 $500
Benefactor Benefactor
$1,000 $1,000
National NationalCouncil Council
$5,000 $5,000
O’Keeffe O’KeeffeCircle Circle
$10,000 $10,000
Includes Includes allall Sustainer Sustainer level level benefits, benefits, plus: plus: • • Complimentary Complimentary tour tour forfor 2 of 2 of Georgia Georgia O’Keeffe O’Keeffe Home Home and and Studio Studio in in Abiquiu Abiquiu
Includes Includes allall Patron Patron level level benefits, benefits, plus: plus: • • 2 additional 2 additional complimentary complimentary one-time one-time admission admission passes passes with with docent-led docent-led exhibition exhibition tour tour or or audio audio guides guides (8(8 total) total) • • Invitations Invitations to to international international openings openings and and events events
Includes Includes allall Benefactor Benefactor level level benefits, benefits, plus: plus: • • Private, Private, guided guided Museum Museum tour tour forfor upup to to 1515 people people • • Public Public acknowledgement acknowledgement onon Museum Museum donor donor wall wall during during membership membership year year
Includes Includes allall National National Council Council level level benefits, benefits, plus: plus: • • Private Private tour tour forfor 2 of 2 of thethe Research Research Center Center • • AllAll Museum Museum exhibition exhibition catalogues catalogues during during membership membership year year • • Printed Printed acknowledgement acknowledgement in in Museum Museum promotional literature during membership year promotional literature during membership year
“My “Mypainting paintingis iswhat whatI have I havetotogive giveback backtotothe theworld worldforforwhat whatthe theworld worldgives givestotome.” me.” - Georgia - GeorgiaO’Keeffe O’Keeffe 32
O ’ K E E F F E Fa l l 2011
You Belong in this American Masterpiece The Georgia O’Keeffe Museum has room for everyone, from individual members who drop by to see the latest exhibition and follow the rich stories of American Modernism, to the scholars who interpret them and the artists who create them. What makes our Museum special is the quality of experience it offers at the most intimate, personal level. It is all about you: your encounter with an intriguing American artist of international stature, your opportunities to make and to study art, your engagement in lectures and discussions with scholars and artists, or your simple enjoyment of the company of others who appreciate creative expression and relish its capacity to enrich, enlighten, and inspire. The Museum itself is a masterpiece, befitting the artist it celebrates and the world that inspired her. Join the Museum today and delve into all it has to offer you. Visit the Research Center to hear about the newest work being accomplished there; receive discounts in the Museum Store, at the O’Keeffe Café, and on facility rentals; and take advantage of unlimited admission to the Museum during your membership year. What’s more, with your membership at the Supporter level or above, you become the host, with passes and audio guides for your guests. At higher levels of membership, you can enjoy private tours of O’Keeffe’s Abiquiú home and special exhibitions. For more information about membership to the Georgia O’Keeffe Museum, please contact Camille Romero at 505.946.1033 or camille.romero@okeeffemuseum.org. Whether you come to the Museum from across the street or across the nation, you are part of the masterpiece that is the Georgia O’Keeffe Museum.
Become a Member Today! Name (as it appears on membership card): _____________________________________________________________ Second Name (as needed for levels providing 2 membership cards): ___________________________________________ Mailing Address: _________________________________________________________________________________ City, State, Zip Code: ______________________________________________________________________________ Phone: _____________________________ Email: ______________________________________________________ Membership Type: _______________________________________________________________________________ Check enclosed for $ ____________________________________________________________________________ Charge my credit card for $ _______________________________________________________________________ Amex
Visa
Mastercard
Discover
Account Number: ______________________________________ Expiration: ________ Billing Zip Code: ____________ Name on Card: ______________________________ Signature (required for Credit Cards): ______________________ Enroll me for the Georgia O’Keeffe Museum e-newsletter. Please use the enclosed envelope or mail to: Georgia O’Keeffe Museum, 217 Johnson Street, Santa Fe, NM 87501
34
O ’ K E E F F E Fa l l 2011
O’Keeffe’s “Little People”
by Eve Tolpa
We humans are funny about our animals. Our interactions with them may not be the first thing we consider when assessing our lives, but who we are in relation to our pets is a big part of who we are, period. A popular bumper sticker puts it best: “Lord, help me to be the person my dog thinks I am.” While Georgia O’Keeffe, The Artist, is defined by her extraordinary talent and vision, it seems that Georgia O’Keeffe, The Person, can be defined, in part, by her enduring devotion to her dogs. It was in 1952, three years after she moved to New Mexico, that O’Keeffe came into possession of her first pair of Chow Chows: Bo and Chia were a gift from her friend Richard Pritzlaff—the first two in a long succession of canine companions. As a breed, the Chow—that sturdy, black-tongued, thick-ruffed teddy bear whose Chinese name translates to “puffy lion-dog”—can be unpredictable, a trait that, on a good day, might manifest itself as peculiarity and, on a bad day, as aggression. Chows are, however, also extremely loyal, protective, and independent, and we might assume that these traits made them a good fit for O’Keeffe. But, as Agapita Judy Lopez, who worked for the artist over a 12-year period, recalls, “Miss O’Keeffe never spoke of why she was attracted to them or why she liked them. They were just well taken care of.” In any case, once O’Keeffe was introduced to Chows, she never owned another breed. Though documentation of O’Keeffe’s relationships with her dogs—whether in the form of correspondence, books, or other materials—is spotty at best, it has been established that she owned at least seven Chows. “She called them her ‘little people,’ and she cared for them very much,” Lopez says. “By the time I started with her, she had already had several [dogs]. I took them to the vet or brushed them or fed them. Miss O’Keeffe fenced the perimeter of her home so they wouldn’t go into the village. Before that they used to go into the village. At the ranch they had freedom.” What is also clear is that O’Keeffe liked to reuse names. That means that over the course of her dog-owning life she Left: Tony Vaccaro, O’Keeffe Caring for Her Dogs, 1960, Gelatin Silver Print, 13 7/8 x 18 1/4 Inches, Georgia O’Keeffe Museum. © Tony Vaccaro.
Above: Georgia O’Keeffe, Chow, Undated, Gelatin Silver Print, Gift of the Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum. Below: Georgia O’Keeffe, Chows, Undated, Gelatin Silver Print, Gift of the Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
took care of one or more of the following: Bo, Chia, Bobo, Inca, and Jingo. Personal letters that mentioned these dogs did not always specify precisely which one was being referred to. Case in point: there are documents that seem, puzzlingly, to refer to Bo and Chia after their deaths (Bo’s in 1956 and Chia’s in 1958). It turns out that these sources were actually citing Boand-Chia 2.0, dogs that O’Keeffe owned after 1959. Tori Duggan, a recent intern at the Georgia O’Keeffe Museum Research Center, has combed through the artist’s personal archives and untangled okeeffemuseum.org
35
Tony Vaccaro, O’Keeffe with Her Dogs and “Moonscapes,” 1960, Gelatin Silver Print, 14 5/8 x 19 3/8 Inches, Georgia O’Keeffe Museum. © Tony Vaccaro.
some of these mysteries to create a timeline chronicling all the Chows O’Keeffe owned. In the course of this fact-finding mission, she also made discoveries about O’Keeffe’s everyday relationship to her pets. “One of O’Keeffe’s letters in particular mentioned Chia being ill and I was struck by the degree of her distress and worry about the dog,” says Duggan. “Other letters that describe Bo getting into trouble made me laugh. These letters made me aware of her humanity and kindness as a person, not to mention her keen sense of humor.” Lopez confirms this assessment. “Miss O’Keeffe’s Chow dogs were part of the household,” she remembers. “They remained close to her; they lay at her feet or by the chair she’d sit in. They were very special to her. They were like members of the family.”
While Georgia O’Keeffe, The Artist, is defined by her extraordinary talent and vision, it seems that Georgia O’Keeffe, The Person, can be defined, in part, by her enduring devotion to her dogs. 36
O ’ K E E F F E Fa l l 2011
Tony Vaccaro, O’Keeffe in the Garden with Her Dogs, 1960, Gelatin Silver Print, 15 x 19 1/4 Inches, Georgia O’Keeffe Museum. © Tony Vaccaro. okeeffemuseum.org
37
Clues & Questions:
Archiving O’Keeffe’s Libraries
38
O ’ K E E F F E Fa l l 2011
Left: A copy of the journal Camera Notes from O’Keeffe’s Abiquiú Book Room; Above: Books from O’Keeffe’s Library in her Ghost Ranch House.
Photo credit: Elizabeth Ehrnst.
What can you learn from a person’s library? Georgia O’Keeffe’s Ghost Ranch House Library offers both clues and questions regarding her life. From the time it was first inventoried through its formal cataloging in 2010, this collection has offered a unique view into O’Keeffe’s life. Some books were inherited from her husband, Alfred Stieglitz (1866–1946), and some were given to her by friends, family members, and fans. A number of books, particularly those relating to art and cooking, are highly annotated; others are pristine, giving the impression they may never have been read (or even opened). Do these two extremes indicate the level of interest O’Keeffe had in a particular title? Even more mysterious and puzzling are the ephemera found tucked between the pages of the books. We cannot know for certain who put the material in the books or for what purpose. Sometimes the answer seems easy to deduce: numerous slips of tissue appear to be nothing more than page markers placed there by O’Keeffe or one of her assistants. Other items are disparate in nature and make us wonder why each was placed there. Was the item especially important to O’Keeffe or was it merely the nearest thing at hand to serve as a bookmark? Many markers are prosaic in nature: business cards from publishers, invitations to exhibitions, mass-mailing letters from museum or gallery directors. Others speak to the range of admirers O’Keeffe had. This latter group includes a small painting by a budding two-year-old artist, a verse by an Indian-American poet commemorating O’Keeffe’s birthday, and a request from an author of a Scottish forestry journal for photographs of a tree. Some materials relate to O’Keeffe’s travels. Pressed leaves are found in books from British and Japanese gardens. Sundry taxi cab receipts and paper scraps with hotel names also point to O’Keeffe’s times away from home. Other items show her connection to people in the art world, such as a Christmas card from her painter friends Reds (Helen Torr) and (Arthur) Dove and a slip of paper containing the single enigmatic word “Ginsberg.” O’Keeffe’s daily life in New Mexico is reflected in the many shopping lists, phone numbers, and recipes tucked in the books. There is even an IOU for the amount of $1.00. Some inclusions are particularly curious and provocative. Psalm 121, printed by the American Bible Society, was discovered in a volume of The Arabian Nights. And what can be deduced from the printed image of the Virgin Mary in the book Pain, Sex, and Time: A New Outlook on Evolution and the Future of Man? Other juxtapositions are equally interesting. In the fascinatingly titled Tempting and Nutritious Recipes for the Avant-garde Hostess and Homemaker, a newspaper article poses the question, “What food to eat to live to be 100?” Eleven pages later the question seems to be inadvertently answered with a slip of paper inscribed with the words “Taos Ice Cream!” Library, Archives, and Conservation staff consulted on ways to store and catalog the ephemera found in this collection with the intention of preserving the material and making it accessible to future researchers. The many questions raised by this material may someday be answered by a scholar consulting this unique resource of the Georgia O’Keeffe Museum. okeeffemuseum.org
cataloging o’keeffe’s books and ephemera
The Ghost Ranch House Library by Fran Martone, Assistant Librarian, Research Center
39
Tony Vaccaro, Georgia Playing Classical Music, 1960, Gelatin Silver Print, 15 x 19 1/8 Inches, Georgia O’Keeffe Museum. © Tony Vaccaro. 40
O ’ K E E F F E Fa l l 2011
The Abiquiú Book Room by Eumie Imm-Stroukoff, Librarian and Assistant Director, Research Center, and Elizabeth Ehrnst, Archives and Digital Collections Librarian O’Keeffe’s library occupies a small room in her Abiquiú home, approximately 14 x 16 feet, which she called the Book Room. In 2006, The Georgia O’Keeffe Foundation transferred ownership of the Abiquiú house to the Museum, including the Book Room and all of its contents. Attempts to document the Book Room began well before 2006, while O’Keeffe was still alive, as she commissioned others to list the books she owned and, later, the Foundation inventoried its contents. The Book Room comprises approximately 2,753 items that cover topics such as art, art history, art techniques, health, world history, travel, gardening, and calligraphy. O’Keeffe collected some of these books herself, such as her extensive cookbook collection about the cuisines from many different cultures; some of the books in the collection came from numerous other sources. There are publications O’Keeffe inherited from Stieglitz, which she brought to New Mexico after his death, while others can be identified from inscriptions within the books and through correspondence between O’Keeffe and her The Book Room in O’Keeffe’s Abiquiú home. friends. One of the notable Stieglitz items was a set of Camera Notes (1897–1902)—the journal for the Camera Club of New York—which was famous for its beautiful and high-quality photographic reproductions and its intellectual content. Although O’Keeffe sought out books on particular subjects, such as portfolios with reproductions of Asian art, she also received a number of publications as gifts, which are identified by her habit of storing cards and correspondence within the books. The books’ inscriptions to Stieglitz and O’Keeffe from friends and colleagues—Sherwood Anderson, Alfred Barr, Ananda K. Coomaraswamy, and John Marin—reflect the American intellectual and cultural circles with which they were associated. In addition to books, the Book Room houses material such as bulletins on Chow dogs, checklists from exhibitions, newspaper clippings on a range of topics, and documents from O’Keeffe’s extensive world travels. She stored this material in various types of containers, such as empty typewriter-paper boxes, manila file folders, and handmade paper wrappers, which she would typically label by hand.
Available for Sale at the Museum Store. The Book Room: Georgia O’Keeffe’s Library in Abiquiú, curated by Ruth E. Fine, Elizabeth Glassman, and Juan Hamilton, published by The Georgia O’Keeffe Foundation and The Grolier Club. This introduction and listing of Georgia O’Keeffe’s personal collection from her Book Room in Abiquiú deepens your understanding of the artist and her interests. “There is not a book lover who would not be moved and excited to touch this private realm of the painter’s life.” —Elizabeth Glassman, President of The Georgia O’Keeffe Foundation in 1997.
Where Do We Go From Here? Our future plans for the Abiquiú Book Room are to catalog its books in the online library catalog and further identify the ephemera and correspondence still tucked inside those books. The books and ephemera from O’Keeffe’s Library at Ghost Ranch have already been cataloged and provide a great model for the project. The Book Room will be arranged and described according to library and archival standards; a finding aid will be created that will link to the cataloging record for the book and, in select cases, a digital image of the item. The books’ inscriptions, as well as sketches and correspondence, are of particular interest. As these materials are digitized and cataloged, they will be made available through the Museum’s Collections Online, a searchable image database found at contentdm.okeeffemuseum.org. These projects will preserve the rare and unique items in both of O’Keeffe’s libraries and provide better access to their materials, both physically and virtually. By exploring O’Keeffe’s books, current and future researchers will have a better understanding of her interests, artistic process, discipline, and aesthetic.
Above: A 1971 National Gallery of Art Annual Report and note from O’Keeffe’s Ghost Ranch Library; Below: Various items and ephemera from the Abiquiú Book Room. 42
O ’ K E E F F E Fall 2011
Research Center Scholars
Anania
Cao
Lemay
Mithlo
Photo credit: Derek R. Jennings
2011–2012
Newbury
Katie Anania
Title: M.A.: Project: Dates:
Maggie Cao
Title: Ph.D. Candidate, History of Art & Architecture Dept., Harvard University M.A.: Harvard University Project: The Emergence of Zoological Agency in Nineteenth-Century American Art, 1870–1910 Dates: September 1, 2011–June 30, 2012
Kate Lemay
Title: M.A.: Project: Dates:
Ph.D. Candidate, Art History Dept., Indiana University Indiana University The American Cemeteries from World War II in France and the Evolution of Postwar Memory September 1, 2011–August 30, 2012
Nancy Mithlo
Title:
Assistant Professor, Art History and American Indian Studies Dept., University of Wisconsin-Madison Stanford University “Of His Time”—The Modernist Legacy of Kiowa Photographer Horace Poolaw March 1–August 31, 2012
Ph.D.: Project: Dates:
Susanna Newbury
Title: M.Phil.: Project: Dates:
Ph.D. Candidate, Art History Dept., University of Texas at Austin University of Texas at Austin Drawing, Discipline, and Privacy in American Studio Practice, 1963–1979 September 1–November 30, 2011
Ph.D. Candidate, History of Art Dept., Yale University Yale University Picturing the New American West: Photography and the Aesthetic Geography of Sprawl, 1960–1980 January 1–August 31, 2012 okeeffemuseum.org
43
Symposium Recap Challenging 1945: Exploring Continuities in American Art, 1890s to the Present
The Georgia O’Keeffe Museum Research Center celebrated its tenth anniversary by presenting the symposium Challenging 1945: Exploring Continuities in American Art, 1890s to the Present, an event that drew nearly 200 attendees from around the country: New York, Florida, Utah, Colorado, California, Missouri, Washington (D.C. and state), and, of course, New Mexico. From July 14 through 16, participants listened to illustrated lectures, interacted with panelists, and engaged in discussions about the symposium’s theme. They also enjoyed a cocktail reception, tours of the Museum and Research Center, and opportunities to meet and talk with the symposium’s guest speakers, all of whom are renowned scholars of American art. Speakers explored continuities and relationships between art produced in various decades of the period 1890 to the present. Attendee Aline Brandauer, Santa Fe resident and independent art historian, characterized the event as a lively discussion that questioned whether 1945 should be considered a watershed year. Challenging 1945 is the third in a series of symposia organized by the Georgia O’Keeffe Museum Research Center. The first celebrated its opening in 2001, and the second and third marked its fifth and 10-year anniversaries in 2006 and 2011, respectively. The 2006 symposium, Painting and Photography in American Art: Sources, Ideas, and Influences, 1890s to the Present, generated ideas that were realized in the current Georgia O’Keeffe Museum exhibition, Shared Intelligence: American Painting and the Photograph, on display through September 11, 2011, whose catalogue was published by the University of California Press. Barbara Buhler Lynes, Museum Curator and Emily Fisher Landau Director of the Georgia O’Keeffe Museum Research Center, welcomed attendees and speakers, and invited them all to join her in acquainting everyone with the mission of the Museum. She pointed out that the Museum organizes exhibitions and its Research Center scholars carry out research about O’Keeffe, but the Museum also presents exhibitions of her work along with that of her contemporaries that explore her place in the history of American Modernism. 44
O ’ K E E F F E Fa l l 2011
Photo credit: Tony Bonanno Photography, LLC, bonannophoto.com.
Symposium guests (from left) Michael Leja, Richard Meyer, Angela Miller, and Thomas Crow mingle on the outside patio of the Georgia O’Keeffe Museum Research Center.
Left: Curator Barbara Buhler Lynes (at podium) moderates a panel discussion featuring (from left) Whitney Chadwick, Patricia Hills, Michael Leja, and Elizabeth Turner; Center: Director of Education Jackie M talks with painter Barkley Hendricks; Right: O’Keeffe enthusiasts from around the country come to Santa Fe for the Museum’s Symposium.
Thursday night’s keynote address, America’s Iron Curtain: Pre- and Post-1945 Art, by William Agee, Evelyn Kranes Kossak Professor of Art History at Hunter College, provided an overview of the art produced during all decades of the twentieth century to show how certain formal devices are consistent to the work of artists of all generations. Agee’s highly informed and personable presentation was warmly received. He demonstrated, among other things, how components of abstraction in works by American artists whose careers began in the first half of the century also informed work they completed during its second half, such as Georgia O’Keeffe, Stuart Davis, and John Marin, to name only a few. According to attendee Lisa Koenigsberg, President and Founder of Initiatives in Art and Culture in New York, Agee “is the most compelling speaker on American art you will ever hear.” She also mentioned having attended all of the Research Center’s symposia and that she is keenly interested in how and why modernism developed in this country. She was not alone. The audience for Challenging 1945 was both informed and passionate about American art and the question the symposium raised. Suzan Campbell, an art historian and Santa Fe native, said: “A lot of my work involves the members of the Stieglitz Circle, and I’m interested in the concept of a divide between pre- and post-1945. Despite changes, things remain so much the same. O’Keeffe’s work has remained relevant throughout the decades, and positioning a study of American Modernism around her is extremely relevant.” Visiting speakers gave short presentations on Friday and Saturday with audience discussions after each session. These dynamic Q&A periods were marked by the interplay of interdisciplinary expertise and offered a rare glimpse into how the interests of the symposium’s speakers interrelate and offer a broader understanding of art and how it develops. Speakers related these issues to a wide variety of sources: cultural, formal, gender-based, geographical, historical, political, and racial. Speakers addressed a wide variety of topics: AfricanAmerican art, spirituality in American Art, the work of Mark Rothko and Eva Hesse, and the relationships between American fine art and illustration, among many
others. The final speaker, Rob Storr, Dean of Yale School of Art, addressed many of the issues raised by the other speakers and praised symposium speakers for being “focused very intently on specific examples.” Regarding the symposium’s central question, he made the point “You don’t have to establish continuity; it’s there,” and complimented the symposium in moving aspects of continuity within the century to center stage. One the symposium’s highlights was Saturday’s panel discussion involving three photorealist painters whose work is in the exhibition Shared Intelligence: Robert Bechtle, Audrey Flack, and Barkley Hendricks. Moderator (and exhibition co-curator, along with Barbara Buhler Lynes) Jonathan Weinberg said of the artists, “They are all incredibly generous,” citing their “willingness to talk about their work and share their feelings and experience with the public.” In addition to speaking candidly and engagingly about their processes, influences, and education, each of the artists also weighed in on the symposium’s theme. Hendricks quipped that, having been born in 1945, he had proposed Art Since 1945 as a title for a recent traveling exhibition of his work. The curator instead chose Birth of the Cool, referencing Miles Davis’s iconic album of the same name—a fitting choice, considering the influence of jazz on Hendricks’s work, which Hendricks liked even better. Flack was born in 1931 and attended Cooper Union in Greenwich Village at a time when Abstract Expressionism was flourishing. She felt strongly that art produced by the abstract expressionists in the 1950s was of major art historical importance and specifically American. “The dynamism, the power, the excitement of what was going on was thrilling,” she said. “The freedom and vitality was like the Wild West. It was American. I don’t think it could have happened anywhere else.” This issue of certain kinds of imagery developing only in America had equal resonance for Bechtle. “Going through art school, the training was very Eurocentric, even up until about 1960, when I traveled to Europe in the army,” he said. “I gradually realized that I needed to forget about that. I was an American whether I wanted to be or not. When I came back, California looked really exotic to me. I thought, Yeah, that’s mine. I can do something with that.” okeeffemuseum.org
45
Rediscovered
Works by O’Keeffe
Tracking down works for O’Keeffe’s Catalogue raisonnÉ
by Barbara Buhler Lynes, Curator, Georgia O’Keeffe Museum, and The Emily Fisher Landau Director, Georgia O’Keeffe Museum Research Center
Georgia O’Keeffe, Little Pink Apple, 1921, Pastel on Paper, 8 x 10 Inches, Loan, Private Collector, in Honor of Dr. Betty Rappo Tarr. © Georgia O’Keeffe Museum.
For nearly seven years before joining the museum staff in 1999, I carried out research for Georgia O’Keeffe: Catalogue Raisonné (Yale University Press, 1999), a project sponsored by the National Gallery of Art, Washington, and The Georgia O’Keeffe Foundation, Abiquiú/Santa Fe, New Mexico. The project began in 1992, and a major component of my research was seeing first-hand the 2029 works the catalogue includes. These works are owned by hundreds of institutions and private collectors in the United States, Asia, and Europe, which involved extensive travel to see them. Moreover, I saw approximately 300 works purported to be by O’Keeffe that were considered for, but not included in the catalogue. 46
O ’ K E E F F E Fa l l 2011
O’Keeffe made entries for about 800 works in the records she kept of her output, and each was accompanied by a black-and-white photograph. She owned 300 of these works at the time of her death. She also owned 800 sketches and 30 works on paper that she had not listed in her records, and I examined these 1,130 works during the many different times I traveled to Abiquiú/Santa Fe. Locating and arranging to see the other 899 works in the catalogue was sometimes quite easy. Entries for many of them were included in O’Keeffe’s records, which listed them in museum collections around the world. By contacting curators at these institutions, I scheduled appointments to see these works. In most cases, curators brought the O’Keeffe works in their collection to the conservation lab, because I had requested seeing her works on paper free of frames and her oils without the backing boards that O’Keeffe, Stieglitz, or one of their associates had attached to them. Curators graciously honored my requests, as seeing the versos or stretchers of works made it possible for me to record the many inscriptions there. In many cases, O’Keeffe signed her name on either versos or stretchers, and she also titled works and dated them there. Stieglitz and others who worked for him also made notations on O’Keeffe’s work in these areas. Locating private collectors and arranging to see their works was more complicated, and I could only see their works out of their frames or with backing boards removed if a conservator was present. On the whole, it was not nearly as easy in the 1990s to find people as it is now because of the terrific search engines available on the Internet. But, databases had become available then at university libraries that listed the names, addresses, and phone numbers of everyone who had a listed phone number in this country. Many original owners listed in O’Keeffe’s records were no longer living, but in many instances these databases helped me locate heirs. Searching the database by last name provided a list of everyone by that name in the country, and I contacted each person on the list, first by sending a letter and then following up by phone. Many were not the right people and had never heard of O’Keeffe, but there was always one who was a current or former owner of a work that had been purchased earlier by someone in their family. This process was much easier if an original owner had
an unusual last name, like Zabriskie, because the listing in the database was short. Alfred Stieglitz (1864–1946), O’Keeffe’s husband and agent from 1916 to his death, sold hundreds of O’Keeffe’s works, but kept no records of these sales. Others who handled O’Keeffe’s work did: Edith Halpert, Doris Bry, and Juan Hamilton. Halpert owned The Downtown Gallery, New York, and sold hundreds of works by O’Keeffe from 1950 to 1963, when she represented O’Keeffe. Her records are housed at the Archives of American Art, and going through them provided me with dates of sales and the names, addresses, and phone numbers for those who had made a purchase.
Most owners . . . were delighted to welcome me into their homes to see their O’Keeffe work(s). In contacting them, most still owned their O’Keeffe, and if not, provided me with the name of the dealer or auction house that had handled the sale, and I then contacted them. O’Keeffe had copies of the sales records Bry and Hamilton generated, which were readily accessible to me, and they documented sales from the mid-1960s through the end of O’Keeffe’s life, as well as providing contact information on who had purchased them. Again, most of these individuals still owned their O’Keeffe work. I also obtained information about owners of paintings from auction houses, gallery owners, and art dealers, most of whom were extremely helpful and forwarded letters on my behalf to the individuals who had purchased O’Keeffe works from them. Most owners responded by writing or phoning me and were delighted to welcome me into their homes to see their O’Keeffe work(s). Sometimes I discovered the name and address of an owner by word of mouth, which led me to a painting that was right, but not recorded in O’Keeffe’s records, and sometimes I found owners of paintings by sheer luck. For a variety of reasons, some owners I located and contacted did not want anyone to visit them, so I listed their work and a black-and-white photograph of it (if one was available) in Appendix 2 rather than in the main body of the catalogue, where works were reproduced in color. Appendix 2 also includes listings and black-and-white photographs of works whose owners I could not find in spite of extensive efforts because of okeeffemuseum.org
47
The Meteorite Collection by Linda Loudermilk
111 Old Santa Fe Trail RIPPEL AND COMPANY Santa Fe, NM 87501 www.johnrippel.com 505.986.9115
Christina Dallorso Kortz, THE STUDIO owner and Just Dance! instructor. 48
O ’ K E E F F E Fa l l 2011
Photo credit: Tom Kellahin
email: cdbstudio@msn.com
major breaks in the history of their ownership. Such was the case with several paintings currently on loan to the Georgia O’Keeffe Museum. Owners of O’Keeffe’s work that I had tried to find, who had not known about the Catalogue Raisonné project until it was published, contacted me thereafter. The owner of three small paintings that were listed in O’Keeffe’s records and whose name and address I had discovered, would not see me, Canna, 1919, Calla, 1923, and Leaves, 1923. She died about six years later, and her grandchildren contacted me in 2009. As soon as I saw the works, I knew they were the ones I had been trying to find. The owners graciously placed them on loan to the Museum, and we are extremely grateful to them. Most recently, I was contacted by a dealer who had come upon Little Pink Apple, a pastel O’Keeffe completed in 1921, in an estate he was handling. I had searched in vain for the owner of the work, whose name and address had been recorded in Halpert’s records when she sold it in 1952: Mrs. Thomas A. (Dr. Betty Rapp) Tarr, Barlesville, Oklahoma. As it turned out, Tarr had moved from Oklahoma to Arizona and had an unlisted phone there, which had made it impossible for me to track her down. The dealer sent pictures of the work, and although they matched the photograph for the work by that name in Appendix 2, I was cautiously optimistic, because a number of people sent me photographs of works that looked right, but upon seeing them first hand, were copies. I asked the dealer to encourage the current owner, who had inherited the work from Tarr, to contact me, which she did. She subsequently made the picture available to me, and because she wanted it to be seen and enjoyed by our many visitors, placed it on extended loan to the Museum. We are deeply grateful to her for lending us this picture.
Do You Remember…? by V. Susan Fisher, Director of Development
Do you remember the first time you saw a work of art that filled you with awe and excitement, or just transported you to a whole new world? For those who are lucky enough to visit cultural and artistic treasures often, it may be hard to recall that first time, but the thrill remains—the thrill and the life-enhancing stimulation art provides. The challenge in managing a collection as important as that of the Georgia O’Keeffe Museum is to advance the study and understanding of the artist, her environment, her times, and her impact on the world of art, while also preserving the delight of a first-time personal encounter with great art. Your individual gift to the Museum’s Annual Fund reaches both the scholar and the newcomer. It supports the profound enjoyment of visiting familiar works that are like old friends, who always have something of interest to share, as well as the arresting discovery of a whole new way of seeing. The experience of art touches us all in different ways, but it touches us deeply and stays with us forever. Pass the gift along! Commemorating your own arrival in the vast world of art—whether it happened yesterday, a lifetime ago, or repeatedly over the years—by giving that experience to others is an act of extraordinary power and generosity. We are profoundly grateful to all those who support the Georgia O’Keeffe Museum’s Annual Fund. Your contribution, pledge, or membership keeps the art alive for visitors of all ages and from all corners of the world. Please visit okeeffemuseum. org/annual-fund.html to make a gift of any size and become part of the heritage of Georgia O’Keeffe.
Georgia O’Keeffe, Series I—From the Plains, 1919, Oil on Canvas, 27 x 23 Inches, Georgia O’Keeffe Museum, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
Commemorating your own arrival in the vast world of art by giving that experience to others is an act of extraordinary power and generosity. Pass the gift along! okeeffemuseum.org
49
It’s O’K to Write!
It’s O’K to Ask!
Dear Barbara Buhler Lynes (Curator), Christina Kortz (Visitor Services), and Sarah Zurick (Education Coordinator), I just looked at the photos of our trip to Santa Fe and it reminded me to not delay any further in writing a note to the three of you. My husband and I, along with two other couples, were able to have the most amazing visit and tour of the Georgia O’Keeffe Museum because of your suggestions and gracious assistance with setting up our visit to the Museum. We started with Breakfast with O’Keeffe on Monday, April 4, featuring Margaret Woods. Margaret’s beautiful presentation was the perfect personal introduction to O’Keeffe and to our tour that followed. We received the most interesting, exciting, and knowledgefilled tour from docent DeeAnn Dixon. The six of us have been on many museum tours led by a docent, but none have come close to the superb one we had from DeeAnn. When Sarah told me she would make sure to find us a top-notch docent, she sure did with DeeAnn. If you have an opportunity, please let her know she is one amazing docent and we thank her immensely for her tour. On Tuesday, we toured O’Keeffe’s home and studio in Abiquiú, followed by a visit to Ghost Ranch. I could
Readers, we invite you to send your questions and comments about Georgia O’Keeffe, the Museum, Santa Fe, and all things in between to Kristin Lynn Kautz, Director of Marketing and Public Relations, at kristin.kautz@okeeffemuseum.org. We look forward to hearing from you and publishing your letters. finally see the places that so touched her heart and spirit that she simply needed to paint what touched her so deeply. Because of you, what we saw (and in what order) made our Georgia O’Keeffe tour perfect! I would be remiss in not letting you know that all aspects of the Museum truly honor O’Keeffe as a woman artist and all her varied works of art. I believe O’Keeffe would agree with me in saying what a gift the Museum has in each of you who makes it a place where a person can capture the true Georgia, as well as a place you will want to visit again and again. My heartfelt thanks, along with those of my husband and our friends, for making our visit so deeply moving and memorable. With warm regards, Carol Kane
Carol Kane 50
O ’ K E E F F E Fa l l 2011
Photo credit: Kristin Lynn Kautz; Carol Kane.
Ghost Ranch
Dear Kristin (Director of Marketing and Public Relations), Why are there so few of O’Keeffe’s works in the museum dedicated to HER? We came all the way from Iceland to admire her art and we can’t understand why you don’t have a permanent, comprehensive show of her works in the entire museum all of the time?
Hi, Maria and Margaret. Georgia O’Keeffe and her husband Alfred Stieglitz were instrumental in supporting a group of artists who, along with O’Keeffe, created imagery that is now considered integral to the history of an art movement called American Modernism. Revolutionary at the time (early 1900s), Stieglitz felt strongly that American artists had the potential of creating art that was equal in importance to that of their European counterparts. Our Museum, which bears her name as you pointed out, is dedicated to promoting O’Keeffe’s legacy, which includes not only her art, but also situating it within the context of American Modernism—whether in shows devoted exclusively to O’Keeffe, exclusively to her contemporaries, or a combination of both. This is our mission. This is a directive that came straight from O’Keeffe while she was still alive, and we honor her wishes. Our current exhibition, Shared Intelligence: American Painting and the Photograph, through September 11, 2011, is a remarkable display of American Modernism. It took the curatorial staff almost five years to organize for our visitors, and the theme of photography and painting has never been explored before with such depth and intellect. In fact, most of these artists have never been shown together. To see O’Keeffe in context with Warhol and Close and Remington and Rockwell is extraordinary. Our website is very clear and easy to navigate. Everything you need to know is right there—O’Keeffe’s bio; her relevance to art history; the definition of American Modernism; our mission statement; and, most importantly, our exhibition schedule. We list shows a year in advance. It is always up-to-date and I recommend a quick look at it before making your travel plans in the future; that way you will know exactly what to expect at the Museum during your visit. Since you are from Iceland, you might be interested to know we have a travelling exhibition called Georgia O’Keeffe: A Retrospective opening in Europe this year. Perhaps the content will be more to your liking and closer to home. It begins in Rome in October and travels to Munich in February 2012, then Helsinki in May. On behalf of the staff, thank you so much for writing. It is only through questions and comments like yours that we can truly improve our visitor experiences in the Museum and in all our endeavors around the world. Sincerely,
Kristin Lynn Kautz
Kristin Lynn Kautz Director of Marketing and Public Relations
“Our Museum is dedicated to promoting O’Keeffe’s legacy, which includes not only her art, but also situating it within the context of American Modernism.”—Kristin Lynn Kautz okeeffemuseum.org
51
Photo credit: Julien McRoberts.
Signed, Maria and Margaret
O’Keeffe & More
American Modernism at the Museum
Visitor Comments on Shared Intelligence: American Painting and the Photograph Exhibition ends September 11, 2011 I hope to visit the museum many times in the future. I thoroughly enjoyed the Shared Intelligence exhibit. It was beautifully constructed. We loved the show sooo much! It was great how they compared Georgia’s work to Stieglitz and we loved the big room of the contemporary art! Thank you. Nice variety of artists. Great concept, great execution—this was a very unique and insightful presentation—a real bonus. I hope the exhibit goes on the road. We can tell friends not to miss it! This might be one of the best shows I’ve seen. Santa Fe blew my mind, what a great art town . . . I will be back! The most wonderful gift to visit Santa Fe today is to know this great artist, Georgia O’Keeffe. What a great show!!! Very well done. I think it is all so cool! I love the way that it all looks. So unique! This Museum is so lucky to have all of this artwork and creativity! Thanks!
52
O ’ K E E F F E Fa l l 2011
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.
Very beautiful, interesting, and eye-opening! A whole new way to look/feel the beauty of painting and photography!!! Audrey Flack’s painting World War II brought tears to my eyes. Very powerful indeed. The theme of photography and painting opened my eyes and freed me from some misconceptions. Fantastic exhibition—so well organized—an intellectual and visual delight. Absolutely beautiful. Unique presentation of photography alongside paintings. Nice collection, really displayed the progression of modern American art! It’s a show that’s bigger on the inside than on the outside. So lucky to find it! Gave me a better understanding of her work and how artists have used photography to help them compose their paintings.
Georgia O’Keeffe, A Street, 1926, Oil on Canvas, 48 1/8 x 29 7/8 Inches, Georgia O’Keeffe Museum, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
Photography and painting = lovely heaven great show. Two thumbs up. Great space. Enjoyed, learned from obvious and subtle selection and grouping of pieces by different artists in different media. Thanks, done well. Santa Fe is a great art town. Fabulous! Loved the things I learned! A Rockwell at the O’Keeffe! Perfection! Georgia O’Keeffe, Evening Star No. VI, 1917, Watercolor on Paper, 8 7/8 x 12 Inches, Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.
okeeffemuseum.org
53
Cook Up Some Fun Fresh New Items from the Museum Store
o’KEEFFE’S FORMER CHEF SHARES ORIGINAL RECIPES
by Janice Wrhel, Museum Retail Manager
54
Step inside the garden and kitchen of Georgia O’Keeffe! A Painter’s Kitchen: Recipes from the Kitchen of Georgia O’Keeffe, by Margaret Wood, is a must-have for your library. Wood, who was a personal assistant and chef to O’Keeffe for many years, shares original recipes for vegetables, main courses, breads, desserts, and even beverages—all prepared with healthy eating and an organic approach to cooking in mind. O’Keeffe was committed to her organic garden and enjoyed preparing the harvest for guests at her Abiquiú home. The main reason O’Keeffe purchased her property in Abiquiú was its potential for an enormous garden, and now you can enjoy yourself as if you were there with her. Note the cover photograph for A Painter’s Kitchen (taken by Todd Webb) of O’Keeffe stirring one of her favorite stew pots. This picture and seven other shots of O’Keeffe by Webb have been reproduced and, for the first time, are available for sale in our Museum Store. All of the images come in three popular sizes: postcard, note card, and mini poster. To complete our kitchen theme, we also designed an exclusive apron—a perfect accompaniment and holiday gift to give with A Painter’s Kitchen. The words “Breakfast with O’Keeffe” are screen-printed on the 100 percent cotton denim bib, but we’re sure you’ll want to use the A Painter’s Kitchen: apron for lunch and dinner too! Plus, the apron comes sweetly packaged with a Recipes from the Kitchen of Georgia O’Keeffe certified organic bamboo tasting spoon that O’Keeffe herself surely would have by Margaret Wood appreciated and used. The Museum Store carries several other items dedicated to O’Keeffe’s environmentally conscious lifestyle, including natural cork bowls. Treat yourself or give them as gifts for the holidays. Bon appétit! O ’ K E E F F E Fa l l 2011
Todd Webb, O’Keeffe with Her New Leica, 1966. © Todd Webb, Courtesy of Evans Gallery and Estate of Todd and Lucile Webb, Portland, Maine, USA.
okeeffemuseum.org
55
™ ™
Discover a place where modern Discover a place where modern
masterpieces rival the ancient works masterpieces rival the ancient works
of Mother Nature. Where the visionary of Mother Nature. Where the visionary art of Georgia O’Keeffe is yours art of Georgia O’Keeffe is yours
to behold, and inspiration lives as to behold, and inspiration lives as far as the eye can see. For a free far as the eye can see. For a free
vacation guide, call 800.733.6396 vacation guide, call 800.733.6396 ext. 204 or visit newmexico.org ext. 204 or visit newmexico.org
56
O ’ K E E F F E Fa l l 2011
Georgia Georgia O’Keeffe, O’Keeffe, Ram’s Ram’s Head, Head, White White Hollyhock Hollyhock – Hills, – Hills, 1935, 1935, Brooklyn Brooklyn Museum Museum of Art, of Art, NY,NY, © Georgia © Georgia O’Keeffe O’Keeffe Museum. Museum. Shot Shot on location on location at Ghost at Ghost Ranch, Ranch, NewNew Mexico. Mexico.
Be Be Enchanted Enchanted
Business Partners
Photo credit: Julien McRoberts.
T:10.875" T:10.875"
Leader ($5,000+)
Contributor ($500+)
Eileen Fisher Store
AV Systems, Inc.
Essential Guide to Santa Fe & Taos
Copy Craft Printers, Inc.
Hilton of Santa Fe
EVOKE Contemporary
Hilton Santa Fe Golf Resort & Spa at Buffalo Thunder
Inn at Santa Fe
Thornburg Investment Management
Santa Fe Courtyard by Marriott
Wells Fargo
Scheinbaum & Russek, Ltd.
Benefactor ($2,500+) David Dike Fine Art
The Studio Tony Bonanno Photography
Encantado, An Auberge Resort
Associate ($300+)
Payday, Inc.
Advanced Janitor Supply
Underwriter ($1,000+)
Art Delivery Service CAC, Inc.
Abiquiu Inn
Careers First, Inc.
Eldorado Hotel & Spa
Coronado Paint & Decorating
Hotel Santa Fe
Guardsmark, Inc.
Hyatt Place Santa Fe
Ironstone Bank
Inside Santa Fe
Oso Electric, LLC
La Fonda on the Plaza
Philip V. Augustin Photography
Posters of Santa Fe
Santa Fe Downtown Merchants Association
Santa Fe Sage Inn
Santa Fean Magazine
Sommer, Udall, Sutin Law Firm
Textile Arts, Inc.
White & Luff Financial
The Santa Fe New Mexican
Wolf Corporation Custom Builder
Wilder Landscaping Co. Wilson Transfer & Storage, Inc.
Network with other business leaders in Sante Fe and the region through the Museum’s Business Partner program. Visit us online to find out more!
Museum Calendar
SepT Oct SEPTEMBER 15, 6 PM
OCTOBER 6, 12:30–4 PM
SCIENCE CAFÉ FOR YOUNG THINKERS Einstein’s Theory of Relativity for Students of All Ages, with Bob Eisenstein
WALKS IN THE AMERICAN WEST House Tour and Bird-watching at Randall Davey Audubon Center
SEPTEMBER 17, 9:30–11:30 AM FAMILY PROGRAM All About Me—A Book of Personal Images
SEPTEMBER 20, 6–7:30 PM READERS’ CLUB Robert Henri: His Life and Art and From New York to Corrymore: Robert Henri & Ireland
SEPTEMBER 22, 6 PM EXHIBITION OPENING LECTURE From New York to Corrymore: Robert Henri & Ireland
Exhibition Curator Jonathan Stuhlman of the Mint Museum of Art, discusses Robert Henri and his colleagues’ engagement with Irish immigrants and culture in New York before he went to Ireland’s Achill Island, where works in the exhibition were created. Valerie Ann Leeds, an independent Curator and Scholar specializing in the work of Henri and the Ashcan Painters, will speak about the work Henri did in Ireland, with a focus on his engagement with Modernism. SEPTEMBER 27, 6–8 PM ART & LEADERSHIP PROGRAM FOR ADULTS Introduction to Portrait Drawing
SEPTEMBER 28, OCTOBER 26, NOVEMBER 30, 12:30 PM ADULT LEARNING PROGRAM LOO’K Closer: Art Talks at Lunchtime
OCTOBER 3, 8:30–9:30 AM BREAKFAST WITH O’KEEFFE Robert Henri’s Anarchist Outlooks and Anti-Academic Paintings, with Joseph Traugott 58
O ’ K E E F F E Fa l l 2011
OCTOBER 12 & 14, 9:30 AM–NOON ADULT LEARNING PROGRAM Creating Portraits of Children
Using Robert Henri’s portraits of children for inspiration, bring quality photos of a child aged three years or older and learn to do charcoal portraits with an emphasis on likeness. Tips on how to measure and construct natural-looking features with relaxed expressions will be presented. On Friday, use pastels for working in color and create a second portrait that is less literal than the first. Color, mood, and line will help you create a different view of the subject. Art materials provided. Led by Maggie Muchmore, visual artist. OCTOBER 15, 9:30–11:30 AM FAMILY PROGRAM Drawing Basic Portraits, with Miriam Feder
OCTOBER 18, 6–7:30 PM READERS’ CLUB The Art Spirit, by Robert Henri
OCTOBER 20, 6 PM SCIENCE CAFÉ FOR YOUNG THINKERS Warming Up a Cool Planet, with Eileen Everett
OCTOBER 25, 6–8 PM ART & LEADERSHIP PROGRAM FOR ADULTS Creating Symbolic Portraits
OCTOBER 27, 2011–FEBRUARY 23, 2012, 8:30 AM–NOON ADULT VOLUNTEER OPPORTUNITY: O’Keeffe Museum Docent Training
Oct Nov NOVEMBER 2 & 9, 9:30–11:30 AM ADULT LEARNING PROGRAM Memoir Writing from a Creative Point of View, co-presented by the New Mexico Committee of the National Museum of Women in the Arts
November 2, 6–8 PM NEW MEXICO LAWYERS FOR THE ARTS Understanding the Nonprofit Board and Board Governance
NOVEMBER 7 & 14, 6–7:30 PM SEMINARS IN AMERICAN MODERNISM Portraiture: Likeness and Difference
Robert Henri’s portraits of Irish people provide information about the artist’s handling of paint and his understanding of composition and color theories. This seminar will focus on the position of this body of work between the tradition of portraiture and the changes in that genre in the 20th century. Part 1 focuses on the history and tradition of portraiture; Part 2 is an investigation of how Modernism changed the tradition of “likeness.” Led by Carolyn Kastner, Associate Curator, Georgia O’Keeffe Museum.
Georgia O’Keeffe, Abstraction, 1946 (cast c. 1979–c. 1980), 118 x 115 x 57 3/4 Inches, Bronze, Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
Community Events
Become a tour guide at the Museum! Docents in training spend 13 weeks learning about O’Keeffe, American Modernism, and touring techniques. Receive special benefits for this program for engaged volunteers, while enjoying rich interactions with Museum visitors. For information, contact Sarah Zurick at 505.946.1007 or email szurick@okeeffemuseum.org
okeeffemuseum.org
59
Nov Dec November 13, 3 PM PUBLIC PROGRAM Celebrating the Irish Imagination
Robert Henri became fascinated with Irish culture—join us for tea, scones, and a Sunday afternoon reading from Irish literature and poetry, with music that celebrates the spirit of the culture. Created and performed by Acushla Bastible. Music by The Selkies—Brenna, Char, and Robby Rothschild. NOVEMBER 15, 6–7:30 PM READERS’ CLUB American Women Modernists: The Legacy of Robert Henri, 1910–1945, edited by Marian Wardle
NOVEMBER 16, 6 PM
NOVEMBER 17, 6 PM SCIENCE CAFÉ FOR YOUNG THINKERS What Is Clean Coal and Why Do We Need It with Graydon Anderson
NOVEMBER 19, 9:30–11:30 AM FAMILY PROGRAM Assemblage Portraits
DECEMBER 5, 8:30–9:30 AM NOVEMBER 7, 8:30–9:30 AM BREAKFAST WITH O’KEEFFE Georgia O’Keeffe and Robert Henri: Capturing a Likeness, with Barbara Buhler Lynes
NOVEMBER 8, 6–8 PM ART & LEADERSHIP PROGRAM FOR ADULTS Beyond the Mirror: Self-Portraits in Words and Collage 60
O ’ K E E F F E Fa l l 2011
BREAKFAST WITH O’KEEFFE Sincerely Yours: Personal Perspectives from Tamarind Institute
Marjorie Devon, Director of Tamarind Institute in Albuquerque at the University of New Mexico, shares reminiscences of artists and the lithographic work they created while at the world-renowned
Photo credit: Kristin Lynn Kautz, Georgia O’Keeffe Abiquiu Home and Studio, 2010. © Georgia O’Keeffe Museum; Kristin Lynn Kautz, Georgia O’Keeffe Research Center Garden, Santa Fe, 2010. © Georgia O’Keeffe Museum.
RESEARCH CENTER LECTURE PROGRAM Hot Art, Cold War—Richard Tuttle & Others Draw the Line, with Katie Anania
Dec institute. The portraits and other works discussed in the talk appear in the nationally touring exhibition Sincerely Yours. DECEMBER 6, 6–8 PM ART & LEADERSHIP PROGRAM FOR ADULTS Collage a Photo Frame, with Elaine Trzebiatowski
DECEMBER 7, 6 PM RESEARCH CENTER LECTURE PROGRAM Bodies of Power: Franco-American Relations and the World War II American Cemeteries in France, with Kate Lemay
DECEMBER 13, 6–7:30 PM READERS’ CLUB Reflections/Refractions: Self-Portraiture in the Twentieth Century
1071311 iota okeeffe.pdf
7/28/11
6:32:38 PM
DECEMBER 29, DROP IN 1–4 PM FAMILY PROGRAM Santa Fe Holiday!
Celebrate the holiday season by creating works of art, including collage-covered pillar votive candles, personalized luminarias, and pendants of quick-drying clay. We will also be treated to stories relating to the unique traditions of Santa Fe’s diverse cultures at this special time of year. C
M
Y
CM
MY
CY
CMY
K
Did you know? As a Member of the Museum, you can attend many of the events and programs for free.
Accolades of a Panoramic Experience 1,000 Places To See Before You Die Worlds Best Award, Travel & Leisure Best Places To Wed, Martha Stewart Weddings
113 Washington Avenue / Santa Fe, NM 87501 · (505) 988-3030 innof theanasazi.com AAA Four Diamond Award · Forbes Travel Guide Four-Star Award okeeffemuseum.org
61
1/3 Vertical Ad
1 year, 6 issues 1 year, 6 issues only $14.95 only $14.95 subscriptions subscriptions
800-770-6326 800-770-6326 www.santafean.com 62
O ’ K E E F F E Fa l l 2011
For information on special events, contact Christina Dallorso Kortz, Visitor Services Manager, at 505.946.1019 or christina@okeeffemuseum.org.
Photo credit: Kristen Williams, articulatephoto.com © articulatephoto.
dining • art • culture history • lifestyle history • lifestyle
LOVE BIRDS: Marriage at the Museum
Get more of the Get more of the city you love. city you love. dining • art • culture
Have your special day be as unique as you are as a couple. The Georgia O’Keeffe Museum’s intimate outdoor and indoor spaces are perfect settings for gathering your closest friends and relatives in celebration of your marriage. Just ask Galia Abadi and Michael Cobb, who decided to have their wedding in Santa Fe at the Museum−the city and place, respectively, where they share their love for the arts. Guests flew in from around the world, and this past June, Galia and Michael’s wedding took place in the Museum’s courtyard. The ceremony, full of hugs, tears, and heartfelt speeches, was preceded by a private tour of the galleries and ended with a champagne toast to the bride and groom. “Mike and I were delighted to be married in the courtyard at the Georgia O’Keeffe Museum,” says Galia. “We were looking for a wedding site that would capture the architectural feel of Santa Fe and also invoke the independent and creative spirit that we both identify with. I have long been inspired by Georgia O’Keeffe and the way in which she chose to be a woman in the world. I cannot think of a better venue in which to have made this commitment to each other. We are grateful to the Museum for giving us the opportunity to have the most spectacular experience of our lives in the spiritual presence of one of the greatest artists in American history.” On behalf of everyone at the Museum, thank you, “love birds,” for including us in your authentic Santa Fe destination wedding.
okeeffemuseum.org
63
Georgia O’Keeffe, In the Patio VIII, 1950, Oil on Canvas, 26 x 20 Inches, Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
next issue
LOO’K for it . . . The next issue of O’Keeffe magazine will be dedicated to the Museum’s 15th anniversary. Celebrate with us!
Enchanting sunsets included
877.262.4666 198 State Road 592, Santa Fe, New Mexico encantadoresort.com
Auberge Resorts: Auberge du Soleil, Napa Valley, CA | Auberge Residences at Element 52, Telluride, CO | Calistoga Ranch, Napa Valley, CA Rancho Valencia, Rancho Santa Fe, CA | Esperanza Resort, Cabo San Lucas, MX | The Inn at Palmetto Bluff, SC
Margaret Konecny, Reflections, acrylic on canvas, 24x24
George Toya, Buffalo Dancer, serigraph with india ink and acrylic, 15x20
Dee Sanchez, Mesa Clouds, oil on canvas, 8x10