Georgia O'Keeffe Museum

Georgia O'Keeffe Museum A Great American Artist. A Great American Story. Explore the remarkable career of Georgia O’Keeffe.

The Georgia O'Keeffe Museum in Santa Fe, New Mexico, opened to the public in July 1997, eleven years after the death of the artist from whom it takes its name. Welcoming visitors from all over the world, it is the only museum in the United States dedicated to an internationally-known woman artist.

In 1940, Georgia O’Keeffe purchased her Ghost Ranch home. She had been visiting Taos and the surrounding areas every sum...
06/19/2020

In 1940, Georgia O’Keeffe purchased her Ghost Ranch home. She had been visiting Taos and the surrounding areas every summer since 1929 but she decided upon the remote village of Abiquiú to settle. O’Keeffe transformed the residence into her studio, installing large picture windows and placing a ladder on the side of the house, so she could climb onto the roof and view the majestic mountains and canyons surrounding her.

The location of the Ghost Ranch home enabled O'Keeffe to paint the stunning views of Pedernal Mountain, the vast desert, and the red-orange cliffs of New Mexico in an intimately personal environment.

This work was painted during the artist's first summer at Ghost Ranch and depicts the side of the home.O’Keeffe captured the white washed walls, deep earth red roof, and yellow ochre outlines, contrasted against a saturated blue sky. The wooden beams in the roof cast deep shadows on the white walls in a geometric rhythm. The simple shape of the structure appealed to O’Keeffe’s reductionist modern taste and provided many opportunities for her to explore geometric patterning within her artistic practice.

O’Keeffe felt a profound emotional and artistic attachment to not only the Northern New Mexico landscape, but the structures that gave her a sense of home.

If you could paint your home any color what would it be? Let us know in the comments! 💙

Click the link below to explore Ghost Ranch!
http://ow.ly/chr850AcOTG

Georgia O'Keeffe. The Patio No. I, 1940. Oil on canvas, 24 x 19 in. Private Collection.

#GeorgiaOKeeffe #OKeeffe #OKeeffeInspired #GhostRanch #DesertHome #DesertArchitecture #Taos #ArtistExploration #Abiquiu #Pedernal #VastDesert #CreatingHome #SenseofPlace #Geometric #ArtisticPractice #SenseofHome #WhiteWashed #WoodBeams #OrangeCliffs #Shadows #LittleWindows #EmotionalAttachment #NortherNewMexico #NewMexicoHomes #GeometricRhythm.

06/18/2020
Building Home - Construction of O'Keeffe's Home and Studio

The Abiquiú area has been inhabited for over 5,000 years by various groups of indigenous peoples as evidenced by archeological and oral history data.

Abiquiú is a Tewa name with various meanings. The indigenous people of Ohkay Owingeh Pueblo call it P’efubu’u which means the end of a log or stick, a projection of mesa land, or end of timber town.

In 1945, Georgia O'Keeffe purchased the 4.75-acre Home & Studio property in Abiquiú from the Archdiocese of Santa Fe. At the time, the site was a ruin. A three-year process transformed the abandoned site into the iconic modernist adobe compound we see today. O'Keeffe lived in the home until the end of her life.

O'Keeffe hired her friend Maria Chabot, a Texas native and student of regional architecture with experience managing large properties, to oversee the reconstruction of the house. They relied on a local crew to rebuild the structure using traditional techniques and knowledge of vernacular materials such as adobe brick construction, viga and latila roofing, and other design elements that have generally come to be known as the Pueblo Revival style.

The O'Keeffe Museum is committed to the ongoing preservation needs of this historic property and works with conservation experts and members of the local community to research and maintain the artist's home.

What does home mean to you? Let us know in the comments!

#GeorgiaOKeeffe #HistoricPlaces

"I love music more than anything. Only the color makes me feel the same thrill.” - Georgia O’KeeffeAt the beginning of h...
06/16/2020

"I love music more than anything. Only the color makes me feel the same thrill.” - Georgia O’Keeffe

At the beginning of her career Georgia O’Keeffe often favored abstract forms. She she felt abstraction was the best way for her to express thoughts, feelings and emotions. Music, Pink and Blue, No. I is among O’Keeffe’s first major oil paintings. She painted it after moving to New York City in 1918, departing from the more intimate media of charcoal and watercolor to take up the ambitious medium of oil.

The title of this work conveys O’Keeffe’s love for a different type of creative expression. Music served as an inexhaustible source of inspiration for the artist and she was fascinated by the idea of turning music into something visible to the eye. To O’Keeffe, painting, like music, did not need words in order to be felt and understood. This work demonstrates her ability to bring this idea to life.

O’Keeffe had an eclectic taste in music, but she preferred classical composers. At both her Home and Studio in Abiquiu as well as her Ghost Ranch house, she kept a collection of vinyl records, including the works of Beethoven, Bach, Haydn, Schumann and many others. For O’Keeffe’s works inspired by music, they not only serve as visualization of aural sensations, but as the closest analogy to her own form of artistic expression.

What song do you think of when you look at this painting? Let us know in the comments! 💙

Georgia O'Keeffe. Music Pink and Blue No. I, 1918. Oil on canvas, 35 x 29 in. (88.9 x 73.7 cm), Gift of Barney A. Ebsworth, Seattle Art Museum, 2000.161, © Georgia O’Keeffe Museum.

#GeorgiaOKeeffe

Georgia O’Keeffe met photographer Todd Webb in 1946. That year she was the first woman to be honored with a retrospectiv...
06/15/2020

Georgia O’Keeffe met photographer Todd Webb in 1946. That year she was the first woman to be honored with a retrospective exhibition at the Museum of Modern Art (MoMA). Webb, a protégé of the artist’s husband Alfred Stieglitz, documented the exhibition.

O’Keeffe and Webb went on to have a long friendship and his 30-year photographic record of the artist’s life in New Mexico is among the most candid.

One aspect of O’Keeffe’s life captured by Webb was the artist’s love for her dogs. In this rare color photograph, O’Keeffe sits in her Abiquiú Home and Studio Garden with two of her pet Chow Chows. O’Keeffe got her first Chow Chow in 1952, just three years after permanently moving to New Mexico. She absolutely adored her Chow Chows, and owned at least six during her lifetime.\

We love stories about pets so tell us about your furry friends in the comments! 💙

#GeorgiaOKeeffe #toddwebbarchive

Todd Webb. Georgia O'Keeffe and Chows in Abiquiu Garden, ca. 1962. Chromogenic print, 5 x 3 1/2 inches. Georgia O'Keeffe Museum. Gift of The Georgia O'Keeffe Foundation. © Todd Webb Archive. [2006.6.1035] -

“I have wanted to paint the desert and I haven’t known how. I always think that I cannot stay with it long enough. So I ...
06/13/2020

“I have wanted to paint the desert and I haven’t known how. I always think that I cannot stay with it long enough. So I brought home the bleached bones as my symbols of the desert. To me they are as beautiful as anything I know. To me they are strangely more living than the animals walking around–hair, eyes and all with their tails switching. “I have wanted to paint the desert and I haven’t known how. I always think that I cannot stay with it long enough. So I brought home the bleached bones as my symbols of the desert. To me they are as beautiful as anything I know. To me they are strangely more living than the animals walking around–hair, eyes and all with their tails switching. The bones seem to cut sharply to the center of something that is keenly alive on the desert even though it is vast and empty and untouchable–and knows no kindness with all its beauty.” - Georgia O'Keeffe

In 1930 O’Keeffe witnessed a drought in the Southwest that resulted in the starvation of many animals, whose skeletons littered the landscape. She was fascinated by these bones and shipped a number of them back to New York City.

From the grandeur and vastness of the western landscape,O'Keeffe extracted a compressed, concise, and reductive style. The bones provided her with interesting shapes and textures, and she painted them frequently, intrigued as much by their symbolism as by their formal potential.

Describe this painting in one word! 💙

Georgia O'Keeffe. Horse's Skull with White Rose, 1931. Oil on canvas, 30 1/16 x 16 1/8 in. Georgia O'Keeffe Museum. Extended Loan, Private Collection.[L.1997.3.2]

In 1918, Georgia O’Keeffe moved from Texas to New York, where she painted 59th St. Studio, the place the artist lived an...
06/11/2020

In 1918, Georgia O’Keeffe moved from Texas to New York, where she painted 59th St. Studio, the place the artist lived and worked.

The studio belonged to Alfred Stieglitz’s niece. The gallerist gave O’Keeffe a year’s financial assistance so that she could devote all of her energy to painting, without having to teach.

This painting invites the viewer to peer through a loosely-shaped doorframe between rooms. A soft light comes in through an elongated window—its oddly beautiful, glowing color suggesting an urban, street-lit dusk. The sharply pointed white and colored planes declare the painting’s modernity, introducing a new cosmopolitan edge.

O’Keeffe’s starting point is clearly architecture—not nature. Yet the overall form of the painting is similar to the artist's still lifes. Light and colored planes suggest a dynamic movement around the painting’s edges, while the dark interior has a warm, enveloping quality. The painting doesn’t tell us much about the physical space within, but it gives us hints about her attitude towards that place.

From this painting, how do you think O'Keeffe felt about her New York Studio? Let us know in the comments! 💙

Georgia O'Keeffe. 59th Street St. Studio, 1919. Oil on canvas. Private collection.

#GeorgiaOKeeffe

"The light would begin to appear and then it would disappear and there would be a kind of halo effect, and then it would...
06/10/2020

"The light would begin to appear and then it would disappear and there would be a kind of halo effect, and then it would appear again." - Georgia O'Keeffe

While teaching at West Texas State Normal College in Canyon, Texas, during the summer of 1917, O’Keeffe captured the halation of the Texas sky in three abstract watercolors, Light Coming on the Plains, Nos. I, II, and III. The works contain circles within circles in time rendered in monotones similar to the blue neutrals of cyanotype photography.

O’Keeffe stayed up all night to experience dawn when the effects of light were the most transitory and ephemeral. In these watercolors, she spontaneously layered deep ultramarine pigment on paper, allowing the fluidity of the medium to form the final design.

The works reflect the young O'Keeffe's bold individuality at a time before she was a well known artist.

In the comments, share with us the memorable sunrise you've experienced! 💙

Georgia O'Keeffe. Light Coming on the Plains No. III , 1917. Watercolor on thin, beige, smooth wove paper, newsprint. Amon Carter Museum, Fort Worth, Texas [purchase] (1966.31)

#GeorgiaOKeeffe #Watercolors

06/09/2020
Watering O'Keeffe's Garden

“Water is a living thing, hence its form is deep and quiet, or soft and smooth, or broad and ocean-like, or thick like flesh.” - Georgia O'Keeffe


On Monday mornings between 8:00 and 11:00 AM, you can watch as O'Keeffe's Home and Studio garden in Abiquiú is flood irrigated by the historic acequia.


Acequia systems consist of gravity-fed earthen canals that divert stream flow for distribution to fields and gardens. They are a community resource that local irrigators have a shared right to use, and a responsibility to manage, and protect.⁠


Acequia agroecosystems promote soil conservation and soil formation, provide terrestrial wildlife habitat and movement corridors; protect water quality and fish habitat, promote the conservation of domesticated biodiversity of land race heirloom crops, and encourage the maintenance of a strong land and water ethic and sense of place, among other ecological and economic values.


The acequia that provides water to the Abiquiú Home & Studio is sourced from the Upper Rio Grande watershed. It is one of the Museum's most precious resources, as it allows for O'Keeffe's unique and productive garden to flourish, while serving as a teaching tool for youth in our community. It also serves as a source of beauty for all those who have a chance to experience it in person.


You can watch the garden any time by visiting gokm.org/abiquiu-camera.⁠



What does water mean to you? Let us know in the comments! 💙⁠



#GeorgiaOKeeffe #HistoricGardens #Acequia


Video Footage: #toddballantycreative

"It is lines and colors put together so that they say something. For me that is the very basis of painting. The abstract...
06/08/2020

"It is lines and colors put together so that they say something. For me that is the very basis of painting. The abstraction is the most definite form for the intangible thing in myself that I can only clarify in paint." - Georgia O'Keeffe

O’Keeffe developed a personal vocabulary of abstract forms and compositional strategies early in her career and 1919 was a particularly important year of experimentation and creative development. Around this time, the artist painted a number of artworks exploring, as she later recalled, “the idea that music could be translated into something for the eye.”

Black Spot, No. I, is one of the artist's more unusual paintings with its combination of a bold, black rectangle placed at an angle near the center of an otherwise highly curvilinear composition. O’Keeffe creates a melody of brilliant hues and disembodied shapes that flow in and out from organic to linear, and from dark to light.

How O'Keeffe used line, color, and composition is the essence of what makes an O’Keeffe an O’Keeffe. The fluid, seemingly effortless outlines and contours of the abstract shapes define regions of the canvas and divide the compositions into dynamic and striking zones of color.

O'Keeffe was a brilliant colorist, her strong, vibrant colors glow with energy and vitality. Time and time again in her work, we see an artist pushing the boundaries.

What do you see in this abstract work? Let us know in the comments! 💙

Georgia O'Keeffe. Black Spot No. I, 1919. Oil on canvas. Private collection.

#GeorgiaOKeeffe #Abstraction

Seeking to escape the pressures of her life with Alfred Stieglitz in New York City, Georgia O'Keeffe drove to the Gaspé ...
06/07/2020

Seeking to escape the pressures of her life with Alfred Stieglitz in New York City, Georgia O'Keeffe drove to the Gaspé Peninsula in Quebec, Canada in the summer of 1932 for a few weeks respite. There she painted a series of seven barns whose austere design and blackened doors prefigure her later series of New Mexico patio doors.

O’Keeffe’s attraction to barns as subject matter was deeply personal. The artist found inspiration in the countryside of the northern landscape, which reminded her of her childhood home of Sun Prairie, Wisconsin. She once wrote, “The barn is a very healthy part of me—There should be more of it—It is something that I know too—it is my childhood."

O'Keeffe was particularly captivated by the white barns that peppered the Canadian landscape. In this work, O’Keeffe depicts the barn in severely reduced terms. The minimal forms of the composition is striking. Stripped of all graphic details, the structure is composed of large geometric areas of pure color. The crisp white of the façade contrasts dynamically with the touch of brilliant blue and touch of green she utilizes to render the sky and earth.

She later recalled, "That was a wonderful trip...The soil there was a marvelous deep black after it had been turned over, and there were beautiful blossoming potato flowers—very lush."

Where do you go when you need to get away from it all? Let us know in the comments! 💙

Georgia O'Keeffe. Canadian Barn, 1932. Oil on canvas. Private collection.

#GergiaOKeeffe #Barns

“One is a good painter or one is not, sex is not the basis of this difference.” - Georgia O'Keeffe, 1972.O'Keeffe carved...
06/05/2020

“One is a good painter or one is not, sex is not the basis of this difference.” - Georgia O'Keeffe, 1972.

O'Keeffe carved out her own style apart from the chaotic modern art scene of the 1920s, and paved the way for many women artists to come. Close-up flowers were among the artist a signature motifs. They have a powerful presence that overrides any sense of fragility and speak to O'Keeffe's ability to capture beauty that often went unobserved.

The spectacular size of many of the flower paintings, along with their bold colors and sensual shapes, made them subject to widely varying, sometimes controversial interpretations. Certainly, in the era in which she was working, the art world was male-dominated and O'Keeffe was repeatedly reminded of her gender and otherness as she moved through the art world.

Many speculated that the flowers referenced female sexuality, an idea that seemed to be fueled by controversial nude photographs that O’Keeffe’s husband, Alfred Stieglitz had taken of her and exhibited publicly. This seemed to confirm the idea among critics that O’Keeffe was an artist with a tendency towards overt sexuality. Notably, O'Keeffe repeatedly denied these interpretations throughout her life, and it was largely male critics who expounded the view that her work contained sexual references.

O’Keeffe herself often commented that the color and form of the flowers was more important than the subject matter, suggesting that she was interested in the natural form and capturing its beauty.

Have there been times in your life when you have been constantly reminded of your own otherness. Share your experience with us in the comments! 💙

Georgia O'Keeffe. Red Poppy, 1927. Oil on canvas. Private collection.

#GeorgiaOKeeffe

Stories from the O'Keeffe: Service, Support, and Solidarity: What Working at the O'Keeffe Means to MeEven for those of u...
06/05/2020

Stories from the O'Keeffe: Service, Support, and Solidarity: What Working at the O'Keeffe Means to Me

Even for those of us who prioritize equity and social justice work in our daily lives, this past week has been tough. Many of us are dealing with a range of feelings, from deep reflection, outrage, sadness, worry, exhaustion, hopelessness, and even hope.

Read the story from the Museum's Social and Digital Media Specialist, Nicole Davis!

https://www.okeeffemuseum.org/service-support-and-solidarity/

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217 Johnson St
Santa Fe, NM
87501

From the New Mexico Rail Runner Express station at the Santa Fe Railyard, take the Santa Fe Pick-Up shuttle to the plaza. The Georgia O'Keeffe Museum is a short walk northwest of the plaza. (To walk directly from the railyard, go north on Guadalupe, then east on Johnson.) www.nmrailrunner.com Also, the Museum is located just two blocks of the Santa Fe Trails public transit's downtown transit center. www.santafenm.gov, then click Public Transportation and Parking

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Our Story

The Georgia O’Keeffe Museum, in Santa Fe, New Mexico, opened to the public in July 1997, eleven years after the death of our namesake artist. A visit to the O’Keeffe Museum offers insight not only into the artist’s paintings, but also her creative process and the light and landscape that inspired her. In addition to the main Museum campus in Santa Fe, the O’Keeffe Museum maintains O’Keeffe’s two homes and studios in northern New Mexico, a research center and library, and a variety of collections relating to O’Keeffe and modern art.

One of the most significant artists of the 20th century, Georgia O’Keeffe (1887-1986) was devoted to creating imagery that expressed what she called “the wideness and wonder of the world as I live in it.” O’Keeffe’s images—instantly recognizable as her own —include abstractions, large-scale depictions of flowers, leaves, rocks, shells, bones and other natural forms, New York cityscapes and paintings of the unusual shapes and colors of architectural and landscape forms of northern New Mexico.

The Museum’s collections of over 3,000 works comprises 140 O’Keeffe oil paintings, nearly 700 drawings, and hundreds of additional works dating from 1901 to 1984, the year failing eyesight forced O’Keeffe into retirement. Throughout the year, visitors can see a changing selection of these works. In addition, the Museum presents exhibitions that are either devoted entirely to O’Keeffe’s work or combine examples of her art with works by her American modernist contemporaries.

In 2006, the Museum took responsibility for the care and preservation of O’Keeffe’s home and studio along the Chama River in Abiquiu, New Mexico, about an hour north of Santa Fe. A national historic landmark and one of the most important artistic sites in the United States, the home where the artist lived and worked is open for tours by appointment. O’Keeffe’s first home in New Mexico, about 30 minutes northwest of Abiquiu at the Ghost Ranch is also cared for by the Museum though it is not currently open to the public.

The Georgia O’Keeffe Museum Research Center opened in July 2001 to house offices for staff and fellows, and The Michael S. Engl Family Foundation Research Center Library. The Research Center serves as the intellectual hub of the Georgia O’Keeffe Museum by promoting and sponsoring research and conversation about Georgia O’Keeffe, Alfred Stieglitz, the Stieglitz Circle, and their contemporaries. It also promotes research into issues of Modernist art, architecture, design photography, literature, and music from the 1890s to the present. The Georgia O’Keeffe Museum’s unique library and archive collections in the Research Center Library are open to the public by appointment.

Educational programs at the Museum serve more than 7,100 students and adults per year with a robust slate of workshops, lectures, conversations, and classroom activities.


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THAT IS FATHER OF OURS ONLY ONE FATHER DEUS ELOHIM ABBA AVE O MARIAE .+. SO FULL OF GRATIAM THE DEUS IS WITH YOU, BENEDECTAM ARE YOU AMONG WOMEN AND BENEDECTUM ARE YOU BY YOUR SON JESUS, O SANTA MARIAE MOTHER OF DEUS PRAY FOR THE SOULS, SPIRITS, BODIES, AND LIFE ESPECIALLY FOR THOSE WHO TRULY AND IN MOST NEED OF YOUR HELP, CONSOLATION, AND MISERICORDIA, HAVE MERCY AND SAVE THEM, O OUR FATHER ONLY ONE FATHER DEUS…. EL NOMENE DEL DEUS PATER DEUS FILIO EL' DEUS ESPIRITU SANCTO AM.. ( UTUS....DEUS....AM.. ) .+. CAN BE OPENED AND BE READ https://cristianos.altervista.org/ENGLISH.html https://cristianos.altervista.org/SPANISH.html https://cristianos.altervista.org/TAGALOG.html https://cristianos.altervista.org/ITALIANO.html https://youtu.be/1T3cNEDjo7k - ENGLISH
I remember when Miss O'Keeffe said, "I lived through 2 wars, a depression, and Stieglitz." If she was alive now, she would have a fourth ordeal to mention.
Thought you all would want to know if you didn't before..
Having just finished Britta Benke's 2018 book "O'Keeffe", I was curious to learn more about the artist's time in southern Virginia, specifically when she attended Chatham Episcopal Institute. It turns out this school is still very much in business, and quite proud of its O'Keeffe connection.
Just Bought another O’Keeffe book yesterday - just can’t get enough!
This is one of the best museum pages I've seen. It does honor to both Georgia O'Keeffe and your museum. There is very little clutter. Examples of your collection are ample. The most impressive aspect of your page is the artwork and its relation to the landscape. For someone in New Jersey, this relationship is important to understanding her art.
Well my feed glitches out, but "In the Patio" that you posted today was from the San Diego Museum of Art.
A freelance journalist from Denver fills BBC readers in on the "Bisti Badlands".
Its lovely... do stop n check it out.
https://www.brownpapertickets.com/event/4257168 **Anne Frank Remembrance Day with Deborah Lipstadt, Sunday August 4, 2019 3 pm** The Santa Fe Distinguished Lecture Series and the Santa Fe Jewish Film Festival are sponsoring this Anne Frank Remembrance Day on Sunday, August 4, the 75 anniversary of the arrest and deportation of Anne Frank and her family. In a special event for New Mexico, Deborah Lipstadt will speak on Antisemitism: Here and Now on August 4 in Santa Fe at the James A. Little Theater at 3 pm. There will be a VIP reception for her after the talk. Her new book on Antisemitism, published earlier this year, sold out immediately and went into a second printing on the second week after its release. In addition to the American edition, it is now being published in England, Germany, the Czech Republic, and Israel. Lipstadt came to national attention in 2016 with the movie Denial in which she was played by Rachel Weisz, a movie about her international court case with David Irving, a Holocaust denier in England. Lipstadt had long fought Holocaust deniers, and in this court case she was able to prove the falsehoods of those who denied it happened. After a successful in in theaters, Denial can now be seen on Amazon Prime Video, YouTube, and other streaming services. Her TED talk abut the trial has received 1.2 million views. Prof. Deborah Lipstadt has held the Presidential appointment to the United States Holocaust Memorial Council and represented President George W. Bush at the 60th anniversary of the liberation of Auschwitz. She is the Dorot Professor of Modern Jewish History and Holocaust Studies at Emory University. Her books include The Eichmann Trial, Denial: Holocaust History on Trial (a National Jewish Book Award-winner), Denying the Holocaust: The Growing Assault on Truth and Memory, and Beyond Belief: The American Press and the Coming of the Holocaust, 1933-1945. Public officials will help us in this program "United Against Antisemitism", an initiative of the Jewish Federation of New Mexico.