Of, For, and By Georgia O'Keeffe The Whitney Museum ofAmerican Art at Champion is funded by Champion International Corporation. "Of, For, and By Georgia O'Keeffe" was organized by Kathleen Monaghan. This brochure includes an introduction by Ms. Monaghan and an essay by Anna C. Chave. We extend our thanks to all the lenders to this exhibition as well as to the many old friends of O'Keeffe who generously shared information and insight into the artist and her circle. We are indebted to Todd Webb and Betsy Evans of Evans Gallery for their assistance and constant willingness to delve into old negatives, correspondence, and memories. Thanks also go to members of the Whit- ney staff who graciously handled the many details of the exhibition. Jennifer Landes ably served as curatorial assistant on this project and is largely responsible for bringing the exhibition to its com- pletion. Her constant flexibility and helpfulness are greatly appreciated. K.M. O i¥94 Whitney Museum of American Art >/4s Madison Avenue New York, New York 10011 Of, For, and By Georgia O'Keeffe Whitney Museum of American Art at Champion February 2.5-May 4, 1994 Georgia O'Keeffe lildck (.ntss with RedSky, iviy Curator's Introduction Georgia O'Keeffe. One has only to hear the name only by the exploitation of other artists. But swift and paintings with exquisitely undulating forms, praise or facile criticism is effortless and in the end ethereal as clouds and palpable as the earth, come tells us almost nothing. So much has been written to mind. O'Keeffe called upon the idiom of nature, by and about O'Keeffe, so many exhibitions have most often the flower, for her visual vocabulary. been mounted of her work, that it seems redundant The delicate forms she created are often strongly to undertake yet another exhibition. suggestive of the human body. By combining lyric The curatorial impetus here is rooted in the abstraction with a powerful chromatic palette, the conviction that familiarity does not breed con- artist imbued the intangible with the substance of tempt, that the familiar has the power to clarify raw energy. The results are as timeless as the uni- rather than merely obscure. If we look at an artist's — verse itself. work without the prejudice of what we know or, . — Few American artists of the twentieth century think we know there may just be something to are more easily identified. Certainly, few women learn about the work as well as about the person. artists ever have received the veneration O'Keeffe is In art history, serendipity happens as often as accorded. But who was Georgia O'Keeffe? Can we it does in life. This project grew from a chance — separate the woman from the mythology that sur- encounter with another artist the photographer rounds her? A Midwestern farm girl-turned-school- Todd Webb. Webb now lives in Bath, Maine, but teacher who demonstrated an early interest in during the most active phase of his career he trav- painting, the artist arrived in New York in 1917 eled extensively and was friendly with many better- and met the man she later married: noted photogra- known artists. His interests were varied but much pher and gallery owner Alfred Stieglitz. The rela- of his work was motivated by his fascination with tionship between O'Keeffe and Stieglitz is leg- how people live their lives and how the subtle endary. They lived and worked together and were nuances of personality could be captured on film. the center of an avant-garde artistic circle. Stieglitz Webb arrived in New York in the 1940s. His friend photographed O'Keeffe in a series of works so Ansel Adams had suggested that he call on Dorothy- often shown that for many O'Keeffe came to be Norman, then assistant to Alfred Stieglitz, to show defined by these images. her his work. As Norman was away, it was Stieglitz To outsiders the Stieglitz/O'Keeffe relationship who first saw Webb's work. Stieglitz was impressed — seemed ideal passionate, mutually supportive, and and asked to keep the photographs for a few days. productive. Others, however, describe the union as When Webb returned, Stieglitz further compli- an alliance of pomposity and self-promotion, where mented the young artist on the photographs and mutually protective aggrandizement was exceeded took Webb into the workroom, where O'Keeffe was 3 Georgia O'Kccffe /ake Gtorgt i<>2..i working with a framer on her own paintings. She had the Webb photographs propped on a shelf to look at as she contemplated the treatment of her own images. From this small but delightful inci- dent, the Webb-O'Keeffe relationship flourished. In 1955, Webb received a Guggenheim Founda- tion grant for a walking-bicycling-photography odyssey across the United States. It was on this trip that he visited O'Keeffe at her Abiquiu home, where she was spending her winters, for the first time. His journal entries describe a serene, relaxed atmosphere. Webb and O'Keeffe seemed at ease with each other and for several years continued to visit in New Mexico as well as in New York. Through Todd Webb's lens, Georgia O'Keeffe emerges as a calm, unperturbed, and contented sub- ject; New York and the ubiquitous photographs Arnold Newman taken by Stieglitz, however beautiful, seem feigned in comparison. O'Keeffe does not posture or pose, AlfredStieglitzand Georgia O'Keeffe, 1944 but looks directly at her friend and the camera. © Arnold Newman She seems more open and relaxed, very much "at home" with herself. In addition to Webb and Stieglitz, other pho- tographers such as Ansel Adams, George Daniell, Arnold Newman, and Eliot Porter made O'Keeffe their subject. This exhibition brings together a selection of these works as well as sculpture by Mary Callery, a close friend of both Webb and O'Keeffe. Moreover, there is one work by sculptor Juan Hamilton, O'Keeffe's companion late in her life. The fundamental purpose of the exhibition is simple: to give the viewer an opportunity to see O'Keeffe less as an icon and more as a friend. The long-range intention is to reexamine the impact of O'Keeffe both as an artist and as a friend. Yet there is no agenda for revisionist art history and no need to amend the literature. This is simply a path ofdis- — covery about an artist whose personality like her — Eliot Porter work seems to have been simultaneously complex and deceptively simple. Georgia O'KeeffeandHeadby Mary Callery, Ghost Ranch, NewMexico, Kathleen Monaghan September, 1945, *945 Georgia O'Keeffe /adder to the Moon, ivsH — a O'Keeffe's Body of Art Alfred Stieglitz fell in love with Georgia O'Keeffe's ladylike trappings as makeup and salon hairdos, art first and with O'Keeffe herself soon after.1 And high heels, lace, ruffles, and patterns, O'Keeffe due in part to the intense photographic scrutiny this turned herself out in simple but artfully cut black- love for her prompted, neither he nor anyone else and-white outfits (which for years she sewed her- could ever again easily separate the two: attraction self), calculated to appear at once practical and ele- to O'Keeffe's body from attraction to O'Keeffe's gant, austere and subtly seductive. body of art. O'Keeffe's formidable face, hands, and In the early 1980s, the prominent American physique continued to exercise a magnetism on fashion designer Calvin Klein proved he had an — photographers Stieglitz was just the first of many insight into O'Keeffe that her partisans had over- — to trail her with a camera for the rest of her days. looked: that she possessed a flair, a consummate, Fascination with the artist's life followed from fas- unerring sense of style that had always extended cination with her body, moreover, as she eventually beyond the canvas onto her striking figure and into — became the subject of a deluge of biographies. No the environments she designed about her though one seems to tire of hearing the story of O'Keeffe's nowhere more so than in the home in New Mexico life, just as no one seems to tire of gazing at her that she shaped toward the end of her life. "Geor- form. But O'Keeffe's art, unfortunately, never has gia was crazy about decorating," an erstwhile been granted anything like the same close, careful friend, the painter Agnes Martin, remarked/ While scrutiny as O'Keeffe herself. That is not to say that Martin looked askance at O'Keeffe's intense inter- — — — her art has been unpopular to the contrary but est in having everything in her house just so its popularity has long prevailed more among the concern stereotypically feminine in a way that nei- general public than among scholars. ther she nor O'Keeffe had ever allowed themselves — What of O'Keeffe's famous looks? No one to be defined Calvin Klein instead saluted her, could mistake them for those of a mannequin or photographing a fashion campaign at her stunning beauty queen. But O'Keeffe had a physical presence Abiquiu home. With O'Keeffe as a silent partner, perhaps unequaled by any artist in this century. Klein helped to ignite the latest fervor for the That strong-featured face and that statuesque body, Southwest, or "Santa Fe style." Not that O'Keeffe with its forms at once angular and curvy, projected "discovered" the Southwest, of course, but the — a demeanor that ran the gamut from smolderingly Southwest in all its sheer, heartstopping glory sensual, to gravely serious and knowing, to willful has been discovered by many of the rest of us ini- and courageous, to mischievous and flirtatious. tially thanks to her vision. What also made O'Keeffe photogenic was her dis- The idea that an artist's style might well tinctive personal style. Refusing such distracting, encompass not only how she painted but everything — a Alfred Stieglitz BrcjstsandHands, 1919 The Metropolitan Museum ofArt, Gift ofMrs. Alma Werthenn — she did how she dressed or how she addressed a involved lovers. Many of the photographs featured — letter was one that O'Keeffe had embraced from O'Keeffe's figure in conjunction with her art, more- the start, from her years as an art teacher on the over, such that her vision was first widely revealed, Texas plains.' She was always painstaking and through Sticglitz's lens, as the outcropping of her imaginative (to the extent circumstances permitted) eminently sensual body. Some scholars have won- about her garb and her living arrangements dered why O'Keeffe submitted to Stieglitz's vora- hardly less meticulous or thoughtful than she was cious gaze: here was an intelligent, self-possessed in composing her pictures. Considering that woman working diligently to attain a position nor- — O'Keeffe deliberately established this continuum mally denied to women that of the autonomous, between her art and her life, perhaps we should not artistic subjectivity. How could such a woman have view as entirely problematic the longstanding ten- let herself be so manifestly objectified, exhibited dency to conflate the identities of her body of art less as the artist she was than as the artist's model with her body; perhaps we would do better to look she was not? The answer surely is (as I.acanian psy- — to that conflation as the source of a solution choanalysis or, for that matter, common senso solution to the need for a duly serious discourse would tell us) that O'Keeffe, like the rest of us, about O'Keeffe's paintings. male and female, desired both these crucial experi- O'Keeffe's introduction to the general public ences: the possibility of being a subject and that of — occurred first through Stieglitz.\ images of her.4 being an object a mere body that makes the pulse Many of those photographs were intensely erotic quicken in someone we love. nudes, sometimes done after the heated love- O'Keeffe had been as an art student repelled by making sessions of an enthralled pair of newly- lite drawing classes, apparently because of the H