Tsuktiben Jamir
The Museum of Modern Art (MoMA) in Manhattan, US, is currently hosting Georgia O’Keeffe’s exhibition titled ‘To See Takes Time.’ This expansive exhibition brings together over 120 works from 85 different contributors, making it the first-ever gathering of Georgia O’Keeffe’s series of works on paper. Moreover, this marks MoMA’s return to showcasing O’Keeffe’s art since 1946 when the museum presented its inaugural retrospective of a female artist.
With a particular emphasis on her breakthrough years of 1915–1918, the exhibition features work from the artist’s five decades of career in a chronological manner. At the time, O’Keeffe annotated the titles of some of her paintings with the word “special,” indicating her confidence in the quality of the work. Her views were supported by the fact that a reviewer stated in 1916 that the gallery “had never before seen a woman express herself so frankly on paper.”
Associate Curator Samantha Friedman, from the Department of Drawings and Prints, joins forces with Associate Paper Conservator Laura Neufeld from The David Booth Conservation Department and Curatorial Assistant Emily Olek, also from the Department of Drawings and Prints, to curate the exhibition. According to Samantha, “Georgia O’Keeffe: To See Takes Time” analyses the late artist’s motivation for working in a series style and offers audiences a fresh perspective on the artist.
Courtesy: Time Out.
The breathtaking “Evening Star” series, which features O’Keeffe’s 1917 depiction of a Texas sunset recounted in eight panels through distinct and hazy moments, is the star attraction at MoMA. Her works in charcoal, watercolour, graphite, and pastel are hung on the walls in mismatched frames and are arranged chronologically and by theme. In her varied body of work, O’Keeffe has shown mountains, sky, trees, waves, and approaching trains. Similar to the waves and abstract forms on show, visitors move through the galleries in a swirling fashion. Intense blues and reds and candy-coloured mountains set the stage for O’Keeffe’s journey, which the visitor follows throughout her several creative phases.
Within the museum, a captivating assortment of the artist’s drawing tools awaits the visitors. From charcoal and graphite sticks to pastels, watercolours, and an array of brushes, these materials are thoughtfully arranged in an orderly fashion. The meticulous display, with colours harmoniously grouped together, creates an ambiance where one could almost imagine the artist’s spirit materializing at any moment, ready to seize a brush and continue her creative journey.
Courtesy: Time Out.
O’Keeffe’s artistic journey was deeply shaped by her upbringing on a dairy farm in Wisconsin, which instilled in her a lifelong connection to the American landscape. Prior to her arrival in New York, she had already explored various avenues as a freelance commercial artist and art teacher. It was in the bustling city that she found support and guidance from Alfred Stieglitz, a prominent photographer and gallery owner, who eventually became her husband in 1924. Initially, O’Keeffe’s art was often perceived as an extension of Stieglitz’s intimate photographs, as she served as his muse and spouse. However, as her unique artistic voice gained recognition, she began to shine independently, establishing herself as an accomplished artist in her own right.
While O’Keeffe’s connection to Stieglitz was undeniable, her heart truly belonged to the enchanting landscapes of the American Southwest. Immersed in the captivating surroundings, she drew inspiration from the rugged beauty of the region, capturing it in her iconic paintings of animal bones, flowers, and landscapes. Embracing the spirit of the Southwest, O’Keeffe made northern New Mexico her home until her passing in 1986, allowing the essence of the region to permeate her artistry and become an integral part of her creative identity.
