1 comments about From the Faraway Nearby: Georgia O'Keeffe As Icon.

1. This compilation of essays writen about Georgia O'Keeffe is varied and thought provocing if you are allready somewhat educated in her history. It is not a good starter on this great artist. Many well-educated scholars contribute their take on the various subject matter that can be associated with O'Keeffe.

No comments about Miss O'Keeffe.

No comments about The Art & Life of Georgia O'Keeffe.

2 comments about Stieglitz: A Memoir/Biography.

1. This is an excellent biography. Written by Sue Davidson Lowe, Alfred Stieglitz's niece, "Stieglitz : A Memoir/Biography" is written objectively, yet with the knowingness and acceptance of a relative. This book presents a well-balanced picture of Stieglitz, his accomplishments (not only his own artistic endeavors, but his efforts to make photography an accepted art form), friends, family, and life. When I was done reading this biography, I felt that I had been presented with a coherent, entertaining, and candid portrayal of Stieglitz. I have read many biographies and autobiographies, of these, I have felt that about one-fourth are well-written and worth reading -- this Stieglitz biography is one of them.



2. My interest in this biography was piqued by my mounting scepticism of the claims of early 20th century modernist artists and their promoters, whether critics, collectors or curators. Much of what we think we know about early American modernism is little more than oft repeated hand-me-down information that manifests the bearer's uncritical satisfaction with the modernist enterprise. Such information serves to maintain the artist's place in the modernist temple that subsequent enthusiasts and fans have constructed and served as keepers of the flame. Critical, layered and thorough historical study reveals such notions as ideology, mere mythologizing constructs.
   
   Readers of Ms. Lowe's exceptionally well written biography will find a fair and balanced AND critically engaged account of an adequately talented photographer who was one of the principal apologists of modernist ideas in New York, with a reputation in Europe as well. With his small enclosed (are modernist gatherings ever open?) circle of artists and holding court in his galleries, Alfred Stieglitz combatively denounced skeptical visitors who didn't or wouldn't "get it." This was was the Stieglitzian modernist "my way or the highway" pronouncement which cowed fawning acolytes.
   
   A vorcious AND impressionable reader, he embraced Freudian ideas subsequently discredited in the later 20th century. Believing in the "pure artist untainted by commerce,Stieglitz turned against his young associate Edward Steichen when the latter became successful as an artistic commercial photographer (his career was also characterized by attracting the public; Stieglitz's publications always shed their subscribers who got fed-up with his sermonizing enthusiasms that strayed from photographic matters) Mind you, Steichen accomplished a multi-faceted career without "daddy's money," with which Stieglitz was bankrolled for much of his bohemian life (danke, PaPa!). He seems to also have been his mother's favorite.
   
   Among the book's strong sections are its coverage of the regular gatherings of the Stieglitz clan at the family's summer house in upstate New York. Here family dynamics were played out that revealingly throw Stieglitz's personality into contrast with those of his siblings, friends and younger lover Georgia O'Keefe (one of the more over-rated American artists of the 20th century) who also shared his inflexible termperament.
   
   The author, who spent years meticulously researching available archives (some still remain sealed), has produced a fully-orbed account of the glories and contradictions of an archetypal American modernist. It is a definitive study of Steiglitz and his personal world.

2 comments about Becoming O'Keeffe: The Early Years.

1. I am irritated by writers who purport to know the inner thoughts of people who are no longer alive to defend themselves. Peters has collected plenty of information on what was going on in the American and European art worlds, and it's worth reading for that. There are also some works here I haven't seen in other books. But if Peters wants to understand O'Keeffe's state of mind and approach to her work, why take O'Keeffe's perfectly clear and straightforward writings and then negate them in favor of hyperbolic, overwrought analysis? Having to repeatedly reject an artist's own words and play the game of "What she really meant was..." is a good sign that you don't understand the subject. Why are O'Keeffe's simple words so hard for her to comprehend? Peters' analogies stretch far past the point of usefulness: a closed window equals a camera lens? Paintings of trees become "prototypes" for paintings of crosses made 5 years later? Does she mean O'Keeffe was really trying to paint crosses, and they just came out looking like trees? Or that the first time O'Keeffe saw a cross she thought "Oh, that looks like a tree"? This book isn't nearly as much about O'Keeffe as it is about what Peters would have been doing if she could magically take O'Keeffe's place. Maybe Peters gets really confused about simple actions, like putting a drawing on the floor, because she's never done much artwork. Sometimes you have to put things on the floor because in the facilities you have available, that's the easiest way to see and work on them. I think the lesson here is that if you have to change something to your own words to understand it, you're no longer perceiving that thing--you're only perceiving yourself. Peters spends a lot of time here reflecting her own thought process, and in doing so, misses not only O'Keeffe, but maybe visual art itself.



2. Having viewed the recent Georgia O'Keeffe exhibit on "Colors and Conservation" in Rochester, NY (which Mississippi Museum of Art-originated exhibit has its own, fine catalogue), I found this volume most illuminative regarding O'Keeffe's relationships as they informed her development as an artist. As a example of the type of "close reading" undertaken by the author here, the background offered on O'Keeffe's "Lake George Farmhouse Door" (near the close of the book, though only halfway through O'Keeffe's life) suggests it may be taken as a response of sorts to her husband's earlier photograph of a smiling, younger woman posed in front of the same doorway.
   
   The author thus raises questions on creative transformations involved in making art. Why, for example, is the door-glass opaque in the artist's painting instead of something we can see through in her husband's photograph? Does her rendering of their summer home's door suggest a way into or a blocking out from the artist's own life, as the photo itself is held to suggest of the woman depicted in it? One does not need this sort of background in order to appreciate the painting itself, held by MoMA, but those seeking autobiographical insights on O'Keeffe's early work should find "Becoming O'Keeffe" intriguing reading.

No comments about Georgia O'Keeffe: 2 (A Studio book).

No comments about Georgia O'Keeffe (On My Own Biographies).

2 comments about O'Keeffe and Texas.

1. What can I say. As a fan of Georgia O'keeffe's artwork, I must say that Ms. Udall's way of writing is quite concise. She does a wonderful job of breaking down her book into sections: Solids and voids, Light, and Line as a formal element. I thought Ms. Udall's book does a great job deatailing the finer points of O'keeffe's Texas years (1912-1918).



2. Fantastic survey of Georgia O'Keeffe's time in Texas! I really enjoyed looking at her rare Texas Suite watercolors which are hard to find in many mongrams of O'keeffe's. If you are an O'Keeffe fan, I highly recommend this book.

No comments about Georgia O'Keeffe (Library of American Art).

No comments about Georgia O’Keeffe, the artist’s landscape / photographs by Todd Webb - [Notes: Cover title: O’Keeffe].