A01=Annelise K. Madsen
A01=Sarah Kelly Oehler
A32=Adrienne Brown
A32=Lisa Volpe
A32=Sascha T. Scott
Age Group_Uncategorized
Age Group_Uncategorized
Author_Annelise K. Madsen
Author_Sarah Kelly Oehler
automatic-update
Category1=Non-Fiction
Category=ACXD2
Category=AFC
Category=AGA
Category=AGB
Category=AGC
Category=AGN
Category=JBSF1
Category=JFSJ1
COP=United States
Delivery_Delivery within 10-20 working days
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Language_English
PA=Available
Price_€20 to €50
PS=Active
softlaunch
Product details
- ISBN 9780300275759
- Dimensions: 229 x 305mm
- Publication Date: 25 Jun 2024
- Publisher: Art Institute of Chicago
- Publication City/Country: US
- Product Form: Hardback
- Language: English
Secure
checkout
Fast Shipping
Easy returns
A revelatory study of Georgia O’Keeffe’s New York paintings of the late 1920s and their deep significance within the artist’s development
In 1924 Georgia O’Keeffe (1887–1986) first moved to the Shelton Hotel in New York with her husband, the photographer and art dealer Alfred Stieglitz. The Shelton was Manhattan’s earliest residential skyscraper, and its dizzying heights inspired O’Keeffe to create a powerful series of approximately twenty-five paintings and numerous drawings over a span of about five years. She called these “my New Yorks,” and they overwhelmingly consist of two types of compositions: sprawling observations looking down onto the city and humbling views directed up at the newly built urban monoliths. Exploring the New York skyline, O’Keeffe resisted the approach of contemporaries such as Charles Sheeler and Paul Strand—who celebrated New York as a streamlined, impersonal series of geometric canyons—and instead portrayed it as an amalgamation of the organic and the inorganic, the natural and the constructed. Only in this way could she express New York (in her words) “as it is felt.”
Reshaping our understanding of this pivotal yet underappreciated period in O’Keeffe’s storied career, this publication situates the New York paintings within the artist’s larger oeuvre and examines how these works reflect narratives of built environments, racialized space, and the politics of place.
Distributed for the Art Institute of Chicago
Exhibition Schedule:
The Art Institute of Chicago
(June 2–September 22, 2024)
In 1924 Georgia O’Keeffe (1887–1986) first moved to the Shelton Hotel in New York with her husband, the photographer and art dealer Alfred Stieglitz. The Shelton was Manhattan’s earliest residential skyscraper, and its dizzying heights inspired O’Keeffe to create a powerful series of approximately twenty-five paintings and numerous drawings over a span of about five years. She called these “my New Yorks,” and they overwhelmingly consist of two types of compositions: sprawling observations looking down onto the city and humbling views directed up at the newly built urban monoliths. Exploring the New York skyline, O’Keeffe resisted the approach of contemporaries such as Charles Sheeler and Paul Strand—who celebrated New York as a streamlined, impersonal series of geometric canyons—and instead portrayed it as an amalgamation of the organic and the inorganic, the natural and the constructed. Only in this way could she express New York (in her words) “as it is felt.”
Reshaping our understanding of this pivotal yet underappreciated period in O’Keeffe’s storied career, this publication situates the New York paintings within the artist’s larger oeuvre and examines how these works reflect narratives of built environments, racialized space, and the politics of place.
Distributed for the Art Institute of Chicago
Exhibition Schedule:
The Art Institute of Chicago
(June 2–September 22, 2024)
High Museum, Atlanta
(October 25, 2024–February 16, 2025)
Sarah Kelly Oehler is Field-McCormick Chair and Curator, Arts of the Americas, and vice president of curatorial strategy, and Annelise K. Madsen is Gilda and Henry Buchbinder Associate Curator, Arts of the Americas, both at the Art Institute of Chicago.
