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Georgia O'Keeffe in New Mexico - Architecture, Katsinam & the Land (Paperback)
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Georgia O'Keeffe in New Mexico - Architecture, Katsinam & the Land (Paperback)
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At various intervals between 1931 and 1945, Georgia O'Keeffe
(18871986) completed seventeen drawings and paintings of katsina
tithu ("kachina dolls"), the painted-wood representations of spirit
beings carved by Native American artist -- especially Hopi and Zuni
-- that have long played an important role in Pueblo and Hopi
ceremonialism. O'Keeffe never explained how or why she became
interested in these Native American carvings. Because she gave
generic titles to her paintings of them except those works
depicting Kokopelli, she may not have been aware of their specific
names, meaning, or functions. But the artist always took
inspiration from her immediate environment, whether working
abstractly or representationally, often seeking subjects that
conveyed her feelings for or experiences of specific places; her
depictions of Native American spirit beings were no exception. As
she later pointed out, "My pictures are my statement of a personal
experience". The book, which accompanies a touring exhibition of
fifty-three works by the artist, features fifteen drawings and
paintings of katsina subjects made between 1931 and 1941 and
thirty-eight additional works made between 1929 and 1953 that
resulted from her deep exploration of the distinctive architecture
and cultural objects of Northern New Mexico's Hispanic and Native
American communities. Also included are numerous landscape
paintings, a subject O'Keeffe addressed most consistently during
her career. The book also features contributions by noted art
historian W. Jackson Rushing III, Hopi weaver Ramona Sakiestewa,
Hopi artist Dan Namingha, and Hopi tribal leader and author Alph H
Secakuku. Rushing discusses O'Keeffe and other modernist painters,
including Emil Bistram, Fred Kabotie, and Gustave Baumann, in their
approach to Native subjects; Sakiestewa writes about O'Keeffe's
katsina paintings and the influence the artist had on her own
designs; Secakuku explicates katsinam ceremonalism; and Namingha is
interviewed about katsina imagery in his work.
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