Podcast appearances and mentions of georgia o keeffe

Steven and Meg discuss ways people greet one another and the affect it has on a persons perception of self and others. Steven explains how the holistic bigger picture when observed positively manifests abundance. “Georgia O Keeffe, famous for her New Mexico landscapes in the early 20th century, actually, we hiked some of those landscapes just outside of Santa Fe when we were there, …but she said, “I found I could say things with color and shapes that I couldn't say any other way—things I had no words for.” And Picasso….said that for him, “Painting is just another way of keeping a diary.” There is order to observation that manifests peace, and joy..and happiness.  Order, is the absence of clutter….the absence of chaos. Chaos…is a space of confusion.  Where there is confusion…there is doubt, worry and fear. So, how do you exactly declutter for faster manifestation?  To declutter for manifestation, you really need to get over your main manifesting blocks. Attraction is based on being aligned with my goals and dreams, and through this alignment, I focus on the “important” things, this alignment and focus will attract more of these things that I concentrate on. But the clutter in a persons life will stand in the way. The Law of Attraction is intensified and purified where there is order of observation, where there is purification of intent. And decluttering and tidy up the house, the car, the garage, the closets, my wallet, your hand bag, creates a velocity to abundant manifestations.” Connect with Steven Canyon: Text “KINETIC" to 844-844-0049  Website - https://stevencanyon.com Instagram - https://www.instagram.com/stevencanyon/ Clubhouse - @stevencanyon and @megancanyon Facebook - https://facebook.com/stevencanyonco Update Description

What makes New York Night by Georgia O'Keeffe such a special painting? Glimmering window panes The machine age and Precisionism An avant-garde squad Read LadyKflo's collected works and learn about more masterpieces with a click through to LadyKflo's site. https://www.ladykflo.com/category/masterpieces/ Checkout her socials too: https://www.instagram.com/ladykflo/ https://www.pinterest.com/Ladykflo https://twitter.com/ladykflo

RE-IMAGINING A LANDMARK. Laurent Le Bon is the recently appointed president of Centre Pompidou, which is focused on modern & contemporary art.

We went long to hear Claire's story of her life's greatest trauma at the tail end. Follow her on IG: @1whocsclear

Georgia O'Keeffe en el Museo Thyssen, aforismos con Jesús Alcoba y niños cariñosos con Pedro García Aguado. 

Cette semaine, j’avais envie de vous parler de l’une de mes artistes préférées, l’immense Georgia O’Keeffe, la seule femme peintre de la première vague de l’abstractionnisme américain. Si vous ne connaissez pas son nom, vous connaissez sans doute son travail, et notamment ses très nombreuses peintures de fleurs géantes, réalisées dans les années 1920. Ces œuvres sont tout simplement sublimes, et elles semblent tellement contemporaines, alors mêmes qu’elles ont été réalisées il y a un siècle. Ce qu’il faut savoir, c’est qu'à l’époque, la critique s’est immédiatement emparée des gros plans de fleurs de Georgia O’Keeffe, mais pas forcément pour les bonnes raisons... Beaucoup de choses ont été dites à leur sujet : ses fleurs ont été perçues comme hautement érotiques, sexuelles… et on a longtemps dit qu’elles auraient en fait été des interprétations du sexe féminin et du sexe masculin. Une analogie qui ne correspond pourtant pas du tout à la volonté de l’artiste, qui, si elle s'est certes emparée d'un sujet traditionnellement féminin, avait en fait tout simplement révolutionné l’approche de la peinture florale, en y apportant un zoom quasi photographique. Georgia O'Keeffe est une pionnière, et une femme d’un immense talent qui a poussé son travail toujours plus loin, jusqu’à la fin de sa vie, à la veille de ses cent ans. Alors pour comprendre qui elle était, il faut revenir sur son parcours. Dans lequel je vous emmène dans cet épisode... Bonne écoute ! • Crédits : Femmes d’art est un podcast produit et réalisé par Marie-Stéphanie Servos Musique libre de droits www.femmes-dart.com www.instagram.com/femmesdart_ Contact : femmesdart@gmail.com

Eurei buruz zerbait jakin bagenekien, baina ikertu ondoren, interesgarriagoak egin zaizkigu Al Capone, Oliver Sacks, Georgia O’Keeffe, Ruth Bader Ginsburg eta Ingrid Bergman. ...

We are entering the final round of this year's Arts Madness Tournament. For those listeners outside the United States, every spring, there is a giant basketball tournament called, March Madness, as 64 different college teams compete. The Arts Madness Tournament is a shameless attempt to ride the coattails of the immensely popular NCAA basketball tournament, but with 64 diverse artists. For the last five weeks, listeners have voted for their favorites narrowing the field from 64 down to just two finalists: Georgia O'Keeffe and Yayoi Kusama.  One thing that I find particularly interesting in this matchup is that O'Keeffe and Kusama actually had a connection. While she was living in Japan thinking of becoming an artist, she was inspired by Georgia O'Keeffe and wrote to her. O'Keeffe responded offering her advice and encouragement. When Kusama was in New York, Georgia O'Keeffe actually came to her studio and offered her support even offering to provide Kusama a place to live. Kusama politely declined the invitation because while O'Keeffe was an established artist and could afford to stay in her beloved New Mexico desert home, Kusama was just starting out and needed to be in New York to be immersed in the art scene, make connections and establish her own career.  This episode replays the background information from each artist's full episodes recorded earlier this season. You can vote for your favorite at www.WhoArtEdPodcast.com

Georgia O'Keeffe is considered the mother of American modernism. Her influence actually reached beyond American borders. Yayoi Kusama was not only inspired by O'Keeffe, but Georgia O'Keeffe was generous enough to give her advice and even offer to allow her a place to stay and financial support early in Kusama's career. Georgia O'Keeffe appears to have not only been a great artist, but also a great person.  O'Keeffe's greatest legacy is probably her unique perspective on nature. She painted around 200 pictures of flowers using a close cropped composition that made them appear as abstractions. While these paintings are often viewed in symbolic terms, O'Keeffe always insisted her work was simply based on observation. For this episode we discussed her painting Blue Morning Glories from 1935. As always you can see the image and find more at www.whoartedpodcast.com 

Começamos a nossa manhã refletindo sobre a pintura "Escada para a Lua" de Georgia O'Keeffe. ERRATA: no podcast eu falo que a pintura foi feita em 1974, porém eu estava olhando a data de um panfleto e não da obra original. A pintura é de 1958. O link abaixo é do panfleto. VEJA A PINTURA: https://www.artsy.net/artwork/georgia-okeeffe-ladder-to-the-moon Gostou? Faça um PIX: https://nubank.com.br/pagar/20vwm/aw4Nx3K6S9 Fotografias para Decoração: https://holdorf.com.br/comprar-fotografias-arte-decoracao-online/ OFICINA ONLINE | DESCUBRA O SEU ESTILO: https://holdorf.com.br/oficina-online-fotografia-arte-descubra-o-seu-estilo/ CURSO ONLINE | FOTOGRAFIA BÁSICA COM O CELULAR: https://holdorf.com.br/curso-online-fotografia-basica-com-o-celular/ EXERCÍCIOS DE FOTOGRAFIA: https://holdorf.com.br/2021/02/09/exercicios-de-fotografia-para-transformar-o-seu-olhar/ https://holdorf.com.br/newsletter/ @jonathanholdorf holdorf.com.br

For this week's Fun Fact Friday mini episode, I am sharing an interesting little tidbit I found about Georgia O'Keeffe. While she is best known for her paintings of nature specifically, her most popular works are close cropped images of flowers or images inspired by the desert landscapes she encountered while living in New Mexico. While her work was all about nature, she painted those vast, open desert landscapes from the confines of a cramped Ford Model A car. She apparently developed a habit of transforming her car into a makeshift studio. She would remove the driver's seat, flip the passenger seat backwards so it would face the backseat. The back bench would serve as an easel as she sat in the rear facing passenger seat to paint. She did this in order to protect herself from the harsh sun, although I would imagine the interior of that car would also get quite hot baking out in the New Mexico desert. If you are interested in learning more about Georgia O'Keeffe, she will be the subject of the next full episode coming out on Monday. As always there is more fun art history to explore at www.whoartedpodcast.com 

Lois Reitzes interviews Grammy award-winning violinist Gil Shaham about his new album "Beethoven & Brahms: Violin Concertos"; and author Dawn Tripp about her novel “Georgia,” based on the life of Georgia O’Keeffe. Shelley Kenneavy talks with Karen Kelly of the Children's Museum of Atlanta about the exhibition "The Pigeon Comes to Atlanta."

It's the Art Crime Podcast 10th Episode Spectacular! Starring Georgia O'Keeffe, George Clooney, Boris Johnson, Pierneef, Arthur Wesley Dow, featuring Alfred Stieglitz, and as always your hosts, Mara and Baker! We celebrate Georgia O'Keeffe's amazing life and career, we roll our eyes at Alfred Stieglitz, and everyone is pretty tired of people referencing vagina in her flower paintings. In the news, we side with George Clooney and agree it's probably a good time for the Elgin marbles to be returned to Athens, and then we discover and fall in love with the paintings of South African artist Pierneef after reading about secretary-general Ace Magashule’s former bodyguard's theft of a Pierneef painting. And finally, the case of the Georgia O'Keefe painting thefts in 2004 and the sad ending for a former museum employee and desperate opportunist. This didn't turn out great for anyone. Episode References ART Red Canna 1919, by Georgia O'Keeffe No. 21 (Palo Duro Canyon), by Georgia O'Keeffe Red and Orange Streak, by Georgia O'Keeffe New York Skyscrapers, by Georgia O'Keeffe Famous Paintings, by Jacobus Hendrik Pierneef Ipswich Prints: Lily, 1901, Arthur Wesley Dow NEWS George Clooney Calls for the Return of the Parthenon Marbles to Greece | The Greek Reporter Ace Magashule’s former bodyguard gets 15 years in jail for stealing Pierneef painting | Independent Online Paris Louvre recovers 16th-century armour stolen nearly 40 years ago | The Guardian OTHER Georgia O'Keeffe: Visions of Hawaii, by Georgia O'Keeffe Tate Modernist: How Georgia O’Keeffe shaped feminist style | The Guardian Sotheby’s $44.4M Georgia O’Keeffe Shatters Auction Record for Work by a Female Artist | The Observer In Hawaii, Georgia O’Keeffe Found a Curious New Way to Look at Nature. An Immersive Show Lets You Mirror Her Journey | Artnet Georgia O’Keeffe: Abstraction at Whitney Museum of American Art Composition by Arthur W. Dow - Free Ebook Get Involved and Donate to SkyArt! Find Us Instagram: @artcrimepod Twitter: @artcrimepod Show Notes and Blog: ARTCRIME .blog Mara on Instagram: @mjvpaints --- Send in a voice message: https://anchor.fm/artcrimepodcast/message

Professor c, Terra Foundation Visiting Professor in American Art, gives the second lecture in the The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 series. Moderator: Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Puritan Abstract: Visual culture representing Americans in Paris often polarized stereotypes of French and US identities, framing French bohemia as distinct from steadfast US work ethic. This lecture analyzes how Americans and US institutions in Paris adopted the ideal of the Puritan as a symbol of their sustained connection with the United States and a protective armor from becoming absorbed into Parisian decadence. US churches in Paris—all Protestant—participated in this construction alongside offering critiques of Catholicism in the context of debates about laicization in France. Professor Burns analyzes paintings, sculpture, and illustrations by Julius LeBlanc Stewart, Cecilia Beaux, Augustus St. Gaudens, and Jean André Castaigne, and studies St. Luke’s Chapel, which was built for the US students in Paris, to argue that this discourse inflected US artists’ representations of their studio spaces; the rhetoric of US artists’ clubs in Paris; and limited professional possibilities for US women artists. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Having earned a BA (l963), MA (l965) and Ph.D. (l974) from New York University, Professor Wanda Corn taught at Washington Square College, the University of California, Berkeley, and Mills College before moving to Stanford University in Palo Alto, California in 1980. At Stanford she held the university's first permanent appointment in the history of American art and served as chair of the Department of Art and Art History and Acting Director of the Stanford Museum. From l992 to 1995 she was the Anthony P. Meier Family Professor and Director of the Stanford Humanities Center. In 2000, she became the Robert and Ruth Halperin Professor in Art History. She retired from teaching at Stanford in 2008. In 2009, she was the John Rewald Distinguished Visiting Lecturer at the CUNY Graduate Center. A scholar of late nineteenth- and early twentieth-century American art and photography, Professor Corn has received fellowships from the American Council of Learned Societies, the Smithsonian American Art Museum, the Woodrow Wilson International Center for Scholars, the Smithsonian Regents, the Stanford Humanities Center, the Radcliffe Institute of Advanced Study, and the Clark Institute of Art. In 2003 she was the Clark Distinguished Visiting Professor at Williams College and in 2006-07, the Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In 2012, she was awarded a Mellon Emeritus Fellowship to support her pioneering research on Georgia O’Keeffe’s clothes. She has won numerous teaching awards: in 2007 The Distinguished Teaching of Art History Award from the College Art Association; in 2002 the Phi Beta Kappa Undergraduate Teaching Award; and in 1974 the Graves Award for outstanding teaching in the humanities. In 2006, the Archives of American Art awarded her The Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History and in 2007 she received the Women's Caucus for Art Lifetime Achievement Award in the Visual Arts. In 2014, the College Art Association dedicated a Distinguished Scholar Session to her work. She has served two terms on the Board of Directors of the College Art Association and two on the Commission for the Smithsonian American Art Museum. She served on the Advisory Board of the Georgia O’Keeffe Catalogue Raisonné and two terms on the Board of the Terra Foundation in American Art. Today she is a trustee of the Andrew and Betsy Wyeth Foundation for American Art; and a board member of the Grant Wood Art Colony at the University of Iowa. Since 2000, she has chaired the Advisory Committee for Historic Artist Homes and Studios (HAHS) that is an affiliate of the National Trust. Active as a guest curator, she had produced various books and exhibitions, including The Color of Mood: American Tonalism 1990-1910 (1972); The Art of Andrew Wyeth (l973); Grant Wood: The Regionalist Vision (1983); Seeing Gertrude Stein, Five Stories (2011-12); and in 2017-19, Georgia O’Keeffe: Living Modern. Her O’Keeffe study, published by Prestel Press, won Honorable Mention for the College Art Association’s Alfred H. Barr Jr. Award and was awarded the 1918 Dedalus Foundation Exhibition Catalogue Award. Her historiographic article for Art Bulletin, "Coming of Age: Historical Scholarship in American Art" (June l988), became a significant point of reference in the field as has her work on cultural nationalism in early American modernism. Her study of avant-garde modernist culture along the Atlantic rim, The Great American Thing: Modern Art and American Identity, 1915-35, was published by the University of California Press in 1999 and won the Charles C. Eldredge Prize for Distinguished Scholarship in American Art. In 2011, UC Press published Professor Corn’s Women Building History about Mary Cassatt and the decorative program of murals and sculptures for the Woman’s Building at the 1893 Chicago World’s Columbian Exposition. She continues to research, write, and lecture on high, middle, and low culture interpretations of Grant Wood’s American Gothic.

Professor c, Terra Foundation Visiting Professor in American Art, gives the second lecture in the The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 series. Moderator: Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Puritan Abstract: Visual culture representing Americans in Paris often polarized stereotypes of French and US identities, framing French bohemia as distinct from steadfast US work ethic. This lecture analyzes how Americans and US institutions in Paris adopted the ideal of the Puritan as a symbol of their sustained connection with the United States and a protective armor from becoming absorbed into Parisian decadence. US churches in Paris—all Protestant—participated in this construction alongside offering critiques of Catholicism in the context of debates about laicization in France. Professor Burns analyzes paintings, sculpture, and illustrations by Julius LeBlanc Stewart, Cecilia Beaux, Augustus St. Gaudens, and Jean André Castaigne, and studies St. Luke’s Chapel, which was built for the US students in Paris, to argue that this discourse inflected US artists’ representations of their studio spaces; the rhetoric of US artists’ clubs in Paris; and limited professional possibilities for US women artists. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Having earned a BA (l963), MA (l965) and Ph.D. (l974) from New York University, Professor Wanda Corn taught at Washington Square College, the University of California, Berkeley, and Mills College before moving to Stanford University in Palo Alto, California in 1980. At Stanford she held the university's first permanent appointment in the history of American art and served as chair of the Department of Art and Art History and Acting Director of the Stanford Museum. From l992 to 1995 she was the Anthony P. Meier Family Professor and Director of the Stanford Humanities Center. In 2000, she became the Robert and Ruth Halperin Professor in Art History. She retired from teaching at Stanford in 2008. In 2009, she was the John Rewald Distinguished Visiting Lecturer at the CUNY Graduate Center. A scholar of late nineteenth- and early twentieth-century American art and photography, Professor Corn has received fellowships from the American Council of Learned Societies, the Smithsonian American Art Museum, the Woodrow Wilson International Center for Scholars, the Smithsonian Regents, the Stanford Humanities Center, the Radcliffe Institute of Advanced Study, and the Clark Institute of Art. In 2003 she was the Clark Distinguished Visiting Professor at Williams College and in 2006-07, the Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In 2012, she was awarded a Mellon Emeritus Fellowship to support her pioneering research on Georgia O’Keeffe’s clothes. She has won numerous teaching awards: in 2007 The Distinguished Teaching of Art History Award from the College Art Association; in 2002 the Phi Beta Kappa Undergraduate Teaching Award; and in 1974 the Graves Award for outstanding teaching in the humanities. In 2006, the Archives of American Art awarded her The Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History and in 2007 she received the Women's Caucus for Art Lifetime Achievement Award in the Visual Arts. In 2014, the College Art Association dedicated a Distinguished Scholar Session to her work. She has served two terms on the Board of Directors of the College Art Association and two on the Commission for the Smithsonian American Art Museum. She served on the Advisory Board of the Georgia O’Keeffe Catalogue Raisonné and two terms on the Board of the Terra Foundation in American Art. Today she is a trustee of the Andrew and Betsy Wyeth Foundation for American Art; and a board member of the Grant Wood Art Colony at the University of Iowa. Since 2000, she has chaired the Advisory Committee for Historic Artist Homes and Studios (HAHS) that is an affiliate of the National Trust. Active as a guest curator, she had produced various books and exhibitions, including The Color of Mood: American Tonalism 1990-1910 (1972); The Art of Andrew Wyeth (l973); Grant Wood: The Regionalist Vision (1983); Seeing Gertrude Stein, Five Stories (2011-12); and in 2017-19, Georgia O’Keeffe: Living Modern. Her O’Keeffe study, published by Prestel Press, won Honorable Mention for the College Art Association’s Alfred H. Barr Jr. Award and was awarded the 1918 Dedalus Foundation Exhibition Catalogue Award. Her historiographic article for Art Bulletin, "Coming of Age: Historical Scholarship in American Art" (June l988), became a significant point of reference in the field as has her work on cultural nationalism in early American modernism. Her study of avant-garde modernist culture along the Atlantic rim, The Great American Thing: Modern Art and American Identity, 1915-35, was published by the University of California Press in 1999 and won the Charles C. Eldredge Prize for Distinguished Scholarship in American Art. In 2011, UC Press published Professor Corn’s Women Building History about Mary Cassatt and the decorative program of murals and sculptures for the Woman’s Building at the 1893 Chicago World’s Columbian Exposition. She continues to research, write, and lecture on high, middle, and low culture interpretations of Grant Wood’s American Gothic.

Hey! Mike and Aidan talk about nerdy stuff… they laugh a lot… It’s an episode! Listen now and then share with five of your friends and good fortune will befall you in four days! You can’t pass that up! Enjoy! … Continue reading →

Follow @djhouseplants DJ Houseplants is the alias of Seattle-based DJ, producer and designer Justin Av. As a botanist and musician, he is deeply rooted in making music that exudes themes of nostalgia, self-care and positivity. Driven by the vibrancy of the community cultivated at house and techno shows, he strives to create an atmosphere where people can thrive to the music. His music influences come not only from his love of plants and music but all mediums of art, ranging from artists Isamu Noguchi and Georgia O’Keeffe to musicians such as Brian Eno and Sun Ra.

In a stunning continuation of last week's episode, the gang takes a gander through the rest of Georgia O'Keeffe's work. She is so much more than her flowers, and we hope to honor that by discussing the other aspects of her life. Continue the journey into Georgia O'Keeffe's life as the two art history wannabes and one art wannabe discuss Juan Hamilton, Georgia O'Keeffe's nature paintings, and sassy elderly. For any questions or comments, email us at artdramallama@gmail.com

What is coevolution? How has coevolution between insects and plants shaped human history and culture? In this episode of Big Biology, we talk with Rob Raguso, a professor at Cornell University, who studies insect-plant interactions. Rob discusses his work on diffuse coevolution between night blooming flowers and their long-tongued hawk moth pollinators, and how his and others’ ideas leading to geographic mosaic theory has helped us understand the evolution of novel traits. Rob says that plant-pollinator coevolution has had a huge and varied impact on human life and culture, well beyond its obvious effects on our agriculture. Coevolution between plants and their pollinators shaped our trade, our religious practices, and even the contents of our liquor cabinets. Photo: Robert Raguso --- Send in a voice message: https://anchor.fm/bigbiology/message

Disclaimer: Episodul a fost inregistrat si publicat initial in primul sezon al podcastului 11 iunie, 2018. Salut si bine ai venit la HerArt podcast, un proiect pentru iubitoarele si iubitorii de arta, in special arta creata de femei. In acest episod o sa vorbim despre Maria Prymachenko - artista din Ucraina in fata careia s-a inchinat Pablo Picasso. Mie imi spune Nata Andreev si va prezint sapte curiozitati pe care nu le-ati stiut despre artista unică de la tara, din satul kievan Bolotnia, arta careia reprezinta o combinație reușită de talent inascut, o dorință copleșitoare de a crea frumos și o percepție sensibilă a realității din jur. Lumea complexă a lucrarilor Marie Prymachenko izvorătesc atât din propria imaginație, cât și din întregul sistem și conținut al poeziei folclorice ucrainene. Merci mult ca ai fost alaturi de mine pentru cel de-al patrulea episod al podcastului HerArt - un proiect pentru iubitoarele si iubitorii de arta, in special arta creata de femei. Daca vrei sa urmaresti activitatea noastra online, atunci ne gasesti pe Facebook si Instagram. Ne auzim luna viitoare, unde iti voi povesti despre Georgia O’Keeffe - una din cele mai bune artiste. Punct.

In our eighth season, we’re exploring examples of some of the most expensive artworks ever sold at auction considering why they garnered so much money, and discovering their backstories. Today, our season finale: Georgia O’Keeffe’s Jimson Weed/White Flower #1 . Please SUBSCRIBE and REVIEW our show on Apple Podcasts! Twitter / Facebook/ Instagram SPONSORS: The Great Courses Plus: Enjoy a 14-day free trial with unlimited access Bloomberg Connects: Download‌ ‌Bloomberg‌ ‌Connects‌ ‌at‌ ‌the‌ ‌Apple‌ ‌App‌ ‌and‌ ‌Google‌ ‌Play‌ ‌stores to access museums, galleries, and cultural spaces around the world anytime, anywhere Lightstream: Apply today for a Credit Card Consolidation loan from the company J.D. Power ranked #1 for customer satisfaction in personal loans. Plus, get an additional interest rate discount at our special link Learn more about your ad choices. Visit megaphone.fm/adchoices

ใครว่าเสือสองตัวอยู่ถ้ำเดียวกันไม่ได้ ศิลปะการต่อสู้ตอนนี้จะมาคุยเรื่องความสัมพันธ์ของศิลปิน โดยเล่าถึงชีวิตคู่ของสองศิลปิน Georgia O'Keeffe  ศิลปินหญิงที่มีผลงานโดดเด่น กับ  Alfred Stieglitz  ช่างภาพดังแห่งนิวยอร์ก ผู้เริ่มต้นจากการเขียนจดหมายหากันวันละสองสามฉบับ พวกเขาไม่ใช่คู่ที่เพอร์เฟกต์ที่สุด คนหนึ่งอยากมีชีวิตเรียบง่าย อีกคนชอบเจอผู้คน แต่สิ่งที่ทำให้เขาทั้งคู่อยู่ด้วยกันมากว่า 50 ปี คือความเข้าใจและการสนับสนุนซึ่งกัน ดำเนินรายการ : ภาสินี ประมูลวงศ์, จุฑารัตน์ ภิญโญดุลยเจต

Del libro Cuentos de buenas noches para niñas rebeldes 2 --- Send in a voice message: https://anchor.fm/saveme/message

In episode 50 (!!!) of The Great Women Artists Podcast, Katy Hessel interviews the legendary, trailblazing, feminist art history ICON, GRISELDA POLLOCK on the pioneering Polish Jewish artist, Alina Szapocznikow.  [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Author, editor, curator, and Professor, Griselda Pollock's 43-year-plus career as an art historian is nothing short of LEGENDARY. Having co-authored (with Rozsika Parker), “Old Mistresses: Women, Art and Ideology”, written 26 books, and edited many more, Pollock's indefatigable career has seen her spend decades developing an international, queer, postcolonial, feminist analysis of art’s diverse histories. Writing extensively on artists Eva Hesse, Lubaina Himid, Georgia O’Keeffe, to Tracey Emin, Pollock has curated numerous museum exhibitions, made several films, and has two forthcoming publications out for release.  But the reason why we are speaking to Griselda today is because as well as being a social and feminist historian of  19th and 20th century and contemporary art she is also a transdisciplinary cultural analyst focussing in Cultural Studies and Jewish studies, which is where her fantastic, tireless work on the great sculptor, Alina Szapocznikow comes into play. Born in Poland to an intellectual Jewish family of doctors in 1926, Alina Szapocznikow survived internment in concentration camps during the Holocaust as a teenager. [TW: we discuss The Holocaust]. At her liberation in 1945, she moved first to Prague, and then to Paris, where she studied sculpture and took up a job at a stonemasons, and then was forced back to Poland in 1951 after suffering from tuberculosis. When the Polish government loosened controls over creative freedom following Stalin’s death in 1952, Szapocznikow moved into figurative abstraction and then a pioneering form of representation. By the 1960s, she was radically re-conceptualizing sculpture as an intimate record not only of her memory, but also of her own body. First casting parts of the body as fragments, on her return to Paris as part of 'Nouveau Realisme', she began to move into casting bulbous shapes cast in resin from human bellies, lipstick red lips, nipples and lips growing from slender stems like flowers and serving as lamps. Surrounded by an artistic community that included Niki de Saint Phalle and more, in this episode we discuss Szapocznikow's incredible life and career, her involvement in the evolution of new materials and new ways of thinking, whilst simultaneously trying to deal with the horrors of the past – as with her American contemporaries, Eva Hesse, Louise Bourgeois, and Hannah Wilke.  AS's Self Portrait: https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Photosculptures (chewing gum): https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Lamp works: https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Tumour series: https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Further images and information: https://www.hauserwirth.com/artists/16711-alina-szapocznikow?modal=media-player&mediaType=artwork&mediaId=16719 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Laura Hendry  Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

We were promised great art under the Trump administration. Everyone said it: our suffering would lead to a Renaissance of art, literature, and music. It obviously did not happen. (Well, we got a baby Trump balloon, that was cool.) So what happened? Art critic and editor at Caesura Allison Hewitt Ward discuss the recent trends -- Decolonize, idpol, #resistance, portraits of Trump with a micropenis -- and why none of them led to great art. Support this podcast: http://patreon.com/publicintellectual http://jessacrispin.com

Versione audio: Negli anni Venti e Trenta del Novecento, raggiunse un grande successo internazionale la pittrice americana Georgia O’Keeffe (1887-1986), moglie del fotografo-editore-gallerista Alfred Stieglitz che la ritrasse in più di 500 fotografie, facendo di lei la Greta Garbo del mondo dell’arte, ossia una diva. La carriera della O’Keeffe come pittrice seguì più fasi: negli […] L'articolo Le artiste 11: Georgia O’Keeffe proviene da Arte Svelata.

In episode 44 of The Great Women Artists Podcast, Katy Hessel interviews the highly esteemed, pioneering art historian, Wanda M Corn on the legendary painter, GEORGIA O'KEEFFE (1887–1986) !!!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] I am SO EXCITED to release this episode with Wanda Corn who not only **KNEW** Georgia O'Keeffe in the 1980s, but who is the curator of the staggeringly brilliant and HIGHLY successful exhibition, Georgia O’Keeffe: Living Modern at New York’s The Brooklyn Museum in 2017, which toured around the US. This was an exhibition that looked at how the renowned modernist artist proclaimed her progressive, independent lifestyle through a self-crafted person – from the way she dressed to how she posed for photographs – expanding our understanding of who O’Keeffe was, and her determination to be in charge of how the world understood her identity and artistic values.  The ICON of American painting Georgia O'Keeffe is one of the greatest artists to ever live. Known for her incredibly rendered paintings of magnified flowers, American skyscrapers, to skulls and landscapes evocative of the dry New Mexican landscape in which she lived, O'Keeffe captured the most serene works that didn't just reflect the world around her, but the evolution of modernism in the 20th century. No one captured nature in its many forms like O'Keeffe. Learning to paint at the turn of the 1900s, O'Keeffe transformed traditional subjects – the landscape and still life – into a modernist language. After venturing to the deep Southwest in 1929, it was through painting that she documented the starkness and alien-ness of a place that had so rarely been recorded in oil paint.  Wanda Corn is a former Professor at Stanford University, and a LEADING scholar of late 19th and early 20th century American art and photography. A writer, curator, editor and lecturer, Wanda has received countless awards and fellowships for her tireless work to art history over the past few decades! And is the MOST enthusiastic and engaging speaker. THANK YOU WANDA!! FURTHER LINKS! The book of the show! https://prestelpublishing.randomhouse.de/book/Georgia-OKeeffe/Wanda-Corn/Prestel-com/e516673.rhd A video of Wanda's exhibition: https://www.youtube.com/watch?v=zTYqxARzOlchttps://www.brooklynmuseum.org/exhibitions/touring/georgia_okeeffe_living_modern https://www.waterstones.com/book/the-great-american-thing/wanda-m-corn/9780520231993 https://www.okeeffemuseum.org/ https://www.youtube.com/watch?v=quG3EHonOns https://www.youtube.com/watch?v=5v8E7460eTU Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

“I love the same things you do about New England. I just reflect on them in a different light.” As a lifelong resident of New England I understand the visual and spiritual beauty of this place we call home. I feel connected to the varied landscapes from the ocean edge to inland forests and waterways. Our beautiful environments are so valuable to protect and appreciate to provide the same memorable experiences for our children and grandchildren. I’d love for them have the same sense of awe I have experienced as they treasure the landscape in their own way. My art-making process results in a semi abstract approach to developing a painting. I take notes by sketching both on-site and in my studio, taking photos, and by simply looking in order to collect images and feelings about particular places or relationships. I then develop these by working in sketchbooks to cull the most important aspects and recombine them into designs that speak to me and hopefully to my followers and fans as well. I intentionally work in a different/unexpected manner to develop a fresh way of presenting commonly seen views and situations–interpreting them through my personal filter of color, line, and design–to create something new that resonates with viewers. I hope to reflect a unique idea about the things that capture my attention. I admire many historic and contemporary painters, craftsmen, and styles including Fairfield Porter, Andrew Wyeth, Pablo Picasso, Georgia O’Keeffe, Mary Cassatt, Winslow Homer, Tomie DiPaola, Ludwig Bemelmans, Henry Moore sculptures, Inuit sculptures, Aboriginal art, and current artists Paul Resika, Eric Aho, Danny McCaw, Wolf Khan, Emily Mason, Nicholas Wilton and many more. Each has influenced my work in a way that can be difficult to define but I remember being intensely influenced by their work while trying to find my own voice.

It's late and I have way too much fun reading comments about Bill Lee and they cracked me up. So I figured I would share but you can insert any politicians name if you'd like. Man's true problem is that he's too short-sighted. “If I can't work by myself for a year with no stimulus other than what I can get from books, distant friends, and from my own fun in living, I'm not worth much.” - Georgia O'keeffe --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Carrie Moyer. Photo credit: © Girl Ray, 2016 Carrie Moyer is an artist and writer known for her sumptuous paintings which explore and extend the legacy of American Abstraction, while paying homage to many of its groundbreaking female figures, among them Georgia O’Keeffe, Helen Frankenthaler and Elizabeth Murray. In equal measure abstract and representational, Moyer’s work proposes a kaleidoscopic worldview that embraces the sensual as much the rational. Playful logo-like silhouettes — vessels, towers, portals, meteorological phenomena, plant life, animal and human forms — demarcate arched prosceniums or abstract fields of color. These flattened archetypes and cheeky reference points often perform as compositional rigging around which flow cascades of paint, glitter and light. Whether invoking the natural or constructed world, inventive paint handling and succulent color seem to tempt all of the viewer’s senses, from sight to touch to taste (perhaps even sound!). The resulting spaces — lush and transporting — are uniquely Moyer’s own.Moyer’s work has been exhibited throughout the US and Europe. Her paintings were featured in the 2017 Whitney Biennial. Previous museum shows include a traveling survey, Carrie Moyer: Pirate Jenny, that originated at the Tang Museum, Saratoga Springs, NY; and Interstellar, at the Worcester Art Museum, MA (2012). Between 1991-2008, Moyer and photographer Sue Schaffner collaborated as Dyke Action Machine!, a public art project that humorously dissected mainstream advertising through the insertion of lesbian imagery. Moyer’s writing has appeared in periodicals such as Art in America, Artforum, the Brooklyn Rail and monographs on Louise Fishman and Nancy Grossman. She has received awards from the Guggenheim and Joan Mitchell Foundations, Anonymous Was a Woman, and Creative Capital among others. Moyer attended Pratt Institute (BFA), Milton Avery Graduate School of the Arts, Bard College (MFA) and the Skowhegan School of Art. She is of the Director of MFA Program in Studio Art at Hunter College. Moyer is represented by DC Moore Gallery in New York City. The collaborative exhibition mentioned in the interview can be explored through this link to the Portland Museum. Carrie Moyer, “Fan Dance at the Golden Nugget,” 2017. Acrylic, glitter on canvas. Collection of the Des Moines Art Center, Des Moines, IA Carrie Moyer, “The Crux,” 2006. Acrylic on canvas. Private collection

When we think of Georgia O’Keeffe, paintings like White Rose with Larkspur No 2 pop to mind. They rouse realistic flora with a fantasy feel. O’Keeffe zooms in tight. So, it’s like the flower took a selfie. Many focus on the feminine aspect of this. After all, these flowers seem vulnerable, pure, and enticing. It’s a combination that feels female. There’s innocence in these images even as they draw us into their most private parts. Before O’Keeffe few artists portrayed floral depth with such detail. It’s why so many speak of the sensuality of O’Keeffe’s work. But that’s only a tiny part of the wonder in her paintings. Let’s not narrow our lens to a mere sliver of the unknown worlds she’s created. In many ways these are more landscape than portrait. Learn more about this and other masterpieces with a click through to LadyKflo's site. https://www.ladykflo.com/white-rose-with-larkspur-no-2-georgia-okeeffe/

In New York City, sometime around the beginning of the twentieth century, a young art student sat for a portrait. The artist who painted this portrait won a prestigious award for that portrait. The young woman who sat for the portrait suddenly became a sought-after model. She could actually earn money sitting for portraits. She needed that money. Her family was poor, and art school -- especially art school in New York City -- was expensive. But she decided to never model again. The tough decision that made a good artist a great artist This young artist later recalled the moment she decided to stop sitting for portraits. She drew a line down the middle of a sheet of paper, so that there were now two columns. At the top of one column, she wrote “yes.” At the top of the other column, she wrote “no.” She said, “The essential question was always, if you do this, can you do that?” Here’s one thing that probably focused her attention on the question of whether or not she could keep modeling: She had skipped class to sit for that prize-winning portrait. So, if she was going to model, could she go to class? If she was going to model, could she put in the work necessary to achieve her dream of becoming a great artist? Her answer was, “no,” she could not keep modeling. And art history should thank her for it. Her name was Georgia O’Keeffe, and she lived on to become one of the greatest artists of the twentieth century. One of her paintings was sold at auction several years ago for more than forty million dollars. The unearned can hurt more than it helps I don’t want to assume that because O’Keeffe is one of my favorite artists -- not just for her work but also for her contrarian personality -- that you, too know who I’m talking about. You’ve seen her work: abstract close-ups of flowers and cattle skulls, paintings of the desert landscape surrounding the New Mexico estate where she spent most of her time. This story about quitting modeling has one good lesson in it: That if you want to be great at something, you sometimes have to quit something else that you’re merely good at. That’s a valuable lesson. It’s the obvious one. It’s not the lesson I want to talk about. I want to talk about the unearned. That when you accept something you didn’t earn, it often hurts you more than it helps you. Money you didn’t earn will make you foolish with finances. Flattery you didn’t earn will make you settle for mediocrity. Power you didn’t earn will disconnect you from reality. If you want to become great at what you do, you have to be on the lookout for the unearned. You have to shun the unearned. The unearned is an easy path to mediocrity When I tweeted about the dangers of the unearned, most people agreed. Some people were suspicious. “What about Universal Basic Income?,” they’d say. I don’t have an opinion on Universal Basic Income. I haven’t thought about it enough. But this is not about Universal Basic Income. As I understand it UBI would be about getting your basic needs met. Do you have a roof over your head, and food in your stomach? Having a roof over your head and food in your stomach is a good thing, especially if you don’t have to work for it. But beyond that, the unearned becomes dangerous. When I’m talking about the dangers of the unearned, I’m not talking about the basics. When you have your basic needs met, it’s an easy path to mediocrity. I don’t mean that in a bad way. I happen to think it would be nice if we lived in a society where more people could get by being mediocre. That competition wouldn’t be so fierce that you need to be the very best in your field to have a chance at survival. But, this isn’t about basic needs. This isn’t about mediocrity. The unearned is an easy path to mediocrity, and that’s fine. But if you want to be great, you need to be on the lookout for the unearned. The unearned is an easy path to mediocrity, but the unearned is an obstacle to mastery. The great Georgia O’Keeffe shunned the unearned Yes, Georgia O’Keeffe could have “earned” money sitting for portraits in the sense that she would be doing the work of sitting. But she didn’t want it. Much of what she would have “earned” would have been unearned. What Georgia didn’t earn was being an attractive young woman, that people wanted to paint portraits of. That didn’t get her much in the early 1900’s. She couldn’t even vote. She was a young woman, trying to make it as an artist in America. At the time, that was unheard of. Georgia instinctively knew the dangers of what she could get being an attractive young woman, and she actively rejected those things. Even then she was already dressing daily in her trademark black frock. She sewed them herself, and they happened to have the effect of hiding her figure. As Georgia grew into a famous artist, she consistently shunned the unearned when others tried to categorize her not just as an artist, but as a “woman artist.” When Peggy Guggenheim invited Georgia to exhibit her work in a show of women painters, Georgia rejected the invitation and proclaimed, “I am not a woman painter!” What would have been the harm of Georgia exhibiting in a collection of women artists? Certainly her achievements as an artist were more difficult because of her standing in society as a woman. But she still saw exhibitions like this as the unearned. It would cloud her judgement of what really mattered. What really mattered was not being a great “woman artist.” What really mattered was being a great artist. The artist whose work was forgotten We normally don’t think that someone in a marginalized class as getting much of anything unearned. So maybe the dangers of the unearned will be more clear if we look at the man who painted that prize-winning portrait of Georgia which launched her potential modeling career. The painter of that portrait was a classmate of Georgia’s. He also went on to become a successful painter. He studied in Paris, he won numerous awards, he rubbed shoulders with the great painters of his time. People like Robert Henri and Edward Hopper. He was regularly commissioned to paint portraits of famous actors. He was inducted into the National Academy of Design, which includes members such as architects Frank Ghery and Frank Lloyd Wright. At the height of his fame, Esquire magazine named him America’s most important living artist. His name was Eugene Speicher Ever heard of him? Me neither. After a successful career as an artist in his lifetime, Speicher has been forgotten. His work used to be exhibited in New York’s Museum of Modern Art, and in the Metropolitan Museum of Art. Today, most of his work has been sold off to smaller museums, or taken off display. In 2014, as one of Georgia O’Keeffe’s paintings was being sold for more than forty million dollars, one museum in New York did hold a retrospective exhibition of Speicher’s work. No, it wasn’t the Met or the Guggenheim. It was a small museum, somewhere between Manhattan and Albany. The big question behind this exhibition: How is it possible that Eugene Speicher was so successful and famous during his lifetime, only to be -- as one critic put it -- “virtually erased from the canon of American art history.” In articles about the exhibition, critics threw about theories: Was it because he switched from portraiture to landscape painting? Was it the financial pressures of supporting a family? It’s funny, in terms of the impact of his art, Speicher didn’t achieve mastery like Georgia did. You could say he achieved mediocrity. He embraced the unearned and stayed mediocre I have a theory why Speicher’s work was forgotten: He never got really good. He didn’t shun the unearned. Worse yet, Speicher embraced the unearned. To say Eugene Speicher has been forgotten is an exaggeration. He does live on in art history for one incident. This incident supports my theory. When Speicher asked Georgia to sit for what would become a prize-winning portrait, Georgia hesitated. She wasn’t sure it was worth skipping class to sit for that portrait. And that’s when Speicher showed his true colors. Georgia later recalled what Speicher said: “It doesn’t matter what you do, I’m going to be a great painter, and you will probably end up teaching painting in some girls’ school.” Talk about not shunning the unearned. Speicher thought he could shovel the unearned into his coffers. He knew that just because he was a man, he had a better shot at making it as an artist than Georgia had. The unearned: An easy path to mediocrity, an obstacle to mastery Look at these two differing attitudes when it comes the unearned: Georgia didn’t even want to sit for portraits. It may have helped pay for art school tuition, but it was going to take away from the work that mattered. The work of becoming a great artist. Speicher thought that, because he was a man, he was entitled to a successful career as an artist. Speicher floated through his career, earning commissions, being invited to display his work in exhibitions. He was good enough to get a little further, with the help of the unearned. Georgia didn’t want a single thing she didn’t earn. Because she didn’t have money -- not even the money she could have made sitting for portraits -- she had to drop out of art school and leave New York. She supported herself through various jobs around the country. It probably looked like Speicher was right, at least for a little while, one of those jobs was, indeed, teaching at some girls’ school. But, Georgia got the last laugh. Eugene Speicher -- well, the thing he’s most famous for today -- is that he painted a portrait of one of the twentieth century’s greatest artists. Images: Revolution of the Viaduct, Paul Klee; [Georgia O’Keeffe (“Patsy”), Eugene Speicher]; [Jimson Weed/White Flower No. 1*, Georgia O’Keeffe] Thanks for sharing my work! On Twitter, thank you to @jovvvian, @allenthird, @niceguylife2, and @coreyhainesco.   My Weekly Newsletter: Love Mondays Start off each week with a dose of inspiration to help you make it as a creative. Sign up at: kadavy.net/mondays About Your Host, David Kadavy David Kadavy is the author of The Heart to Start and Design for Hackers. Through the Love Your Work podcast, his Love Mondays newsletter, and self-publishing coaching David helps you make it as a creative. Follow David on: Twitter Instagram Facebook YouTube Subscribe to Love Your Work Apple Podcasts Overcast Spotify Stitcher YouTube RSS Email Support the show on Patreon Put your money where your mind is. Patreon lets you support independent creators like me. Support now on Patreon »     Show notes: http://kadavy.net/blog/posts/shun-the-unearned/ 

In 1912, at age 24, Georgia O’Keeffe boarded a train in Virginia and headed west, to the prairies of the Texas Panhandle, to take a position as art teacher for the newly organized Amarillo Public Schools. Subsequently she would join the faculty at what was then West Texas State Normal College (now West Texas A&M University). Already a thoroughly independent-minded woman, she maintained an active correspondence with her future husband, photographer Alfred Stieglitz, and other friends back east during the years she lived in Texas. In Georgia O'Keeffe's Wartime Texas Letters (Texas A&M UP, 2020), Amy Von Lintel brings to readers the collected O’Keeffe correspondence and added commentary and analysis, shining fresh light on a period of the artist’s life she characterizes as “some of the least appreciated in the vast O’Keeffe scholarship,” but also as “a time when she discovered her own voice as a young, successful, and independent woman . . . a dedicated faculty member at a brand-new college . . . a vibrant social butterfly . . . a progressive woman who spoke her mind and fought for her beliefs to be heard.” Although selected paintings by O’Keeffe that support the narrative are featured, this work focuses on O’Keeffe’s words. By doing so, Von Lintel aims to allow the artist’s voice to “emerge as a powerful witness of her own life, but also of western America in a pivotal moment of its development.” The result is an important new examination of one of our most beloved artists during a time when she was in the process of discovering her future identity. Amy Von Lintel is the Doris Alexander Endowed Professor of Fine Arts at West Texas A&M University. She is the author of Georgia O’Keeffe: Watercolors and coauthor of Robert Smithson in Texas. She resides in Amarillo, Texas. Kirstin L. Ellsworth is an Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1912, at age 24, Georgia O’Keeffe boarded a train in Virginia and headed west, to the prairies of the Texas Panhandle, to take a position as art teacher for the newly organized Amarillo Public Schools. Subsequently she would join the faculty at what was then West Texas State Normal College (now West Texas A&M University). Already a thoroughly independent-minded woman, she maintained an active correspondence with her future husband, photographer Alfred Stieglitz, and other friends back east during the years she lived in Texas. In Georgia O'Keeffe's Wartime Texas Letters (Texas A&M UP, 2020), Amy Von Lintel brings to readers the collected O’Keeffe correspondence and added commentary and analysis, shining fresh light on a period of the artist’s life she characterizes as “some of the least appreciated in the vast O’Keeffe scholarship,” but also as “a time when she discovered her own voice as a young, successful, and independent woman . . . a dedicated faculty member at a brand-new college . . . a vibrant social butterfly . . . a progressive woman who spoke her mind and fought for her beliefs to be heard.” Although selected paintings by O’Keeffe that support the narrative are featured, this work focuses on O’Keeffe’s words. By doing so, Von Lintel aims to allow the artist’s voice to “emerge as a powerful witness of her own life, but also of western America in a pivotal moment of its development.” The result is an important new examination of one of our most beloved artists during a time when she was in the process of discovering her future identity. Amy Von Lintel is the Doris Alexander Endowed Professor of Fine Arts at West Texas A&M University. She is the author of Georgia O’Keeffe: Watercolors and coauthor of Robert Smithson in Texas. She resides in Amarillo, Texas. Kirstin L. Ellsworth is an Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1912, at age 24, Georgia O’Keeffe boarded a train in Virginia and headed west, to the prairies of the Texas Panhandle, to take a position as art teacher for the newly organized Amarillo Public Schools. Subsequently she would join the faculty at what was then West Texas State Normal College (now West Texas A&M University). Already a thoroughly independent-minded woman, she maintained an active correspondence with her future husband, photographer Alfred Stieglitz, and other friends back east during the years she lived in Texas. In Georgia O'Keeffe's Wartime Texas Letters (Texas A&M UP, 2020), Amy Von Lintel brings to readers the collected O’Keeffe correspondence and added commentary and analysis, shining fresh light on a period of the artist’s life she characterizes as “some of the least appreciated in the vast O’Keeffe scholarship,” but also as “a time when she discovered her own voice as a young, successful, and independent woman . . . a dedicated faculty member at a brand-new college . . . a vibrant social butterfly . . . a progressive woman who spoke her mind and fought for her beliefs to be heard.” Although selected paintings by O’Keeffe that support the narrative are featured, this work focuses on O’Keeffe’s words. By doing so, Von Lintel aims to allow the artist’s voice to “emerge as a powerful witness of her own life, but also of western America in a pivotal moment of its development.” The result is an important new examination of one of our most beloved artists during a time when she was in the process of discovering her future identity. Amy Von Lintel is the Doris Alexander Endowed Professor of Fine Arts at West Texas A&M University. She is the author of Georgia O’Keeffe: Watercolors and coauthor of Robert Smithson in Texas. She resides in Amarillo, Texas. Kirstin L. Ellsworth is an Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1912, at age 24, Georgia O’Keeffe boarded a train in Virginia and headed west, to the prairies of the Texas Panhandle, to take a position as art teacher for the newly organized Amarillo Public Schools. Subsequently she would join the faculty at what was then West Texas State Normal College (now West Texas A&M University). Already a thoroughly independent-minded woman, she maintained an active correspondence with her future husband, photographer Alfred Stieglitz, and other friends back east during the years she lived in Texas. In Georgia O'Keeffe's Wartime Texas Letters (Texas A&M UP, 2020), Amy Von Lintel brings to readers the collected O’Keeffe correspondence and added commentary and analysis, shining fresh light on a period of the artist’s life she characterizes as “some of the least appreciated in the vast O’Keeffe scholarship,” but also as “a time when she discovered her own voice as a young, successful, and independent woman . . . a dedicated faculty member at a brand-new college . . . a vibrant social butterfly . . . a progressive woman who spoke her mind and fought for her beliefs to be heard.” Although selected paintings by O’Keeffe that support the narrative are featured, this work focuses on O’Keeffe’s words. By doing so, Von Lintel aims to allow the artist’s voice to “emerge as a powerful witness of her own life, but also of western America in a pivotal moment of its development.” The result is an important new examination of one of our most beloved artists during a time when she was in the process of discovering her future identity. Amy Von Lintel is the Doris Alexander Endowed Professor of Fine Arts at West Texas A&M University. She is the author of Georgia O’Keeffe: Watercolors and coauthor of Robert Smithson in Texas. She resides in Amarillo, Texas. Kirstin L. Ellsworth is an Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1912, at age 24, Georgia O’Keeffe boarded a train in Virginia and headed west, to the prairies of the Texas Panhandle, to take a position as art teacher for the newly organized Amarillo Public Schools. Subsequently she would join the faculty at what was then West Texas State Normal College (now West Texas A&M University). Already a thoroughly independent-minded woman, she maintained an active correspondence with her future husband, photographer Alfred Stieglitz, and other friends back east during the years she lived in Texas. In Georgia O'Keeffe's Wartime Texas Letters (Texas A&M UP, 2020), Amy Von Lintel brings to readers the collected O’Keeffe correspondence and added commentary and analysis, shining fresh light on a period of the artist’s life she characterizes as “some of the least appreciated in the vast O’Keeffe scholarship,” but also as “a time when she discovered her own voice as a young, successful, and independent woman . . . a dedicated faculty member at a brand-new college . . . a vibrant social butterfly . . . a progressive woman who spoke her mind and fought for her beliefs to be heard.” Although selected paintings by O’Keeffe that support the narrative are featured, this work focuses on O’Keeffe’s words. By doing so, Von Lintel aims to allow the artist’s voice to “emerge as a powerful witness of her own life, but also of western America in a pivotal moment of its development.” The result is an important new examination of one of our most beloved artists during a time when she was in the process of discovering her future identity. Amy Von Lintel is the Doris Alexander Endowed Professor of Fine Arts at West Texas A&M University. She is the author of Georgia O’Keeffe: Watercolors and coauthor of Robert Smithson in Texas. She resides in Amarillo, Texas. Kirstin L. Ellsworth is an Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices

Georgia O’Keeffe (1887 - 1986) é tida como a mãe do Modernismo americano. Georgia achou seu lugar na arte quando desistiu de simplesmente copiar a natureza, dando espaço para a subjetividade em suas telas. Morou anos no deserto, de onde tirou inspiração para muitas obras.

Sam Patania took the time to come to the Medicine Man Gallery Studio for this episode of the Art Dealer Diaries. We've been kinda slow, hunkering down through quarantine, so it was wonderful to spend an hour and talk face to face with an actual human being. One of the best silversmiths in the business, Sam's has an amazing family history. He's a third-generation silversmith whose grandfather, Frank Patania Sr, opened the Thunderbird Shop in 1927 in Santa Fe and not long after that in 1937, came to Tucson. His grandfather was an immigrant with a third-grade education who came from Italy and ended up being friends with Georgia O'Keeffe and having dinners at La Fonda with Robert Oppenheimer. So for the people listening that are really into Patania jewelry or silversmiths in general, this will be very interesting for you all as we go through a lot of the Patania history, types of hallmarks used during different time frames, and the artistic process of one of the best silversmith's in the business.

Georgia O'Keeffe was a modernist woman before her time. Her art was both controversial and personal. Join us in learning about the Mother of American Modernism. #feminism #o'keeffemuseum #stieglitz #NewMexico #theartinstituteofchicago #vaginaflowers #georgia #presidentialmedaloffreedom #modernism #fiskuniversity #jimsonweed RESOURCES: ArtFund UK The Georgia O’Keeffe Museum of New Mexico Georgia O’Keeffe short film by Lisa Vreeland “360 Journey Inside the World of Georgia O’Keeffe” by Happy Finish “Georgia O’Keeffe” by Randall Griffin, published by Phaidon “Studies in the Psychology of Sex”; Havelock Ellis www.georgiaokeeffe.net

In Episode 25 of The Great Women Artists Podcast, Katy Hessel interviews the world-renowned writer and critic, OLIVIA LAING on Chantal Joffe, Sarah Lucas, and Ana Mendieta! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] And WOW. Was it an honour to interview Olivia: one of the greatest writers working today and the author of some of my favourite books: To The River, The Trip to Echo Spring, Crudo, and The Lonely City, which explores artists’ loneliness in New York City – the most powerful book I have ever read (http://olivialaing.co.uk/lonely-city). Just last month she published an outstanding – and very timely – collection of essays titled Funny Weather: Art in an Emergency, which features in-depth essays about artists’ lives, from Derek Jarman to Georgia O’Keeffe, love letters to the likes of David Bowie, plus her encounters and friendships with Chantal Joffe and Sarah Lucas! https://www.panmacmillan.com/authors/olivia-laing/funny-weather/9781529027648 SO, in this episode – a little different to previous ones – we talk to Olivia about her top three female artists, and wow did she speak eloquently, passionately, enthusiastically, and just brilliantly about these PIONEERING artists. We deep dive into her friendship with painter Chantal Joffe, whom Olivia has sat for on multiple occasions, and who she has also written about sitting for too! (Check out one of her essays here: https://www.theguardian.com/books/2018/may/12/chantal-joffe-paints-olivia-laing-mutual-portraits-words-and-paint) When asked about how Chantal captures people she says: "it's more that she sees a changing self. Every painting she does. It's very Virginia Woolf, the sense of somebody being so fluid through time in history, somebody moving so sinuously into different selves." Then we speak about the GENIUS who is Sarah Lucas. We discuss the immediacy of her work; how her sculptures make us feel and give precedent to how we inhabit our bodies; their POWER, humour, and comments on society. Finally we end with the great Ana Mendieta. One of the most important artists of the 20th century, Mendieta was known for exploring the body and identity through her performative and photographic works, that confront us directly as viewers: furiously, immediately, powerfully. It was a complete honour to speak with Olivia Laing, one of the greatest writers living right now. Further reading: http://olivialaing.co.uk/home I hope you enjoy the episode! This episode is sponsored by Alighieri  https://alighieri.co.uk/ @alighieri_jewellery Use the code: TGWA for 10% off!  Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield

Scorpio Full Moon I harness.  I release.  I transform. Heightened emotion and psychic receptivity. Long kept secrets revealed. This Scorpio Full Moon will likely dig up some Deeper Truths. If these new discoveries are painful or bring up uncomfortable emotions, trust that whatever arises is meant to be illuminated for the evolution and realignment of you.In the world around us, this Scorpio Full Moon may have us all feeling a bit more intense or sensitive, as we are highly attuned to unseen forces at play. This makes us quite adept in our ability to peer into the mysteries of it all. New information is likely to emerge around themes of sexuality and power, particularly as it relates to government, authority, career, and the environment (Scorpio's ruling planet Pluto is in Capricorn). Be mindful of who you interact and engage with around these topics. You may be more magnetically drawn toward outdated patterns: self-sabotage, drugs and alcohol, power dynamics, sexual compulsion, co-dependency, obsession, conspiracy, secrecy and even manipulation. With sharp discernment and precision, consciously focus your energy on healing. By doing so, you hold space (Fixed) for the emotional transformation (Water) to occur. *Use the 'King of Cups' in the tarot to meditate on the Fixed Water embodiment.The Fixed Water modality of the Scorpio Full Moon can have of us holding on to emotion. This lower vibration of Fixed Water manifests as depression, repressed rage, jealousy, holding grudges, seeking revenge, or trying to gain control or power over our emotions. If this is the case, spend time with or around water to help you release any stagnation. We may also be more susceptible to storing other people's emotions or energies. Be weary of "energy vampires" or toxic individuals or environments. Practice spiritual hygiene. Set clear boundaries. Be sure to cleanse your space and call upon assistance from your guides.What parts of yourself are ready to die? Tune in and acknowledge these parts. But be gentle. Death is a slow and sensual process. Find a healthy outlet for processing the grief of this death-rebirth cycle. Ritual, ancestral work, altar building, tarot reading, journaling, therapy, deep conversations with a trusted friend, sexual healing, and ceremonial expression like painting, poetry, chanting, or music are all highly recommended at this time.This is also a great time to be alone. Scorpio energy invites us into a more internal landscape. What would Georgia O'Keeffe do? (Cosmic Cousin's 'Queen of Scorpio'). O'Keeffe left New York City and moved to the middle of the desert where she transformed her grief into beautiful portraits of bones, landscapes, and flowers–reflecting on themes of Life & Death. Allow her life to be a metaphor of how to navigate the energies of the Full Moon. Deepen your esoteric studies or creative pursuits. Engage with and honor the four elements. Light a candle. Take a bath. Massage your body. Take deep breathes. If able, spend time in nature. She is here to help us with this transformation. Blessed be!________________________________________ NEW WORKSHOP DOWNLOAD“SATURN LESSONS: COMMIT TO YOUR HIGHER-SELF”  PRE-ENROLLMENT OPEN In my own practice, I refer to Saturn as the “Planet of Spiritual Adult-ing”. Saturn’s placement in your Birth Chart will indicate where soul-growth occurs throughout your lifetime, encouraging you to step up to the podium of your “Higher Self”.I believe this workshop to be quite timely, as Saturn has now moved into the Collective Air sign of Aquarius. We have strongly been feeling this transition globally, as the world has shifted due to Covid-19.Saturn in Aquarius is an invitation for us to commit to humanity, take responsibility for community, and to use the internet like an adult. Aquarius also rules over astrology, offering us a deeper invitation toward engaging with astrology as a tool to be taken seriously.If you are longing to go deeper with Saturn, this workshop is for you. In this 3-hour Download we cover + review the following: The mythology of Saturn Saturn as the ‘Higher Self’ Saturn + Tarot Ritual Saturn Return Saturn Retrograde Saturn in Aquarius 2020 - 2022 Saturn + Jupiter conjunction Saturn through all 12-signs All of this comes to you through a soul-centered holistic astrological perspective. This 3-hour Workshop Download is released on May 11, 2020. To find out why I chose this date intentionally, click here. Pre-enrollment is now open. Receive a discounted rate if you purchase on or before May 11, 2020.What an honor to be here with you in this way! ⏳   ________________________   This Scorpio Full Moon would also be a wonderful time to dive deep into Black Moon Lilith themes of sexuality and rage. In this 4-hour Workshop Download – "BLACK MOON LILITH: Unleash the Queer Witch in Your Chart" – you will upgrade your current understanding of Black Moon Lilith. Learn how to utilize this placement in your chart as vocabulary to bring about deeper healing + insight to sexuality, queerness, mother, and parts of you repressed by our modern patriarchal society.    ________________________   Sign-up for Mailing List – Newsletter. Black Moon Lilith: Unleash the Queer Witch in your Chart Astrology Reading Tarot Healing Session ZODIAC EMOJI Patreon for Cosmic Cousins. Instagram for Cosmic Cousins. Twitter for Cosmic Cousins. YouTube for Cosmic Cousins

Like the better-known and perhaps luckier Georgia O’Keeffe, the American painter Agnes Pelton also found her unique vision in the western desert. As Mari Coates details in our conversation, Pelton and O’Keeffe took art classes from the same teacher and had parallel careers in several ways, yet Pelton is relatively unknown despite a number of major exhibitions during her lifetime and one traveling the United States even as this interview airs. But Pelton’s time in the California desert is only a small part of the captivating story traced in The Pelton Papers (She Writes Press, 2020). Born in Germany, where her ex-pat parents connected while escaping family scandals and tragedies, Pelton came to New York at the age of seven. A sickly girl in a dark and brooding house, she survived her childhood with a deeply religious grandmother, an absent father, a strong-minded mother who supported the family by giving music lessons, and no social life to speak of by losing herself in colors and paint. That set her on a path that led, through training in modernism and more traditional instruction in Italy, to a deeply spiritual, intensely personal understanding of her own artistic mission. In this beautifully written novel, Mari Coates—whose own family had a long and productive friendship with Pelton—draws on stories she heard growing up and numerous other sources to portray an emotionally complex, sometimes troubled, but always gifted heroine whose resilience and eventual triumph will warm your heart. C. P. Lesley is the author of ten novels, including Legends of the Five Directions, a historical fiction series set during the childhood of Ivan the Terrible. Her latest book, Song of the Shaman, appeared in 2020. Find out more about her at http://www.cplesley.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Like the better-known and perhaps luckier Georgia O’Keeffe, the American painter Agnes Pelton also found her unique vision in the western desert. As Mari Coates details in our conversation, Pelton and O’Keeffe took art classes from the same teacher and had parallel careers in several ways, yet Pelton is relatively unknown despite a number of major exhibitions during her lifetime and one traveling the United States even as this interview airs. But Pelton’s time in the California desert is only a small part of the captivating story traced in The Pelton Papers (She Writes Press, 2020). Born in Germany, where her ex-pat parents connected while escaping family scandals and tragedies, Pelton came to New York at the age of seven. A sickly girl in a dark and brooding house, she survived her childhood with a deeply religious grandmother, an absent father, a strong-minded mother who supported the family by giving music lessons, and no social life to speak of by losing herself in colors and paint. That set her on a path that led, through training in modernism and more traditional instruction in Italy, to a deeply spiritual, intensely personal understanding of her own artistic mission. In this beautifully written novel, Mari Coates—whose own family had a long and productive friendship with Pelton—draws on stories she heard growing up and numerous other sources to portray an emotionally complex, sometimes troubled, but always gifted heroine whose resilience and eventual triumph will warm your heart. C. P. Lesley is the author of ten novels, including Legends of the Five Directions, a historical fiction series set during the childhood of Ivan the Terrible. Her latest book, Song of the Shaman, appeared in 2020. Find out more about her at http://www.cplesley.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Travel writer Nancy Mueller shares her recent experience at beautiful Ghost Ranch, just 65 miles northwest of Santa Fe, New Mexico. Once the summer home of legendary artist Georgia O’Keeffe, today the 21,000-acre property serves as a retreat and education center offering tours, special events, and workshops designed to restore and renew body, mind, and spirit. Nancy is the publisher of www.WanderBoomer.com, and is a long-time member of the International Food Wine & Travel Writers Association (IFWTWA) - www.IFWTWA.org. Read her Ghost Ranch story: https://nationalparktraveling.com/listing/channeling-georgia-okeefe/

Like the better-known and perhaps luckier Georgia O’Keeffe, the American painter Agnes Pelton also found her unique vision in the western desert. As Mari Coates details in our conversation, Pelton and O’Keeffe took art classes from the same teacher and had parallel careers in several ways, yet Pelton is relatively unknown despite a number of major exhibitions during her lifetime and one traveling the United States even as this interview airs. But Pelton’s time in the California desert is only a small part of the captivating story traced in The Pelton Papers (She Writes Press, 2020). Born in Germany, where her ex-pat parents connected while escaping family scandals and tragedies, Pelton came to New York at the age of seven. A sickly girl in a dark and brooding house, she survived her childhood with a deeply religious grandmother, an absent father, a strong-minded mother who supported the family by giving music lessons, and no social life to speak of by losing herself in colors and paint. That set her on a path that led, through training in modernism and more traditional instruction in Italy, to a deeply spiritual, intensely personal understanding of her own artistic mission. In this beautifully written novel, Mari Coates—whose own family had a long and productive friendship with Pelton—draws on stories she heard growing up and numerous other sources to portray an emotionally complex, sometimes troubled, but always gifted heroine whose resilience and eventual triumph will warm your heart. C. P. Lesley is the author of ten novels, including Legends of the Five Directions, a historical fiction series set during the childhood of Ivan the Terrible. Her latest book, Song of the Shaman, appeared in 2020. Find out more about her at http://www.cplesley.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode features bestselling author, marketing executive and television producer Josh Sabarra. Josh appeared regularly as a correspondent on Twentieth Television’s The New Ricki Lake Show, where he was also a consulting producer. In addition, he is a frequent on-air contributor to CNN Headline News and the executive producer of the hit Hallmark movie series Hailey Dean Mysteries. His debut novel, Enemies Closer, as well as his first book, Porn Again: A Memoir, are available worldwide. His writing can also be found in outlets including the HuffPost, The Advocate, Out and Gay Times (U.K.). A veteran marketing, publicity and corporate communications executive with comprehensive management experience in theatrical motion pictures, television and home entertainment, Sabarra is highly skilled in all aspects of entertainment public relations. With an extensive network of filmmaker, talent and press contacts across trade and consumer outlets (print, broadcast and online/social media), he is expert at handling corporate and crisis communications, media training, personal/product publicity and image development through his firm, Breaking News PR ®. Most recently, Sabarra served as senior vice president of corporate communications and publicity for A&E/Lifetime Networks, responsible for the high profile and successful launches of such series as Project Runway and Sony’s hit comedic drama Drop Dead Diva. In addition, he oversaw top-rated movie projects including Coco Chanel (starring Shirley MacLaine), Living Proof (starring Harry Connick, Jr.), Prayers for Bobby (starring Sigourney Weaver) and Georgia O’Keeffe (starring Joan Allen and Jeremy Irons). As senior vice president of marketing communications and publicity for New Line Cinema/Home Entertainment, Sabarra spearheaded campaigns for blockbuster films including Elf, The Lord of the Rings, The Notebook, Wedding Crashers and Hairspray. Previously, as vice president of media relations at Miramax Films, he handled a variety of special projects and film launches including Kill Bill, The Station Agent and Cold Mountain. Prior to his executive role at Miramax Films, Sabarra was director of publicity and communications for Warner Home Video, where he oversaw campaigns for the Harry Potter franchise and studio classics such as Willy Wonka & The Chocolate Factory and Giant. Beginning his career with Buena Vista Pictures Marketing (Walt Disney Pictures and Touchstone Pictures), Sabarra worked on theatrical publicity campaigns for box-office hits Hercules, Mulan, Armageddon, Toy Story 2 and The Sixth Sense, among many others. Josh Sabarra graduated from the University of Miami in Coral Gables, Florida, with a dual degree in Motion Pictures/Communications and Psychology. He resides in Los Angeles, California.

Like the better-known and perhaps luckier Georgia O’Keeffe, the American painter Agnes Pelton also found her unique vision in the western desert. As Mari Coates details in our conversation, Pelton and O’Keeffe took art classes from the same teacher and had parallel careers in several ways, yet Pelton is relatively unknown despite a number of major exhibitions during her lifetime and one traveling the United States even as this interview airs. But Pelton’s time in the California desert is only a small part of the captivating story traced in The Pelton Papers (She Writes Press, 2020). Born in Germany, where her ex-pat parents connected while escaping family scandals and tragedies, Pelton came to New York at the age of seven. A sickly girl in a dark and brooding house, she survived her childhood with a deeply religious grandmother, an absent father, a strong-minded mother who supported the family by giving music lessons, and no social life to speak of by losing herself in colors and paint. That set her on a path that led, through training in modernism and more traditional instruction in Italy, to a deeply spiritual, intensely personal understanding of her own artistic mission. In this beautifully written novel, Mari Coates—whose own family had a long and productive friendship with Pelton—draws on stories she heard growing up and numerous other sources to portray an emotionally complex, sometimes troubled, but always gifted heroine whose resilience and eventual triumph will warm your heart. C. P. Lesley is the author of ten novels, including Legends of the Five Directions, a historical fiction series set during the childhood of Ivan the Terrible. Her latest book, Song of the Shaman, appeared in 2020. Find out more about her at http://www.cplesley.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Nancy J. Reid and Lisa D. Smith, the mother-daughter travel team on the Love Your Parks Tour and publishers of Big Blend Magazines, for Big Blend Radio’s 2nd Friday Food, Wine & Travel Show broadcasting live from Homestead Inn in 29 Palms, California.  On This Episode: - Ghost Ranch in New Mexico - Travel writer Nancy Mueller shares her recent experience at Ghost Ranch. Once the summer home of artist Georgia O’Keeffe, today the 21,000-acre property serves as a retreat and education center offering tours, special events, and workshops designed to restore and renew body, mind, and spirit. Nancy publishes WanderBoomer.com, and is a member of the International Food Wine & Travel Writers Association (IFWTWA). - California’s Sequoia Country- Spotlight on post COVID-19 summer and fall travel in Tulare County, central California, home to Sequoia & Kings Canyon National Parks, Giant Sequoia National Monument and the Sequoia National Forest. Featured guests from the Sequoia Tourism Council: Donnette Silva Carter - Tulare Chamber of Commerce, Sandy Blankenship - Exeter Chamber of Commerce, Suzanne Bianco - Visit Visalia. - Music is "Shapeshifter" by Wally Lawder, and "California Days" by Josh Pfeiffer.

In this episode we will explore the life and creative path of American artist, Georgia O'Keeffe.  I will take you on virtual gallery tour, so you can experience art from home.  I will also tell you how you can use glue to create a beautiful flower, just like O'Keeffe! If you would like to share your artwork, based on today's episode: eaa.handsonarthistory@gmail.com Music by, Craig Rollison.