The Georgia O’Keeffe Museum invites anyone enthusiastic about photography and art to enter the Georgia O’Keeffe Museum Photography Contest

The Georgia O’Keeffe Museum Announces 2013 Photography Competition and Landscape Theme

Amateur and professional photographers invited to submit original landscape-themed photos for second annual photography competition. Winners to receive photo publication, cash awards, and more.

Santa Fe, New Mexico (via PRWEB) July 26, 2013

 

"The Georgia O’Keeffe Museum is excited to invite photographers to submit their favorite images of landscapes,” said Robert A. Kret, Georgia O’Keeffe Museum director."

 

The Georgia O’Keeffe Museum is pleased to announce the second annual photography competition for 2013. To celebrate O’Keeffe’s enduring artistic legacy, this year’s theme honors landscapes, one of O’Keeffe’s most iconic and beloved subjects. Both amateur and professional photographers—located regionally, nationally, and internationally—are encouraged to submit their original images for a chance to win prizes and to be recognized for their talents.

The subject of her most iconic and important works, Georgia O’Keeffe depicted landscape configurations throughout her life, as if doing so put her in closer touch with the identity of a particular place. Of her time in Texas, O’Keeffe wrote to a friend saying, “I love the plains more than ever it seems – and the SKY – … you have never seen SKY – it is wonderful.” And of the beloved landscape of her future home in New Mexico, O’Keeffe explained, “When I got to New Mexico that was mine. As soon as I saw it, that was my country. I’d never seen anything like it before, but it fitted to me exactly. It’s something that’s in the air, it’s different. The sky is different, the wind is different.”

"The Georgia O’Keeffe Museum is excited to invite photographers to submit their favorite images of landscapes,” said Robert A. Kret, Georgia O’Keeffe Museum director. “It is an honor to reward their talent and creativity as a tribute to our namesake, Georgia O'Keeffe."

First, second and third place winners will be awarded in the adult category for entrants aged 21 years and older. The photography competition will also include two student competitions, one for students 18-21 years of age and a second competition for students under 18 years old. The Museum will also announce 20 honorable mentions. Photos may be submitted any time between today and the final entry deadline on Thursday, November 14, 2013, the eve of Georgia O’Keeffe’s birthday. Entrants are encouraged to submit their photos before October 15, 2013 to take advantage of reduced early entry fees.

The theme of the Georgia O’Keeffe Museum’s 2012 first annual photography competition was “flowers.” A total of 930 entrants from 17 countries submitted a grand total of 3,380 images. The winning photograph, “Dancing Tulips,” was submitted by Joanna Stoga of Wroclaw Poland; the remaining winners hailed from New Mexico.

JUDGES FOR THE 2013 PHOTOGRAPHY COMPETITION
Adult group judges: Jolene Hanson, director and curator of G2 Gallery; Eddie Soloway, photographer; and Amy Silverman, photo editor of Outside Magazine.
Student contest judge: Sarah Zurick, education and family programs manager of the Georgia O’Keeffe Museum.

WHAT THE WINNERS WILL RECEIVE:
All winning images will be published in the winter/spring issue of O’Keeffe Magazine and on the Georgia O’Keeffe Museum website beginning January 6, 2014 through May 1, 2014. Winners will receive the following awards and prizes:
1st Place Award

$500 cash-prize; a Santa Fe Photographic Workshops Intensive; a book of exhibition paintings and photographs titled O'Keeffe and New Mexico: A Sense of Place which includes essays by Barbara Buhler Lynes and by the well-known writers Lesley Poling-Kempes and Frederick W. Turner; a copy of Georgia O'Keeffe in New Mexico: Architecture, Katsinam, and the Land, an exhibition catalogue which reveals the little-known breadth of Georgia O'Keeffe's interest in northern New Mexico and illuminates her keen sensitivity and deep respect for the Native American and Hispano cultures of the region; and a select item from the O’Keeffe Museum Shop.

2nd Place Award
$300 cash-prize; a book of exhibition paintings and photographs titled O'Keeffe and New Mexico: A Sense of Place which includes essays by Barbara Buhler Lynes and by the well-known writers Lesley Poling-Kempes and Frederick W. Turner; a copy of Georgia O'Keeffe in New Mexico: Architecture, Katsinam, and the Land, an exhibition catalogue which reveals the little-known breadth of Georgia O'Keeffe's interest in northern New Mexico and illuminates her keen sensitivity and deep respect for the Native American and Hispano cultures of the region; and a select item from the O’Keeffe Museum Shop.

3rd Place Award
$200 cash-prize; a book of exhibition paintings and photographs titled O'Keeffe and New Mexico: A Sense of Place which includes essays by Barbara Buhler Lynes and by the well-known writers Lesley Poling-Kempes and Frederick W. Turner; a copy of Georgia O'Keeffe in New Mexico: Architecture, Katsinam, and the Land, an exhibition catalogue which reveals the little-known breadth of Georgia O'Keeffe's interest in northern New Mexico and illuminates her keen sensitivity and deep respect for the Native American and Hispano cultures of the region; and a select item from the O’Keeffe Museum Shop.

Student Awards
$100 cash-prize; a book of exhibition paintings and photographs entitled O'Keeffe and New Mexico: A Sense of Place which includes essays by Barbara Buhler Lynes and by the well-known writers Lesley Poling-Kempes and Frederick W. Turner; a copy of Georgia O'Keeffe in New Mexico: Architecture, Katsinam, and the Land, an exhibition catalogue which reveals the little-known breadth of Georgia O'Keeffe's interest in northern New Mexico and illuminates her keen sensitivity and deep respect for the Native American and Hispano cultures of the region; and a select item from the O’Keeffe Museum Shop.

Honorable Mentions
Photo submissions will be posted to the Georgia O’Keeffe Museum website.
For More Information and for Contest Rules, Please Visit the Contest Website: http://www.okmphotocompetition.org

For press inquiries, contact:
Lisa Neal
JLH Media
575 635 5658
lisa(at)jlhmedia(dot)com
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ABOUT GEORGIA O’KEEFFE MUSEUM:
The Georgia O'Keeffe Museum is dedicated to the artistic legacy of Georgia O'Keeffe, her life, American modernism, and public engagement. The Museum's collections, historic properties, exhibitions, Research Center, publications, and education programs contribute to scholarly discourse and inspire diverse audiences. Located in Santa Fe, NM, the Museum’s collections, exhibits, research center, publications and education programs contribute to scholarly discourse and serve diverse audiences. The largest single repository of the artist’s work in the world, it is the only museum in the world dedicated to an internationally known American woman artist and is the most visited art museum in New Mexico

JOHN LOENGARD: DEVELOPMENT OF PHOTOGRAPHY

 

Henri Cartier-Bresson sketching in the Bois de Boulogne, Paris, 1987

New book and show is an ode to the art form and its history

  The Albuquerque Journal North

November 25, 2011

By Kate McGraw

For the Journal

   

Anyone intuiting that famed photographer John Loengard chose the name “Age of Silver” for his new book and show opening today at Monroe Gallery because it referred to a development process for photographs would be ... entirely correct.

“Any lens can form an image, but the way to make the picture permanent was a mystery for centuries,” Loengard said in an email interview. “In the 1830s two men, independently, discovered that using the chemistry of silver was the solution. Television, of course, is electronic photography, but silver remained the basis of still photography until the start of the 21st century. I wanted to pay tribute to silver and to a few of those who have made fabulous use of it.”

His new book is an ode to the art form  to which Loengard has dedicated his life. The exhibition of photographs opens with a reception and book signing today and continues through Jan. 29.

“I hope my enthusiasm for my subjects comes through. I got interested in photography when I was 11 years old, so I’ve spent 66 years taking pictures,” Loengard said. “Some of these photographers were my idols; some are my colleagues. I’ve edited the work of others, and I’ve hired some to take pictures. I’m immersed in photography. It’s a human occupation that I love.”

Loengard was born in New York City in 1934 and received his first assignment from LIFE magazine in 1956, while still an undergraduate at Harvard. He joined the magazine’s staff in 1961 and in 1978 was instrumental in its re-birth as a monthly, serving as picture editor until 1987.

Under Loengard’s guidance in 1986, LIFE received the first award for “Excellence in photography” given by the American Society of Magazine Editors. In 1996, Loengard received a Lifetime Achievement Award “in recognition of his multifaceted contributions to photojournalism” from Photographic Administrators, Inc.

Richard Avedon, New York, NY 1994

 In “Age of Silver,” Loengard has focused his lens on some of the most important photographers of the last half-century, including Annie Leibovitz, Ansel Adams, Man Ray, Richard Avedon, Sebastiao Salgado, Alfred Eisenstaedt, Henri Cartier-Bresson, Harry Benson and others. Loengard caught them at home and in the studio, posed portraits and candid shots of the artists at work and at rest. It is the work of 40 years. 

Alfred Eisenstaedt holds his negative of VJ-day celebrants New York City, 1992

“Photographers already knew it but, suddenly in the 1970s, everyone else began to consider photography an art,” he said. “Magazines started to treat photographers as artists — Ansel Adams was on the cover of Time in 1979. In the 1980s and early 1990s, I photographed a number of photographers because they had a new book or were old enough to be finishing their careers and worthy enough to notice. Working on assignment, as I did for half these pictures, had an advantage. A subject would understand why a publication like LIFE, in its great wisdom, had recognized his or her importance. We all like to be noticed. They showed themselves to the camera with an energy that might be missing otherwise. It was not vanity; they’d been asked to show themselves off.”

Far from an attempt to put forth a singular definition of modern photographic practice, this beautifully printed book instead presents evidence of the unique vision and extremely personal style of every artist pictured.

Loengard has published a half-dozen books, including “Pictures Under Discussion,” which won the Ansel Adams Award for book photography in 1987; “Celebrating the Negative,” and “Georgia O’Keeffe at Ghost Ranch.”

His book “LIFE Photographers: What They Saw” was named one of the year’s top 10 books for 1998 by The New York Times. Loengard wrote an extensive introduction for the major book “The Great LIFE Photographers,” published in 2004. “As I See It,” a monograph of his photography, was published by Vendome Press in 2005. “Image and Imagination,” a book of photographs of Georgia O’Keeffe paired by O’Keeffe paintings, was published by Chronicle Books in 2008.

His interest in O’Keeffe originally was sparked by the fact that she had been married to the photographer Alfred Stieglitz, but he grew interested in the artist herself, especially her calm attraction to the camera.

“When I photographed the painter Georgia O’Keeffe, in 1966, the fact that she was the widow of the great photographer Alfred Stieglitz was what intrigued me most,” he said. “Of course, she didn’t want to talk about him — except, maybe, a funny story about being in charge of the Stieglitz family laundry during summers in the Adirondacks at Lake George — but she had learned how she looked to the camera from the scads of photographs he’d taken of her. She was the most perfect model I have ever photographed.”

Georgia O'Keeffe on roof, Abiquiu, 1967

 Monroe Gallery of Photography was founded by Sidney S. Monroe and Michelle A. Monroe and is celebrating its 10th anniversary this year.

“Time flies,” Sidney Monroe said. “We keep thinking we’re new, but all of a sudden we realize we’re 10 years old.” He said they regard the Loengard exhibition as a perfect celebration of 10 years in Santa Fe.

 If you go:

WHAT: “Age of Silver,” photographs and book by John Loengard

WHEN: Today through Jan. 29 WHERE: Monroe Gallery of Photography, 112 Don Gaspar

CONTACT: 505-992-0800; monroegallery.com  

 

“My Faraway One: The Letters of Georgia O’Keeffe and Alfred Stieglitz"

Credit: Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library
Alfred Stieglitz attached this photograph to a letter for Georgia O'Keeffe, dated July 10, 1929. Below the photograph he wrote, "I have destroyed 300 prints to-day. And much more literature. I haven't the heart to destroy this..."


 Kathaleen Roberts / Journal Staff Writer
Wednesday, Aug 3, 2011

It was a relationship built on white-hot passion, nearly shattered on a fault line of freedom and creativity.

National Gallery of Art photography curator Sarah Greenough leafed through 25,000 pieces of paper exchanged by Georgia O’Keeffe and Alfred Stieglitz to produce “My Faraway One: The Letters of Georgia O’Keeffe and Alfred Stieglitz, Volume I, 1915-1933,” (Yale University Press, 2011) an 800-page tome as big as the Chicago phone book. Despite its girth, the book represents just one-tenth of their correspondence during this period.

Greenough will be at the New Mexico Museum of Art today to talk about the book.

When Stieglitz and O’Keeffe met in 1916, he was 52 and already considered the nucleus of the New York art world. She was an unknown 28-year-old Texas art teacher.
The book traces the pair’s correspondence –– hers in squiggles and curlicues, his in thick black lines –– across their relationship. Stieglitz became entranced by her work when introduced to it by O’Keeffe’s friend Anita Pollitzer. The couple frequently exchanged three to four letters a day. They were sealed, at O’Keeffe’s request, for 20 years after her death.
At first, O’Keeffe comes across as a smitten schoolgirl turned giddy by the attentions of a powerful man. Stieglitz, alternately charismatic, egotistical and narcissistic, yearned for a woman artist after spending years in a miserable first marriage.
“You can see them really starting to fall in love,” Greenough said.
Stieglitz, the man who had introduced Constantin Brancusi, Paul Cezanne, Henri Matisse and Pablo Picasso to the U.S., had long been searching for a great woman artist. He was convinced he had found one in O’Keeffe.
“In the early letters, you see him just getting to know her,” Greenough said. “I think he strongly wanted to encourage her art. Yet, eventually in the correspondence, his fascination with her as a woman artist gets transferred into his fascination of her as a woman.”
By 1916, Stieglitz was writing letters that were 20 to 30 pages long.
As O’Keeffe was about to return to Texas in 1917, he wrote to her: “How I wanted to photograph you –– the hands –– the mouth –– & eyes –– & the enveloped in black body –– the touch of white –– & the throat –– but I didn’t want to break into your time.”
Before O’Keeffe moved to New York in 1918, he wrote, “What do I want from you? –– Sometimes I feel I’m going stark mad –– That I ought to say.”
“They pretty much fell in love through their correspondence,” Greenough said.
Stieglitz found and cleaned a small studio for O’Keeffe. They began living together almost immediately and married in 1924.
By the mid-’20s, cracks start to snake through their bond. O’Keeffe desperately wanted a child; Stieglitz –– already the father of a daughter –– did not. She wanted to travel; he was a dedicated New Yorker. At first, the couple lived with Stieglitz’s brother and his wife. O’Keeffe later wrote that “living with the brother and the wife had all the emotional warmth of a cold, damp cellar.”
The family also intruded on her time to paint.
“And she wanted to live a more independent life than Stieglitz wanted her to,” Greenough said.
Thanks in no small part to Stieglitz’s promotion, O’Keeffe became a famous artist. Restless, she made the trip that would transform both their lives.
In 1929, O’Keeffe traveled to New Mexico to visit Mabel Dodge Luhan in Taos. She discovered a vast expanse of land and light that would flood her canvas. She was surrounded by a circle of artists and intellectuals, including Tony Lujan, D.H. Lawrence and Dorothy Brett.
“This really isn’t like anything you ever saw,” she wrote to Stieglitz from Taos in 1929. “Mabel’s place beats anything you can imagine about it –– it is simply astonishing.”
The letters offer glimpses of O’Keeffe’s take on her own paintings:
“I hate the back of my Ranchos church –– Tomorrow I must get out at it again –– It is heavy –– I want it to be light and lovely and singing.”
The cascading letters reveal the couple’s contrasting writing styles. Stieglitz’s is flowing and poetic, teeming with imagery. O’Keeffe paired phrases with squiggles and loops. “It’s almost as if she was … sketching out an idea.” Greenough said. “O’Keeffe is very lucid and very sharply rendered, like her paintings are distilled down to their essence.”
“Neither one of them cared about sending carefully crafted letters,” she added. “They’re very immediate and free-flowing.”
Greenough first met O’Keeffe through photographs –– the sparsely iconic black-and-white images by Stieglitz, the subject of the curator’s dissertation. Greenough organized one-man exhibitions of the acclaimed photographer at the National Gallery of Art. O’Keeffe asked Greenough to edit their correspondence. She annotated each letter with a “yes” or a “no” for publication.
“When I met her, it was an extremely different person than the one in the photographs,” Greenough said. “She had a very dry wit and a real twinkle in her eyes. She was definitely a strong-willed person.”
Greenough is at work on Volume II, which runs from 1934 to Stieglitz’s 1946 death.
“I think it probably won’t be nearly as long,” she said.

If you go WHAT: Sarah Greenough, author of “My Faraway One: The Letters of Georgia O’Keeffe and Alfred Stieglitz, Volume I, 1915-1933″
WHEN: 6 p.m. today
WHERE: St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave.
COST: Free
CONTACT: 476-5088

Via The Albuquerque Journal

Related: NPR - Stieglitz And O'Keeffe: Their Love And Life In Letters

Museum Exhibit Surveys Relationship of Painting to Photography

Jackie, 1964.

Acrylic and silkscreen ink on linen, 20 x 16 inches.

The Andy Warhol Museum, Pittsburgh. Founding Collection,

Contribution The Andy Warhol Foundation for the Visual Arts, Inc.

© 2010 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.

 

Shared Intelligence: American Painting and the Photograph

May 20, 2011 - September 11, 2011
The Georgia O'Keeffe Museum
Curators: Jonathan Weinberg and Barbara Buhler Lynes



Shared Intelligence will be the first major museum exhibition to survey the fraught but highly productive relationship of painting to photography in 20th-Century American Art. It brings together approximately 75 photographs and paintings by such artists as Robert Bechtle, Chuck Close, Thomas Eakins, Sherrie Levine, Georgia O’Keeffe, Cindy Sherman, Charles Sheeler, Ben Shahn, Edward Steichen, and Alfred Stieglitz for whom the two mediums were essential to their practices.


In opposition to Modernist critics such as Clement Greenberg and John Szarkowski, who have tried to establish the autonomy of painting and photography, a crucial theme of this exhibition is the way in which the two mediums have always intersected and spilled into each other. The camera has been used repeatedly to reinvigorate painting, even as photography has been frequently enriched by a dialogue with painting.

Whereas in the beginning of the 20th Century photographers felt obligated to justify their use of the camera as a means of expression, today the question is no longer, can photography be the equal of painting but rather has the photograph, and photo-based images, supplanted painting’s position in the hierarchy of the art world. Certainly it is nearly impossible to imagine a contemporary artist whose work is untouched by the camera, if only as a means of reproduction. And yet the photograph’s role in modern art goes far beyond reproduction or even as a source of subject matter. Photographic seeing, the way the lens freezes, flattens, enlarges and crops the world conditions all visual representations. Above all there is no way of escaping the photographic archive, the camera’s service to the vast legal, scientific and economic systems of knowledge that categorize and regulates modern existence itself.

Central to the exhibition will be the role of the crop and the close up in the modernist figurative tradition. O’Keeffe’s early work cannot be separated from the photographic practice of her husband, Alfred Stieglitz and the other photographers he represented. Her use of the close up in her paintings, while not literally based on particular photographs, responded to and influenced the photographs of Stieglitz and of Paul Strand. Certainly Stieglitz and his collaborator, Edward Steichen, were profoundly influenced by contemporary painting and collage (Steichen began his career as a painter).

The exhibition will pair paintings and photographs in which the visual relationship is both compelling and intrinsic to the creative process. How did Ben Shahn translate his photographs of a store window into a painting of the same subject? What elements did David Hockney take from his photographs of pools and swimmers in order to create a painting of a boy diving into the water? How does Chuck Close obsessively grid out and copy his source material so that in the end the process itself becomes an essential part of the work’s meaning? The aggregate result of the exhibit will be to refute the idea that painting from a photograph is some sort of failure of imagination or technique—rather the two mediums enrich each other. Ultimately, the exhibition will emphasize the role of the artist as picture maker, rather than as either painter or photographer.

Museum information and tickets here.

BORN NOVEMBER 15, 1887: GEORGIA O'KEEFFE

John Loengard: Abiquiu, New Mexico, 1967

Georgia O'Keeffe
Born on November 15, 1887


Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) was an American artist. Born near Sun Prairie, Wisconsin, O'Keeffe was a major figure in American art from the 1920s.

Georgia O'Keeffe visited Northern New Mexico in 1917 and fell in love with it then. But it was not until 1934 that she decided to make Ghost Ranch her summer home. She would spend her summers hiking, exploring and painting the area and in the winter go to New York. One summer she convinced the owner to sell her a small part of Ghost Ranch, which was a house and 7 acres. After her husband, Alfred Stieglitz, died, Georgia made Abiquiu (about an hour and a half north of Santa Fe) her permanent home.

Georgia O'Keeffe may be the most photographed artist in history, given the artistic ardor of her photographer husband, Alfred Stieglitz. Beautiful at every age and serene in the camera's gaze, on the occasion of Georgia O'Keeffe's 80th birthday in 1967 Life magazine dispatched photographer John Loengard to her home in New Mexico to document a day in the life of the pioneering American artist.

Georgia O'Keeffe died on March 6, 1986



Related: The Georgia O'Keeffe Museum

               Image and Imagination: Georgia O'Keeffe by John Loengard