Series 1, No. 8 1918

Editor: Here we have Georgia O'Keeffe's "Series 1, No. 8" from 1918, done with oil paints. It's got this amazing vibrant color palette. I am wondering how do you interpret this work, thinking about the time it was created and O'Keeffe's role in the art world? Curator: O'Keeffe emerged during a crucial period of American art, grappling with defining a national artistic identity amidst European modernism and rising global conflicts. Works like "Series 1, No. 8" provided her the agency and space to explore her own unique art making. Does this work feel like other modernist art you have been looking at, perhaps fauvist even? Editor: Well, yeah I see the Fauvist influence with its boldness. But the organic shapes make me think more about her personal expression than any kind of movement politics. I’m interested in why her organic, and floral works gained traction at this time in history? Curator: Her work resonated within a cultural landscape eager to embrace abstraction, moving away from traditional representational art. Art institutions played a huge part in that. Alfred Stieglitz, a prominent figure, significantly shaped her early career, displaying and promoting her works which, through him, connected her with influential art circles. And Stieglitz also photographed her! Did O'Keefe want the "Georgia O'Keefe" story to be so enmeshed with her romantic life? This all gets wrapped up in the image and reception of her work. Editor: Wow, I never really thought about how much Stieglitz might have affected our interpretation of O'Keeffe. The art world does seem a little unfair when we talk about partnerships. Curator: Exactly, thinking about institutions and public reception adds a new dimension to how we approach even her most iconic works. It provides important insights into the cultural and social contexts shaping its impact. Editor: This has really opened my eyes! Now I see that understanding the surrounding context can add a richer understanding and appreciation of her works.