Georgia O'Keeffe—Hands Possibly 1918 - 1934

Curator: This is a striking gelatin silver print by Alfred Stieglitz titled "Georgia O'Keeffe—Hands," likely created sometime between 1918 and 1934. What is your first impression? Editor: Intimate and shadowed. It's a close-up, cropped composition; the hands, pressed close to the body, give me a feeling of protection, or perhaps suppressed anxiety. Curator: Stieglitz photographed O'Keeffe extensively. The placement of the hands, partially obscured by the coat, creates a strong diagonal and leads your eye to the fingers, emphasizing their delicate strength. This aesthetic choice plays directly into Stieglitz's understanding of portraiture as an expression of character rather than simply physical likeness. Editor: Absolutely. Stieglitz positions O'Keeffe as a creative individual and challenges traditional expectations around gender. By presenting a close-up of her hands, Stieglitz evokes a raw emotional connection with the subject, inviting the audience to reconsider established gender norms, not just in art, but society. Curator: I agree. Think about the social role of women in art at this moment. He isn’t portraying her as an object of beauty, but capturing her active agency, even ambition. This photograph comes after a period of enormous societal upheaval—The Great War reshaped so many social norms. Editor: And the monochrome is interesting as well. Stieglitz captures every shadow and detail. The composition highlights form and emotion so exquisitely because we aren’t distracted by color. But what about accessibility? Curator: That is a constant issue in art institutions. What kind of alternative formats could improve accessibility in your view? Editor: We can consider tactile reproductions, descriptive audio guides like this, and incorporating transcripts in multiple languages. Curator: I agree completely. In any case, considering this photograph through today's lens reminds us of the shifts in expectations we’ve navigated. Editor: Precisely, and prompts us to consider how artists document and address societal shifts. I am struck by how even this close view evokes that power.