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A flat, geometric, somewhat abstract painting in shades of gray and brown features a narrow skyscraper dappled with golden circles suggesting sunlight. At the uppermost tier of the building, slightly to its right and partially hidden behind the building itself, a bright white circle suggesting the sun blasts a radius of white light onto and around the building, creating a halo-like effect. Streams of fog or steam descend down around the structure. A flat, geometric, somewhat abstract painting in shades of gray and brown features a narrow skyscraper dappled with golden circles suggesting sunlight. At the uppermost tier of the building, slightly to its right and partially hidden behind the building itself, a bright white circle suggesting the sun blasts a radius of white light onto and around the building, creating a halo-like effect. Streams of fog or steam descend down around the structure.

Member Previews:
Georgia O’Keeffe— “My New Yorks”

Thurs, May 30 | 10:00–8:00
Fri, May 31 | 10:00–5:00
Sat, Jun 1 | 10:00–5:00

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  • Regenstein Hall
  • Regenstein Hall

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  • Free for members; no registration required

Enjoy three full days of member-only access to Georgia O’Keeffe: “My New Yorks” and see the exhibition before it opens to the public.

Painting of a dark gray skyscraper in the glaring sun. The bright sun reflects off of the tall, looming building, which is painted from the perspective of a passerby looking up at the building. The light blurs out the top of the building, and dots of yellow light appear lower down and on nearby buildings.

Georgia O’Keeffe

Famed for her images of flowers and Southwestern landscapes, Georgia O’Keeffe spent several years exploring the built environment of New York City with brush in hand. The artist first moved to the city’s newly built Shelton Hotel in 1924, then the tallest residential skyscraper in the world, and its soaring heights inspired a five-year period of energetic experimentation, across media and at a variety of scales, with subject matter, form, and perspective.

The presentation establishes these works not as outliers or anomalous to her practice, but rather as entirely integral to her modernist investigation in the 1920s—from her abstractions and still lifes at Lake George in upstate New York and beyond to her works made upon arriving in the Southwest in 1929. O’Keeffe’s “New Yorks” are essential to understanding how she became the artist we know today.

Simply show your member card or digital member card to enter.

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Sponsors

Georgia O’Keeffe: “My New Yorks” Corporate Sponsor

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Major support is provided by the Harris Family Foundation in memory of Bette and Neison Harris, an anonymous donor, Richard F. and Christine F. Karger, the Shure Charitable Trust, Richard and Ann Carr, Pam Conant, Constance and David Coolidge, Mr. and Mrs. John T. Golitz, the Jentes Family, Loretta and Allan Kaplan, and Margot Levin Schiff and the Harold Schiff Foundation.

Additional funding is provided by the Jack and Peggy Crowe Fund, the Suzanne and Wesley M. Dixon Exhibition Fund, and The Regenstein Foundation Fund.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Members of the Luminary Trust provide annual leadership support for the museum’s operations, including exhibition development, conservation and collection care, and educational programming. The Luminary Trust includes an anonymous donor, Karen Gray-Krehbiel and John Krehbiel, Jr., Kenneth C. Griffin, the Harris Family Foundation in memory of Bette and Neison Harris, Josef and Margot Lakonishok, Ann and Samuel M. Mencoff, Sylvia Neil and Dan Fischel, Cari and Michael J. Sacks, and the Earl and Brenda Shapiro Foundation.

Additional support is provided by

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