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The Georgia O'Keeffe Home and Studio is a historic house museum in Abiquiú, New Mexico. From 1943 until her death, it was the principal residence and studio of artist Georgia O'Keeffe (1887–1986). [a] It is now part of the Georgia O'Keeffe Museum, which has sites in Santa Fe and Abiquiú. Public tours are available March–November, with ...
Ghost Ranch is a 21,000-acre (85 km 2) [1] retreat and education center in Rio Arriba County in north central New Mexico, United States. It is about 65 miles northwest of Santa Fe and 14 miles from Abiquiu, the nearest community. In the later 20th century, it was the summer home and studio of artist Georgia O'Keeffe, as well as the subject of ...
The Ghost Ranch educational retreat is not a part of the Georgia O'Keeffe Museum, but is owned and operated by the Presbyterian Church. It offers special tours related to the landscape that inspired many of Georgia O'Keeffe's iconic works.
Feb. 4—Mention the artist Georgia O'Keeffe and most people think of flowers. An exhibition at Santa Fe's Georgia O'Keeffe Museum is designed to challenge that perception. "Rooted in Place" takes ...
Oct. 6—New York brought Georgia O'Keeffe fame. New Mexico brought her freedom. Among the multiple documentaries created about her, none have given the iconic artist the full biographical ...
Mar. 4—The Georgia O'Keeffe Museum is accepting applications for its summer Art and Leadership Program. The project is open to all rising sixth grade students in Santa Fe and its surrounding ...
The Georgia O'Keeffe Home and Studio in Abiquiú was designated a National Historic Landmark in 1998, and is now owned by the Georgia O'Keeffe Museum. [73] A fossilized species of archosaur was named Effigia okeeffeae ("O'Keeffe's Ghost") in January 2006, "in honor of Georgia O'Keeffe for her numerous paintings of the badlands at Ghost Ranch ...
In 1930, Georgia O'Keeffe created 54 works, some of which were created in Maine and New York, though the majority were completed in New Mexico. [4] In April of that year, she continued her exploration of natural forms in Maine, expanding on her ongoing shell series first initiated in the 1920s (Shell and Old Shingle I, Shell and Old Shingle VII, 1926; Shell No. 2, 1928) and continuing ...