Cleveland Museum of Art: Georgia O'Keeffe (11/27/2018)

Tuesday, November 27, 2018 (continued)
Since we are likely to miss the 2018 Winter Lights Lantern Festival, here are two of the displays:

Han Dynasty Reflections (2008, by Robin VanLear)

Stars (2011, by Robin VanLear)

 After lunch at the Cleveland Museum of Art Provenance Café, we lined up for our appointed time for the exhibit, Georgia O'Keeffe: Living Modern, offering a "unique look into the fascinating connections between the paintings, personal style, and public persona of one of America’s most iconic artists." Unique, indeed, as there were more of her garments than paintings! Plus many photo portraits to illustrate that Georgia O'Keeffe was determined to be modern not only in her art but in her life. Apparently she was a skilled seamstress and initially made her own clothing, designed for ease of movement.

Cream silk crepe tunic with mother-of-pearl buttons
(1920s, attributed to Georgia O'Keeffe)

Tunic detail with multiple finely stitched pin tucks

Blue Black and Grey (1960)

Wool crepe and silk dress with matching belt (1930s)

Dress detail showing side pleats

Untitled (Abstraction Red Wave with Circle (1979) was one
of the last paintings done by Georgia O'Keeffe,
despite suffering from macular degeneration

Rayon and painted silk crepe evening coat
(late 1920s-early 1930s)

Evening coat detail with appliquéd satin ribbon and
large mother-of-pearl button

2 Yellow Leaves (1928)

Wrap dresses; when Georgia O'Keeffe found a style she liked,
she would purchase several in multiple colors and fabrics

Black Pansy and Forget-Me-Nots (1926)

Brass pin (c 1938, by Alexander Calder), which
Georgia O'Keeffe prefered to wear vertically

Georgia O'Keeffe, Ghost Ranch, N.M. (1968,
by Arnold Newman), with a skull that was
a subject of one of her paintings

Initially Georgia O'Keeffe wore mostly black and white, but in New Mexico she added the blue of denim.
After this exhibition, we checked out a few more items before calling it a day.

Standing Man (1998, by Stephan Balkenhol),
similar to a couple by the same artist
that we had seen in Berlin this year

Even the stairway of the museum addition is artistic!

Brutalismo-Cleveland (2018, by Marlon de Azambuja
and Luisa Lambri) is composed of materials
gathered in and around Cleveland

Brad and Debbie H mentioned they had seen this
Giant Toothpaste Tube (1964, by Claes Oldenburg),
which appears to have taken the place of the
Standing Mitt and Ball that is now in the Atrium

The Atrium with the holiday tree