O’Keeffe took a handful of incidental photographs over the years, and during her 1939 Dole-sponsored junket to Hawaii she produced a roll of what she labeled snaps. By raising her camera to include more or less of the garage ceiling-with its linear pattern of vigas (joists) and latillas (sticks)-O’Keeffe created compositions that resemble flattened planes of forms, rather than three-dimensional views. No doubt she’d laugh to see herself newly proclaimed as Georgia O’Keeffe, Photographer, the title of an exhibit now on view at The Museum of Fine Arts, Houston (MFAH). O’Keeffe photographed her studio door from inside her garage, located across the open courtyard. In this group of photographs, the artist tested how the arrangement of forms can compress the scene into two dimensions. Enlarging the petals far beyond lifesize proportions, she forces the viewer to. Metropolitan Museum of Art, New York: Anonymous Gift, 1977, 1977.657.6. This monumental flower painting is one of OKeeffes early masterpieces. Metropolitan Museum of Art, New York: Anonymous Gift, 1977, 1977.657.1.
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