Upcoming Exhibitions

Georgia O'Keeffe, Black Pansy & Forget-Me-Nots (Pansy), 1926. Oil on canvas, 27 1/8 x 12 1/4 inches. Brooklyn Museum, Brooklyn, New York, Gift of Mrs. Alfred S. Rossin. Copyright Georgia O’Keeffe Museum, Santa Fe, New Mexico/Artists Rights Society (ARS), New York. Photo: Christine Gant, Brooklyn Museum

Georgia O’Keeffe: Art, Image, Style

Georgia O' Keeffe, the pioneering modernist artist, had sensibility to spare. She lavished it on her work, of course, but she applied nearly as much to self-presentation.

"...[This exhibition] reveals in particular how this painter of simplified images of enlarged flowers, Lake George tree trunks, and New Mexico's terra-cotta hills applied her meticulous sense of austerity and detail to every garment she owned." --New York Times art critic Roberta Smith in 2017

Georgia O'Keeffe: Art, Image, Style is the first exhibition to explore the art, image, and personal style of one of America's most iconic artists. O'Keeffe was at the forefront of the American avant-garde nearly from the moment she appeared on the scene in New York in the first decades of the 20th century. Georgia O'Keeffe offers an intimate glimpse at the artist alongside her art with her paintings, photo portraits, and original clothing.

Georgia O'Keeffe: Art, Style, Image is organized the Brooklyn  Museum, with guest curator Dr. Wanda M. Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University, and made possible by the National Endowment for the Arts

The Wichita presentation has been generously underwritten by lead sponsors Paula and Barry Downing. The Lattner Family Foundation provided additional major underwriting. Charles E. Baker and Dr. Dennis and Ann Ross are principal sponsors. The Trust Company of Kansas, Fred and Mary Koch Foundation, and Emprise Bank are substantial corporate sponsors.

Generous support has been provided by Louise Beren, Donna Bunk, DeVore Foundation, J. Eric Engstrom and Robert Bell, Mary Eves, Rich and Joey Giblin, Norma Greever, Sonia Greteman and Chris Brunner, Gridley Family Foundation, John and Karen Hageman, Sondra Langel, Mike and Dee Michaelis, Tom and Mindy Page, Will and Kristin Price, Debbie and Ron Sinclair, Mary Sue Smith, Sarah T. Smith, and K.T. Wiedemann Foundation, Inc.

Ann and Martin Bauer, Emily Bonavia, Dr. John and Nancy Brammer, Sharon and Alan Fearey, Toni and Bud Gates, Trish Higgins, Richard Hite and Anita Jones, Delmar and Mary Klocke, Barry and Jane Murphy, Georgia and Keith Stevens, Marni Vliet Stone and David Stone, and Sue and Kurt Watson are additional exhibition patrons.

All museum exhibitions receive generous sponsorship from the Friends of the Wichita Art Museum and the City of Wichita.


Dorothea Lange, Migrant Mother, Nipomo, California, 1936, printed early 1960s. Gelatin silver print, 13 3/8 x 10 1/4 inches. The Nelson-Atkins Museum of Art, Kansas City, Missouri. Gift of Hallmark Cards

Dignity vs. Despair: Dorothea Lange and Depression-Era Photography, 1933-1942

Few works of American art are more iconic than Dorothea Lange's photograph Migrant Mother, a striking image of a careworn woman struggling to help her family survive. This photograph is one of the masterpieces in Dignity vs. Despair: Dorothea Lange and Depression-Era Photography, 1933-1942. Drawn from The Nelson-Atkins Museum of Art’s renowned photography collection, Dignity vs. Despair highlights the work of Lange and four other photographers--Walker Evans, Arthur Rothstein, Marion Post Wolcott, and Peter Sekaer--each of whom documented the devastating effects of the Great Depression.

After the stock market crash in 1929, the United States experienced a deep and long lasting economic depression. Fortunes were lost and many found themselves jobless and homeless. Farms were destroyed due to drought and extreme soil erosion. The Farm Security Administration (FSA), created in response to the Great Depression, provided loans to farmers, resettlement options for destitute families, and camps for mi­grant workers. Governmental agencies like the FSA saw photography as an effective way to document the disaster--to show firsthand the need for humanitarian aid for suffering.

The exhibition of 64 photographs is arranged thematically and geographically into three sections. The first section includes Lange's images of urban hardship in San Francisco in 1933-38. The next section focuses on the South, an area hard hit by the Depression. The final section documents the plight of the migrant worker. The integration of images with the photographers’ own words--excerpt­ed from captions, field notes, and interviews--gives a poignant look at one of the most difficult times in U.S. history.

This exhibition has been organized by The Nelson-Atkins Museum of Art.

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