Day 3: Ghost Ranch and vicinity; the White Place

Chimney Rock
Chimney Rock at Ghost Ranch

We started the day very early in an effort to capture the morning light, and to get out before the day’s incredible (uncharacteristic) heat set in. We walked a short way into the Chimney Rock hiking trail to shoot a stunning 360 degree vista. We spent the rest of the morning exploring other views in the area, and the part of Ghost Ranch known as the Piedra Lumbre basin, which includes the several acres of land that O’Keeffe actually owned. Unfortunately, we discovered that the hiking trails there are currently closed to visitors – but we were able to enjoy the landscape from the side of the road, and caught a distant glimpse of O’Keeffe’s home and studio (owned and maintained by the museum, but closed to the public), where she painted views of Pedernal and the badlands that surrounded her.

After an afternoon of filming and walking, we left Ghost Ranch to check in at the Abiquiu Inn, where we will spend the next few days. The inn is a short drive away from Ghost Ranch and close to the town of Abiquiu, where O’Keeffe kept a home for the non-summer months.

The White Place
The White Place

Following our arrival at the inn, we promptly drove to the nearby “White Place”, an area which was the subject of several O’Keeffe paintings. Her paintings focus on isolated detail views, which highlight the shapes and negative space in the column-like rock formations (see “From the White Place”). I didn’t know quite what the White Place would be like in person.

It was breathtaking. Cliffs, columns and mushrooms of soft white rock roll off into the distance, giving the appearance of an ancient Roman palace from Mars. I took time walking, filming, and admiring this place (which is host to plenty of insect life, including hundreds of gnats which seemed determined to land on my face and neck at the very moments I was attempting to execute precise camera maneuvers…).

The accessibility of the White Place was a relief: leaving the car in a parking area, I was free to hike into the site and station the camera up close without the limitations of power lines, fences, buildings or private roads in the way, as has been the case with every other location I’ve filmed. Although the light was beautiful, the angle of the late-day sun cast shadows on much of the landscape, so I decided to return on another day.

Day 2: “Abstraction” at the Georgia O’Keeffe Museum; arrival at Ghost Ranch

Jemez mountains in Alcalde
Jemez mountains in Alcalde a la "Black Mesa Landscape"

We awoke at the Mabel Dodge Luhan House in Taos and headed out towards Santa Fe. On the way, I stopped to shoot some film of the Rio Grande river and surrounding hills. We also pulled over by Alcalde, the town where Georgia O’Keeffe had stayed on a ranch in her early visits to New Mexico and painted views of the Jemez mountains. I snapped a photo that shows approximately the same view as her painting “Black Mesa Landscape / Out Back of Marie’s II”.

We eventually made our way to Santa Fe and went straight to the “Abstraction” exhibit at the Georgia O’Keeffe Museum (co-organized with the Whitney Museum in New York and the Phillips Collection in Washington, DC), which was wonderful. The textual curation was limited to some interesting quotations from O’Keeffe herself, which shed some light on her attitude towards the art on view. The works spanned the length of her career, from her early minimalist watercolors (see “Black Lines”) to late bronze cast works (see “Abstraction”). The exhibit encompassed “purely” abstract pieces, such as “Music – Pink and Blue II”, as well as works that blend the line between abstract and representational, like “Pelvis Series, Red with Yellow”, the least literal in her group of paintings in which magnified animal bones frame views of the sky. And of course, the exhibit also featured some of O’Keeffe’s abstracted landscapes.

I found the series of jack-in-the-pulpit paintings particularly beautiful and interesting, displaying clearly how O’Keeffe would start with a quasi-realistic representation of an isolated subject (see Jack-in-Pulpit – No. 2), and transform it into increasingly abstracted images (see Jack-in-Pulpit – No. 5) , like fantasias on the shapes and colors that she saw in the original subject.

There is a certain feature of these works that is essentially imperceptible when viewing reproductions in a book or poster. Generally speaking, the largest of O’Keeffe’s paintings tend to show her most simplified images (see “Sky With Flat White Cloud”) , while the smaller paintings often feature much more delicate and detailed subjects (see “The Black Iris”) . It seems to me that the bolder the image, the larger it needs to be in order to be really seen – it was O’Keeffe’s way of throwing the viewer into her vision. (In a famous quote about her flower paintings, O’Keeffe explains her reasoning: if she made flowers big, even the busy New Yorkers would have to stop and look at them.)

After taking in “Abstraction”, I visited the Georgia O’Keeffe Museum Research Center across the street for an appointment with Barbara Buhler Lynes, who was generous enough to take the time to speak with me. Ms. Lynes is the museum’s curator, co-curator of the “Abstraction” exhibit, director of the Research Center, and the author of “Georgia O’Keeffe and New Mexico: A Sense of Place”, among other books, which documents views and locations of O’Keeffe’s paintings and explores the compositional inventions (abstractions) in her so-called representational paintings. Ms. Lynes pointed me towards some leads for research on O’Keeffe and music, which I’ll be discussing in a future blog entry dedicated to the topic.

Ghost Ranch
Ghost Ranch

We left Santa Fe and continued toward Ghost Ranch, the location of O’Keeffe’s beloved summer home and studio, formerly a dude ranch and now a retreat and education center. As we approached Ghost Ranch, we suddenly came upon epic vistas of red-orange cliffs and rolling tree-dotted hills, always with Cerro Pedernal (which O’Keeffe called her “private mountain”) looming in the distance. We were treated to a spectacular view of the sunset reflected on the cliffs outside our lodgings at Ghost Ranch. All of this, of course, was captured on film.