Miguel Covarrubias: Drawing a Cosmopolitan Line
September 27, 2014 - January 18, 2015
Miguel Covarrubias: Drawing a Cosmopolitan Line presents artwork that links Covarrubias' commercial art, scholarly publications, and studio practice, to demonstrate the cosmopolitan modernism of his life and work, which were deeply influenced by his life-long practice of moving between modern cities and sites remote from New York or Mexico City. It reveals his influential role as part of a global network of modernists, including Georgia O'Keeffe.
The friendship between Miguel Covarrubias (1904-1957) and Georgia O’Keeffe (1887-1986) began in 1929 when both were guests at the home of Mabel Dodge Luhan in Taos, among a gathering of modernist artists and writers. Though O’Keeffe was a generation older than Covarrubias, they shared many professional as well as social experiences. Both O’Keeffe and Covarrubias were part of an international, intergenerational cluster of artists in New York City during the 1920s and 1930s, a group that formed the cornerstone of the emergent modernist aesthetic. Thus, their relationship is an enormously productive place to analyze the significance of the avant-garde circles of modernism, where their careers flourished as well as their friendship.
Although Covarrubias is best known for his lively caricatures of famous figures, which will be included in this exhibition, the primary purpose of Miguel Covarrubias: Drawing a Cosmopolitan Line is to define the breadth and significance of Covarrubias’ contribution to the history of modern art. The exhibition brings together a selection of this prolific artist’s modernist drawings, watercolors, oil paintings, and illustrations from his own scholarly publications. He distilled the diversity of his experiences through the artistic force of his line-drawings, which in-turn express his modern individuality as an artist.
During the 1930s and 1940s, Covarrubias focused his passion on traveling to research several publications supported by Guggenheim Fellowships; The Island of Bali (1937), Mexico South: The Isthmus of Tehuantepec (1946), and The Eagle, the Jaguar and the Serpent. Indian Art of the Americas: North America, Alaska, Canada and the United States (1954). Covarrubias’ distinctive abstract and interpretative line-drawings brought his modernist aesthetic to each book he researched and wrote.
Covarrubias was widely recognized as an energizing force who shared new ideas everywhere he traveled. In New York during the 1940s, Covarrubias worked with Alfred Barr and Rene d’Harnoncourt at MoMA, to create a series of ground-breaking exhibitions of the arts of the Americas: Twenty Centuries of Mexican Art (1940) and American Indian Art of the United States (1941), the latter of which was shown in Mexico in 1945. Returning to Mexico City, he introduced MOMA’s modern installation and lighting techniques as curator for exhibitions at the National Museum of Anthropology. His curatorial efforts in New York and Mexico City brought indigenous arts into the global discourse of modernism by presenting them as objects worthy of aesthetic comparison with modern art.
A catalogue accompanies the exhibition with an introductory essay by exhibition curator Carolyn Kastner. Janet C. Berlo ’s essay analyzes Covarrubias’ substantial scholarship on the indigenous art of North America. An essay by Khristaan D. Villela describes Covarrubias’ contribution to Pre-Columbian studies, with special reference to how his research was assimilated by other Modernists and influenced modern art exhibitions. Alicia Guzman’s essay discusses how the 1939 mural maps, painted by Covarrubias for the San Francisco World's Fair, are modern hybrids of abstracted geographic features populated with a diversity of caricatures: human, animal, cultural and economic.
Georgia O’Keeffe: Abiquiu Views
February 7 - October 26, 2014
In 1945, Georgia O’Keeffe purchased a four acre site with an adobe hacienda style house built around a central patio, on a mesa in the village of Abiquiu. Constructed from local materials, the uninhabited house was a ruin returning to the earth, when she first saw it. O’Keeffe welcomed the opportunity to rebuild it and make it her own, suited to her artistic practice. O’Keeffe lived and worked in the house for the rest of her life, finding continuing inspiration in the architecture of the home and the views of the surrounding landscape. This exhibition brings together paintings inspired by her Abiquiu home, some seen for the first time in many decades. It also includes a reconstruction of the view from her studio, centered on a work table of her own design, arranged with her original art materials and tools.
O’Keeffe engaged Maria Chabot, to assist her with the restoration of the walled compound in Abiquiu. While the footprint of the structure was faithful to the original, Chabot reimagined new uses for the existing rooms. She mapped a plan for domestic spaces, a garden with fruit trees, the largest studio the artist ever had, and a plan to enlarge the windows toward the view of cottonwood trees to the north and the mesa east of the house.
Surrounded by a wall, the house looked inward to a patio, and did not offer the dramatic vistas of O’Keeffe’s first home at the Ghost Ranch. The only possibility for gaining a view of the surrounding landscape was beyond the walls of the compound. Chabot imagined a studio in a separate building at the edge of the mesa that had previously functioned as a stable and buggy house. It sheltered the largest interior space on the property and offered the only possibility for an extended view. Further, Chabot suggested opening the wall in O’Keeffe’s studio with a picture window, which allowed an endless view toward the Chama River Valley and the Jemez Mountains beyond. During the 1950s the overlook from her studio inspired O’Keeffe to create more than two dozen paintings of the cottonwood trees that grew along the river below. Ten of those paintings are included in this exhibition.
Though the studio window was an extravagant luxury in rural New Mexico, Chabot asked O’Keeffe if she would also like her corner bedroom to be “mostly glass.” With O’Keeffe’s consent, Chabot installed a modern picture window in the studio along with an expanse of glass at the corner of the adjoining bedroom. The view from the artist’s bed room window also stirred her imagination. In 1952, O’Keeffe began to visualize the winding road that cut through the landscape in a series of ever-more simplified compositions. Paintings and drawings of the mesa and road are also part of the exhibition.
The paintings that comprise this exhibition are emblematic of O’Keeffe’s endless fascination with the color and form of her surroundings in northern New Mexico; a landscape that inspired her art and the reconstruction of her home and studio in Abiquiu.
During the course of 2014, the gallery installations will change to reveal different views of the property, including images of her famous patio and the black door.