“Natural Affinities” at the Smithsonian American Art Museum marks the first time in history that the works of painter Georgia O’Keeffe and photographer Ansel Adams have been paired in an exhibition, and it seems long overdue. Both icons of the American art scene, they explore and interpret the landscape of the American southwest in their works, drawing parallels between the land and artistic expression, and pointing toward two distinct visions of the natural world.
O’Keeffe and Adams met in Taos, New Mexico in 1929, and their subsequent travels together are evident in the shared subject matter of their work. Most notably, they depict the same pueblo and Rachos de Taos church—the works are arranged in opposite viewing spaces, and the parallels cannot be overlooked. In Gate of an Adobe Church, O’Keeffe depicts only a fragment of the mission church, and her breakdown of the gate into flat color and form is heavy with symbolism. Adams’ depiction of the same church front offers a similar play of geometric form and passageways, though his medium—photography—lends the subject a sense of texture and a greater breadth of contrast.
This is one of the few moments in which the viewer perceives a direct overlap in the artists’ subject matter. Other parallels can be drawn in form and texture—O’Keeffe’s close studies of flowers and Adams’ abstracted landscapes and natural textures both demonstrate a fascination with the poetic details of nature.
The arrangement of the exhibition isn’t always ideal for such comparisons. The works of the painter and photographer are never situated next to each other, but rather sectioned off into numerous enclaves throughout the room. One can easily get lost in Adams’ striking landscapes and lose sight of O’Keeffe’s pastel-toned imagery in the distance.
But this weakness also avoids a rigid structure which would make the parallels too obvious. As I wandered in and out of the enclaves, I wondered why the works of the two artists weren’t placed side by side. But if placed together, Adam’s bold black and white landscapes would drown out O’Keeffe’s delicacy. Viewers would become enraptured in the comparison and forget to appreciate the beauty of each individual artist’s work.
It is best, perhaps, to consider the role of natural beauty and the rich colors and textures of the American southwest as muses which connect the work of the two artists. One wonders what exactly inspired the parallels—O’Keeffe’s shapes and forms sometimes echo Adams’ interpretation in such a striking way it seems beyond coincidence. The artists demonstrate the numerous possibilities of interpreting a rich American landscape, and they converge and find inspiration in a beautiful friendship.
“Georgia O’Keeffe and Ansel Adams: Natural Affinities” is on display through January 4 at the Smithsonian American Art Museum, at 8th and F Streets. Admission is free.
