Gender (według) Georgii O’Keeffe: (cudzy) obraz a (własne) słowo artystki

Abstract

The article focuses on the history of gendered and sexually oriented readings of Georgia O’Keeffe’s art and her surprisingly trenchant, wry and witty responses to skewed and biased interpretations of her paintings of magnified flowers. It also discusses some recent attempts made by a new generation of critics to reconsider O’Keeffe’s themes and strategies as responses to the challenges posed by the historical moment.