Robbi Firestone on Georgia O'Keeffe, New Mexico, and What a Student Never Stops Learning

Georgia O'Keeffe was one of the first women in New York City to live in a skyscraper.

She took an elevator eleven floors to her studio. Painted the skyline. Painted the sunset from above the New York street. Fierce. Visionary. Completely herself.

I learned this yesterday from Cody Hartley, Executive Director of the Georgia O'Keeffe Museum. Standing in the Sheldon.

The Sheldon is one of O'Keeffe's most famous painted buildings. She lived there with her husband, Alfred Stieglitz. Now it houses university students, coincidentally.

But the walls remember.

Yesterday I was an invited guest at the Georgia O'Keeffe Museum's Founders and Funders event in my other home; New York City. A gathering of people who passionately believe that what O'Keeffe built matters. That it must continue.

I was honored to be in that room.

My apartment in New York City sits twenty-seven floors up.

I go to the roof at fifty floors to paint the skyline. The light shifting. The sky doing what skies do at that height, which is everything.

I am lucky. I know it.

O'Keeffe painted that sky eleven floors up. I paint it fifty floors up. Same sky. Her student. Always.

To dance between our two shared beloved homes, Santa Fe and New York City, is humbling. And everything.

What moves me most about O'Keeffe is not the flowers, though the flowers are extraordinary. It is her fierce sense of self. Her refusal to be categorized. Her insistence on vision over approval.

She left New York for New Mexico. Built a life in the desert on her own terms. Made some of the most important paintings of the twentieth century from a place most people had never heard of.

I know that sky too.

My landscapes and sky paintings are rooted in New Mexico, where I have worked for decades. Where my great great grandmother Cornelia Veronica Trujillo was born in the mid-nineteenth century. Where The Long Horizon opens July 18 at Gallery 215, 203 Fine Art, Taos.

Two artists. Two cities. The same sky.

I visit the Sheldon like a student comes to a teacher. Quietly. Attentively. Aware of what was made in those rooms by Georgia…..

She is my spirit animal. A secret admirer she will never know. Yet I carry her always. Her color. Line. Teachings. Passion. Ferocity. Imbued in my paintinga.

Ms. Georgia O’Keeffe’s cutting edge cleared a hell of a path for female artists….

The Long Horizon opens July 18 at Gallery 215, 203 Fine Art, 215 Ranchitos Road, Taos, New Mexico.

Georgia O'Keeffe Museum: okeeffemuseum.org

Robbi Firestone

Robbi Firestone is a contemporary American painter and conceptual artist working between New York City and Santa Fe, New Mexico. Her practice spans three decades of sustained inquiry into how beauty, urgency, and ethical responsibility coexist in a fragile world.

Her paintings, in oil, acrylic, pastel, and graphite, emerge from sustained observation of landscape and sky, rooted in the high desert of New Mexico. These are not depictions of place but states of being: the land as inner weather, the horizon as meditation on presence and the radical act of sustained attention.

Her conceptual practice, most notably the 2026 series Existential Snacks: Food for Thought, deploys mass-produced consumer materials as a Trojan horse, seductive in their familiarity and disturbing in their implications, addressing ecological collapse, cultural numbness, and the human tendency to consume without thinking.

These are not two separate bodies of work. They are one philosophical position expressed in two registers: feeling as the ground from which thought becomes possible; thought as the ground from which action becomes necessary.

Firestone's work has received formal recognition from leading figures in the contemporary art world.

Louis Grachos, Executive Director of SITE Santa Fe, writes: "Robbi Firestone's Existential Snacks project is a brilliant contemporary extension of the longstanding tradition of Satirical Artworks. Innovative in her use of materials, Firestone's paintings/sculptures reveal a sense of humor, are clever and reveal a substantial insight into her subject matter which makes this series so successful."

Merry Scully, Head of Curatorial Affairs and Curator of Contemporary Art at the New Mexico Museum of Art, wrote of The Infertility Project: "You are telling a powerful story...this project may take on a life of its own and take years to unfold," drawing comparison to Judy Chicago's The Dinner Party. The National Museum of Women in the Arts described her work as "a testament to the power of transforming personal pain into a benefit for the greater good."

The Infertility Project premiered at the United Nations in parallel with the Commission on the Status of Women. The project became the subject of a documentary film by Betsy Chasse, director of What the Bleep Do We Know, available on Amazon Prime.

Her work has been featured in The New York Times, Worth Magazine, the Boston Herald, the Huffington Post, and the Santa Fe New Mexican.

Firestone's work is held in distinguished private collections across the United States. She is currently represented by 203 Fine Art, Taos, New Mexico.

Studio visits are by appointment in New York City and Santa Fe.

https://www.FirestoneArt.com
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