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Venice, California


Ostuni, Italy


Isla De Mallorca, Spain

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Georgia O’Keeffe’s fallout shelter is a subterranean chamber of white cinder blocks, comparable in size and charm to the interior of a cargo van. The door is tucked into a bluff facing the edge of the artist’s four-acre property in the painted deserts of northern New Mexico. As my own apocalyptic anxiety continues to tick upward, I find some grounding comfort in its existence: this world-famous painter of petals and bones, in her Ferragamo flats and wrap dress, who wasn’t known at all for being apocalyptic, spent the early 1960s casually and quietly fortifying her home for the end of the world. We love art that is beautiful, but we crave art that is relatable; in O’Keeffe’s renderings of natural objects and undulating pastel landscapes, viewers see timelessness, sensuality, and the eerie power of the natural world. Inside O’Keeffe’s spartan bunker, I see myself.

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