I may be reading too much into this but I think this quote and sentiment has a hopeful quality to it - that O'Keeffe might continue to be in the landscape she loves so much.

After her death in a Santa Fe hospital, O'Keeffe was cremated and had her remains scattered, as she wished, in the landscape she loved so much. This aspect of her life is incredibly poignant and significant to me and her remains ultimately becoming a part of the place she loved so much is very beautiful.

In the Tewa language, a language of the Pueblo Nations indigenous peoples of the region, the mountain is known as Tsip’in. Other nearby Pueblo Nations peoples know the mountain in Cochiti as Hest'e'yanyik'othe.

"The stark landscape and Native American and Hispanic cultures of the region inspired a new direction in O’Keeffe’s art" (Georgia O’Keeffe Museum, n.d.).

Over the following 20 years she would visit and stay for most of the summers. After the death of her partner she moved permanently in 1949.

"I feel at home here – I feel quiet – my skin feels close to the earth when I walk out into the red hills…"

"I seemed to be hunting for something of myself out there, something in myself that will give me a symbol for all this, a symbol for the sense of life I get out here."

"Such a beautiful, untouched lonely-feeling place – part of what I call the Far Away."

"The bones seem to cut sharply to the centre of something that is keenly alive on the desert even though it is vast and empty and untouchable – and knows no kindness with all its beauty."

These words illustrate O'Keeffe's love for and relationship with the NM landscape. It appears to have been both a feeling of home and peace, and of deep inspiration.

-o keffe autobio

-other books

-writings from NM????

-podcasts/

-NM sketches

"Born and raised on a dairy farm in Washington, Haggerty recounted his supportive upbringing... “Out of all the things a father in 1959 could have told his gay son, my father tells me to be proud of myself and not sneak,” Haggerty added. A message which he undoubtedly carried through with him into adult life."

"...he was an activist and organiser; over the years he was involved in ACT UP, was a foundational member of his local Gay Liberation Front group and was a discrimination investigator for the Seattle Human Rights Department. He also ran in elections for Seattle City Council and Washington State Representative in 1989 and 1990."

"Lavender Country’s trailblazing debut was self-released [in 1973] with support from the Gay Community Services of Seattle. Just 1,000 copies were made and distributed via mail order and a small handful of gay bookstores who would stock it."

(Cochrane, 2023)

"...there were forces at work against Lavender Country. One of the most notorious events from this era found Seattle DJ Shan Ottey dismissed from her job at a commercial radio station and stripped of her broadcasting license just for playing the band’s song “Cryin’ These Cocksucking Tears.”"

"After members of the group stepped away from Lavender Country to focus on personal lives and professional careers, Haggerty says he was effectively blacklisted, unable to find new collaborators. “For decades, even in movement circles, I was the one who made that queer country album, which was considered completely esoteric and outrageous,” he says. “Because I had that label, nobody would play with me. I didn’t have an opportunity to do Lavender Country or any other kind of music because I had a scarlet letter on my back.”"

"“I never stopped writing,” says Haggerty. “For the 50 intervening years, I had scraps of paper sitting under my bed and on top of my dresser with notes about songs I was moved by. They piled up over time, so the album is a collection of scribblings from my life. Not only is it advertised as being 50 years in the making, but that’s the literal truth.”"

"Haggerty remains proudest of the fact that he never compromised his creative intentions. As queer country artists now gain mainstream acceptance and commercial viability, he sees these “morphing attitudes” as a clear example of the Marxist theory of dialectical materialism."

(Locke, 2022)

Also mentions in the interview that he admires Orville Peck and Lil Nas X as queer country artists.

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This album review discusses the pain and raw experience Haggarty puts into his music, and as a gay person myself this resonates deeply with me and is incredibly powerful. The article goes on to discuss Haggarty's lifetime of campaigning for social issues.

https://paradiseofbachelors.com/shop/pob-012/

https://www.theguardian.com/music/2022/nov/01/lavender-country-tribute

https://countryqueer.com/lavender-country/the-lavender-country-story/

It writes that after the revolution ornate art and lettering was shunned, and the state sought out Soviet designers to make optimistic art and type that would reflect the modern industrialised nation. Of particular note to me is the blocky, modular style of the typefaces used.

Lino started off as a cheap and more accessible alternative to wood and metal block printing, popular with art schools. In the early twentieth century artists Matisse and Picasso started to use lino and as a result its popularity grew.

"The Grosvenor School of Modern Art opened in London in 1925. Claude Flight taught linocut classes there, showing students to produce multi-colour linocut prints by using different blocks for each colour. These British prints were highly influenced by cubism and Futurism. The First Exhibition of British Linocuts was curated by Flight in 1929. In the 1940s, American artist Walter Anderson began producing large-scale linocut prints at his Gautier, Mississippi home, to be used as wallpaper, hung like scrolls. His work was exhibited in 1949 at the Brooklyn Museum in New York."

Discussing the rise of linocut printing as not just a training medium from which to move onto wood or metal printing, but also a potential-filled medium in and of itself. This quote from a book discussing block printing shows the shift of general artist perception toward linocut as a worthy medium.

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Also discussed is his teaching of artist Lill Tschundi and his passion for the linocut medium in his later career.

"It was through Claude Flight's advocacy of the linocut that it came to be accepted for its educational potentialities, and its simplicity and boldness of design came to have a profound influence on the artistic tastes of later generations... linoleum block color printing. He, more than anyone else, is responsible for its general recognition as a printing medium. " (Parkin, 1987).

In the article Minzy discusses the things that drew him to lino print in particular and discusses that "the physicality of the process and that really resonated with me. The connection to the past, in that relief printmaking is an ancient art form. I also love that it’s a misunderstood and underrated art-form. In college all the professors asked me when I was going to make the transition to woodcuts, as if linoleum wasn’t a legitimate material in itself. At my senior show other art majors were asking if they were pen and ink drawings. And last of all I fell in love with printmaking because it was fast, cheap and easy. Linoleum is the perfect synthesis of this ethos." (Minzy, 2020)

by two factors – the availability and plastic capabilities of linoleum. Making a printing

plate from linoleum turned out to be much cheaper than from metal, stone or wood. In

addition, large engravings can be cut on linoleum. It is easy to handle because it is easy to cut." (Yusupov, 2022)

"Conclusion. Modern colored linoleum engraving is characterized by the desire to

collect a single form on the basis of small various carved elements, rhythm, polychromy, a departure from a single thematic composition to the area of decor. In general, we can say that the art of linocut remains a popular type of easel graphics." (Yusupov, 2022)