George Eastman Museum: Recent Episodes
George Eastman Museum
World's foremost museum of photography and cinema located on the historic estate of George Eastman, the pioneer of popular photography.
Interview conducted by George Pratt.Photo by Witzel Studios, courtesy Stills, Posters, and Paper Collections, George Eastman Museum.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences.
Interview conducted by Steven Lewis, April 17-21, 1978.Photo: Ansel Adams (American, 1902–1984). "Dody," ca. 1950. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Steven Lewis, April 17-21, 1978.Photo: Ansel Adams (American, 1902–1984). "Dody," ca. 1950. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Steven Lewis, December 12, 1976.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Peter Gasser (Swiss, b. 1947). "Ansel Adams, Carmel," 1979. Courtesy of Department of Photography/George Eastman Museum. Gift of the photographer.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Steven Lewis, December 12, 1976.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Peter Gasser (Swiss, b. 1947). "Ansel Adams, Carmel," 1979. Courtesy of Department of Photography/George Eastman Museum. Gift of the photographer.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, Sept. 9, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, Sept. 9, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 8, 1976.Photo: Nancy Newhall (American, 1908–1974). "[Beaumont Newhall]," negative, ca. 1942. Courtesy of Department of Photography/George Eastman Museum. Gift of Christi Newhall.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, February 1, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Abraham Aronow (American, b. 1940). "Brett Weston," ca. 1988. Courtesy of Department of Photography/George Eastman Museum. Gift of the photographer.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, February 1, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Abraham Aronow (American, b. 1940). "Brett Weston," ca. 1988. Courtesy of Department of Photography/George Eastman Museum. Gift of the photographer.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, February 17-19, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Nancy Newhall (American, 1908–1974). "Brett Weston on step of car," negative, 1978. Courtesy of Department of Photography/George Eastman Museum. Gift of Christi Newhall.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, February 17-19, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Nancy Newhall (American, 1908–1974). "Brett Weston on step of car," negative, 1978. Courtesy of Department of Photography/George Eastman Museum. Gift of Christi Newhall.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, February 17-19, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Nancy Newhall (American, 1908–1974). "Brett Weston on step of car," negative, 1978. Courtesy of Department of Photography/George Eastman Museum. Gift of Christi Newhall.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, February 17-19, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Nancy Newhall (American, 1908–1974). "Brett Weston on step of car," negative, 1978. Courtesy of Department of Photography/George Eastman Museum. Gift of Christi Newhall.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, February 17-19, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Nancy Newhall (American, 1908–1974). "Brett Weston on step of car," negative, 1978. Courtesy of Department of Photography/George Eastman Museum. Gift of Christi Newhall.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, February 17-19, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Nancy Newhall (American, 1908–1974). "Brett Weston on step of car," negative, 1978. Courtesy of Department of Photography/George Eastman Museum. Gift of Christi Newhall.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, February 17-19, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Nancy Newhall (American, 1908–1974). "Brett Weston on step of car," negative, 1978. Courtesy of Department of Photography/George Eastman Museum. Gift of Christi Newhall.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, February 17-19, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Nancy Newhall (American, 1908–1974). "Brett Weston on step of car," negative, 1978. Courtesy of Department of Photography/George Eastman Museum. Gift of Christi Newhall.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, October 20, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Max Yavno (American, 1911–1985). "Keyboard," 1947, printed ca. 1981. Courtesy of Department of Photography/George Eastman Museum. Gift of the Vernon Family Trust, Los Angeles, CaliforniaThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.Generous support for the introductions provided by Art Bridges, and made possible in part by the National Endowment for the Humanities: NEH CARES.
Interview conducted by James McQuaid, October 20, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Max Yavno (American, 1911–1985). "Keyboard," 1947, printed ca. 1981. Courtesy of Department of Photography/George Eastman Museum. Gift of the Vernon Family Trust, Los Angeles, CaliforniaThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.Generous support for the introductions provided by Art Bridges, and made possible in part by the National Endowment for the Humanities: NEH CARES.
Interview conducted by James McQuaid, October 20, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Max Yavno (American, 1911–1985). "Keyboard," 1947, printed ca. 1981. Courtesy of Department of Photography/George Eastman Museum. Gift of the Vernon Family Trust, Los Angeles, CaliforniaThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.Generous support for the introductions provided by Art Bridges, and made possible in part by the National Endowment for the Humanities: NEH CARES.
Interview conducted by James McQuaid, October 20, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Max Yavno (American, 1911–1985). "Keyboard," 1947, printed ca. 1981. Courtesy of Department of Photography/George Eastman Museum. Gift of the Vernon Family Trust, Los Angeles, CaliforniaThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.Generous support for the introductions provided by Art Bridges, and made possible in part by the National Endowment for the Humanities: NEH CARES.
Interview conducted by Howard Bossen, June 19-20, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Mike Mandel (American, 1924–2016). "Hank Smith," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Howard Bossen, June 19-20, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Mike Mandel (American, 1924–2016). "Hank Smith," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Howard Bossen, June 19-20, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Mike Mandel (American, 1924–2016). "Hank Smith," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Howard Bossen, June 19-20, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Mike Mandel (American, 1924–2016). "Hank Smith," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Howard Bossen, June 19-20, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Mike Mandel (American, 1924–2016). "Hank Smith," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, January 6, 1978.Photo: Nathan Lerner (American, 1913–1997). "Eye on Window, New York," 1943. Courtesy of Department of Photography/George Eastman Museum. Gift of Tom Wilson.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Howard Bossen, February 19, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Mike Mandel (American, 1924–2016). "Conrad J. Pressma," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Howard Bossen, February 19, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.Photo: Mike Mandel (American, 1924–2016). "Conrad J. Pressma," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Steve Lewis, March 17-19, 1978.Photo: Abraham Aronow (American, b. 1940). "[Henry Holmes Smith]," ca. 1984. Courtesy Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Steve Lewis, March 17-19, 1978.Photo: Abraham Aronow (American, b. 1940). "[Henry Holmes Smith]," ca. 1984. Courtesy Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Steve Lewis, March 17-19, 1978.Photo: Abraham Aronow (American, b. 1940). "[Henry Holmes Smith]," ca. 1984. Courtesy Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Steve Lewis, March 17-19, 1978.Photo: Abraham Aronow (American, b. 1940). "[Henry Holmes Smith]," ca. 1984. Courtesy Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Steve Lewis, March 17-19, 1978.Photo: Abraham Aronow (American, b. 1940). "[Henry Holmes Smith]," ca. 1984. Courtesy Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Steve Lewis, March 17-19, 1978.Photo: Abraham Aronow (American, b. 1940). "[Henry Holmes Smith]," ca. 1984. Courtesy Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Steve Lewis, March 17-19, 1978.Photo: Abraham Aronow (American, b. 1940). "[Henry Holmes Smith]," ca. 1984. Courtesy Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Steve Lewis, March 17-19, 1978.Photo: Abraham Aronow (American, b. 1940). "[Henry Holmes Smith]," ca. 1984. Courtesy Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Steve Lewis, March 17-19, 1978.Photo: Abraham Aronow (American, b. 1940). "[Henry Holmes Smith]," ca. 1984. Courtesy Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, May 9, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, May 9, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, May 9, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, May 9, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, May 9, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 2, 3, and 6, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 2, 3, and 6, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 2, 3, and 6, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 2, 3, and 6, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 2, 3, and 6, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 2, 3, and 6, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 2, 3, and 6, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 2, 3, and 6, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 2, 3, and 6, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, December 2, 3, and 6, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Howard Bossen, March 20, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Arthur Ollman, February 23, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Arthur Ollman, February 23, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Arthur Ollman, February 17-18, 1978.Photo: Mike Mandel (American, 1924–2016). "Jack Welpott," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Arthur Ollman, February 17-18, 1978.Photo: Mike Mandel (American, 1924–2016). "Jack Welpott," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, March 21, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Howard Bossen, May 1, 1978.Photo: Bernard Gotfryd (American, 1924–2016). "André Kertész," January 26, 1983. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.Generous support for the introductions provided by Art Bridges, and made possible in part by the National Endowment for the Humanities: NEH CARES.
Interview conducted by James McQuaid, March 27, 1978.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Ute Eskildsen and Sally Stein, February 1, 1976.Photo: Arthur Siegel (American, 1913–1978). Untitled, 1965. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Ute Eskildsen and Sally Stein, February 1, 1976.Photo: Arthur Siegel (American, 1913–1978). Untitled, 1965. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Ute Eskildsen and Sally Stein, February 1, 1976.Photo: Arthur Siegel (American, 1913–1978). Untitled, 1965. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by Ute Eskildsen and Sally Stein, February 1, 1976.Photo: Arthur Siegel (American, 1913–1978). Untitled, 1965. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid, September 24, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Elaine King, October 29-November 6, 1978.Photo: Mike Mandel (American, 1924–2016). "Arthur Siegel," from "The Baseball Photographer Trading Cards," 1974–1975. Courtesy of Department of Photography/George Eastman Museum.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Marilyn McCray, December 19, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by James McQuaid and Marilyn McCray, December 19, 1977.This interview was produced as part of an oral history project funded by the National Endowment for the Humanities.The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo by Roman Freulich. Courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Academy of Motion Picture Arts and Sciences/Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo by Balboa Studios. Courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo by Roman Freulich. Courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy MGM/Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Photo by Ruth Harriet Louise. Courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Photo by Ruth Harriet Louise. Courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Universal Studios Company, Inc./Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Universal Studios Company, Inc./Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Interview conducted by George Pratt.Photo courtesy Stills, Posters, and Paper Collections/George Eastman MuseumThe Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
The spring schedule was thrown into some chaos with the announcement of our first award event in four years, but we’ve managed to put together a series of seven films and a roundtable discussion to celebrate the career of Jodie Foster. The actor, director, and producer has done a great amount of impressive work over the last 50 years, which will be discussed at our Dryden Roundtable discussion featuring Curator of Film Exhibitions Jared Case sitting down with Nora Brown, Executive Director of the Rochester/Finger Lakes Film Office, as well as film professors Kendall Phillips (Syracuse University) and Carter Soles (SUNY Brockport). The roundtable takes place Saturday, May 6, at 2pm, and all George Eastman Museum members receive free admission. All other tickets are just $10. The films range from drama to science fiction to thriller, and span the length of Foster’s career.
Join Curator of Film Exhibitions Jared Case and film critics Adam Lubitow, Matthew Passantino, and David Palmer as they discuss the films nominated for this year’s Academy Awards.Talk of the Oscar changes for this year, favorite nominations, and worst snubs will lead to deeper discussions about some of the best films of the year and how they made 2022 one of the best years in recent cinema memory.
One of the things I like to stress to people about how this show goes and how it is put on is that without the help of the landscape volunteers, this show would not happen. There are two people involved in this department, and without the volunteers, we wouldn't be able to do half of the things that are done both inside and out in the gardens. One of the things I'd like everyone to take away from this show is that volunteers are needed at all times for this department because of the immense amount of work that goes on. This show alone, when the show is on for the two or three weeks that we run it, my volunteers are putting in anywhere from eight hundred to a thousand hours of help. Without their help, this doesn't happen. I always put out a big shout to them, because without them, the museum would not be the way it is. The grounds would not be as beautiful as they are, and this show would definitely not happen.For those of you interested, we are always looking for new volunteers to help both with the show, and with the gardens. Please visit our website, eastman.org to find out all the fun details about volunteering in the gardens. If you're here for the show, stop by our sales area where you'll find some lovely plants to take home with you, a little bit of the Dutch Connection to take with you. You may also check out with my volunteers to find out what it is to volunteer. Forms are available. More information that was available in the sales area. I want to thank you for coming, and enjoy the flowers. Enjoy the sense and smells of spring.
Some of the biggest challenges that we run into, obviously, it's a plant. So trying to get plants to grow when you want them to is always a challenge. There are years that the tulips don't get enough of a cold season and won't bloom as well. There are times when there's a problem with the ball, and that whole type of daffodil I was expecting to see doesn't come up. There's also the huge challenge of hoping I can get everything to bloom at the same time. I can sing to them. I can dance to them. It really doesn't matter. They're on their own. What we do is mess with the temperatures to hopefully try to speed them along. Then if they're going too fast, to drop the temperatures back down to a cooler area to slow them down so they're ready for the show.
Once the show is done, the show is taken down, most of the product is given away to my volunteers. They're allowed to come in as a thank you for helping us out. The rest is given to a couple of community organizations that use them around the neighborhoods to plant up in the corner gardens that you'll see around the city, and then some of it does get composted. What we do find is that the neighborhood knows when I compost, because once they're in the compost bins, it seems people come by and pick up bulbs for free. Not a problem. I'm glad people are using them. Once the show's done, we now have to clean up the mess. That's over 2,500 pots that need to be scraped and cleaned, washed and sterilized, to be ready for the following show. So the show basically goes on from June to June. During the rainy days during the summer, we're washing the pots, we're getting things ready. So it is a year end, year round endeavor for the Eastman House to put this show on for you.
This process to put a show together starts in June. It is almost a year-round process for us to put this on. Orders go in in June, with delivery in October. All of my orders are put through to two companies that are directly connected to Holland. Their offices are here in New York, but their farms are in Holland.The companies that I use, one of them is directly connected with Eastman. He originally was ordering bulbs from this company. It's been around since the late 1800s. It's another way for us to connect with how George Eastman did run his gardens and how he ran his flowers in the winter. All of my bulbs are brought direct from Holland, usually on skids that are sent over. How I know is we have packing lists that come in Dutch. Luckily, I do get sent ahead of time packing lists in English so that I can understand what they've sent me. That's just the beginning of this show that you're looking at today.Come October, the bulbs start arriving into the U.S. and are brought to us here in the Eastman House, and that's where we commence the heavy work. My volunteers come forward and help us pot up to 14,000 plus bulbs for the fall to be put into a root cellar so that they can get their winter cooling. We basically trick them into thinking it's spring and get them to grow. That process goes all the way through to December, and then we begin bringing them out into the greenhouse.And through there, all the way from December to February, the beginning of the show, we're continually bringing more product into the greenhouse, getting it ready for the show. During the months of January and the beginning of February, we're moving things around in the greenhouse, hoping to get everything to grow and be ready for the show all in one shot.Because tulips, daffodils, and hyacinths all grow at a different rate, it's a matter of bringing them into the greenhouse to give them enough time to flower. Tulips take an average of eight weeks to flower, whereas hyacinths take as little as four. So we're bringing things in in stages to make sure everything blooms at the same time.Comes to the show, I bring in another staff of volunteers to come in and help me set up the show. We set up the general idea of where the show will be held. I put the plants down on the floor, explain the colors to my volunteers, and then I let them have at it. They get to design the show completely themselves. We do a little tweaking, but most of the time, it comes out pretty good.
I began this journey of doing the gardens and the shows back in 2004. Was lucky enough to come in here out of school and be hired as an intern, and ever since then it's been just an upward challenge to keep the gardens in shape and to produce this show every year.This year's exhibit will contain upwards to 14,000 bulbs in bloom in the house at any one point. The show in February is one of the earliest shows in North America for a forced bulb show. Some very big challenges come up to make it happen in the middle of winter.As you walk through the museum, you will see the different displays that we have put out to show you how Eastman may have had it. We do have pictures that show he had orchids and forced bulbs around the room, just not as extensively as we show in one show. Our thought is to bring to you all of the amounts of flowers he would've seen in his winter months in the short time of the show.This year's show will include hyacinths, daffodils, tulips, amaryllis, a lot of early spring blooming plants that you would see very early, hellebores, primroses, begonias, a lot of the fun stuff that we see in the early spring trying to shake away the wintertime.
Speaker 1:The museum started this show back in 1995, and it has run annually since. It's inspired me trying to bring back a little bit of how George Eastman lived his life during the winter months, and to bring it back for people to see. Every year he would order 30 to 40,000 bulbs for some into the greenhouses, and put some into the yard every year. During the winter months, he would have his gardeners bring them into the house so we could have fresh growing flowers all year round, tulips, daffodils, hyacinths, all those early spring forceable plants that he could bring in.
Welcome to the George Eastman Museum. My name is Dan Bellavia, I am the landscape manager here. Today I'm here to talk to you about the Dutch Connection, the annual Forced Bulb Show that has run every February here at the George Eastman Museum. This event was inspired from a letter that was sent from George Eastman to his mother back in 1895. He was taking a tour of Holland at that point, a bicycle tour no less, and he saw the beautiful fields of tulips and daffodils that are wall to wall in Holland, decided to bring some home to the United States and foreseen putting them into his gardens in the estate he was planning on building.
George Eastman Museum - Advanced Studies Workshop, 1967: Robert Frank [Part I] by George Eastman Museum
George Eastman Museum - Advanced Studies Workshop, 1967: Robert Frank [Part II] by George Eastman Museum
George Eastman Museum - Advanced Studies Workshop, 1967: Robert Frank [Part III] by George Eastman Museum
George Eastman Museum - Advanced Studies Workshop, 1967: Robert Frank [Part IV] by George Eastman Museum
George Eastman Museum - Advanced Studies Workshop, 1967: Robert Frank, Marie Czach [Part V] by George Eastman Museum
My name is James Tylor, and I'm a visual artist based in Canberra, Australia. My art practice is predominantly photography. I have done some film, as well as sculpture, and food and smells, but predominantly I’m best known for my photographic work.
My photography fits into two areas. 19th century photographic processes, so daguerreotype, wet plate, and UV paper processes from the 19th century, and I also do experimental photographic processes, things like cutting holes in the images, ripping them, burning them, painting on images and things like that.
Most of the themes that I look at in my photography, look at Australian history, predominantly the 19th century around the time of photography, but looking at the British colonization of Australia, and its effect both on Aboriginal people and the environment.
I reflect on my Aboriginal Kaurna Miyurna background which is from South Australia and Adelaide, and also drawing on my British, Scottish and Irish roots when making work about photography, but I also have Māori ancestry from Aotearoa, New Zealand and I have made work about that as well.
The phrase “untouched landscape” refers to the idea of terra nullius, which was what the British constituted colonizing Australia and taking the land off Aboriginal people. So terra nullius means “no man’s land.” So the idea was that the British didn’t recognize that Aboriginal land ownership or Aboriginal land use was the same as Western cultivation or Western ideas of land ownership.
It was largely not the case, and Aboriginal people have lived on the same tract of land for upward of 65,000 years. As an Aboriginal person, I can trace where my family comes from and know that they’ve been there pretty much since they arrived on the continent. 65,000 years ago. We have almost 3,000 generations in one part of the Australian continent. The idea that we don’t own the land, although we view it as custodianship, which is a form of ownership, the British ignore. They did however document it for Kaurna, the nation that I come from, and they did recognize that we had a form of land ownership that was similar to the British. We also had methods of cultivating different crops, but it was largely ignored.
There’s a notion that Aboriginal people are nomadic, but that’s not entirely true. For Kaurna, we migrated two times a year but to very specific places we return to in the exact same place at the exact same time of the year, so it’s almost like having your normal house and your holiday house. In some parts of Australia, like in Victoria, there’s evidence of people living in the same spot all year round with stone dwellings, and the same in Tasmania.
And so this idea that we didn’t own our land, and we roamed around, and were nomadic prior to the British arriving is untrue. This idea of untouched landscape was that Aboriginal people were moved into Christian missions and the land then seemed untouched. A lot of it is a fabricated idea so the British could take ownership of the Australian continent under their own standard and their laws. However, we had our own laws, our own land ownership, our own forms of farming, and essentially we owned the land.
In both works From an Untouched Landscape, I was basically playing on this notion of the untouched landscape to highlight culture had been removed out of the landscape deliberately and covered up in our history by the British.
And so when you see the work We Call This Place... Kaurna Yarta it’s talking about these are our spaces, we own these places, we have names for these spaces.
The area of the Australian coast that I photographed stretches from Victoria, specifically Narrawong and Portland, through to Adelaide, in South Australia. And this stretch of coast is historically a whaling migration path. So whales start at Antarctica. And then they move up to the Australian continent. The way that Australia is shaped, there's a curved bit, of course, called the Great [Australian] Bight. When they hit this area, they have two options to go around the continent. They can either go west, to Perth and WA, and around that way, and then they head up to Indonesia, or they had east along the coast. And so at South Australia, they travel around to Victoria, then up around into New South Wales and up past Queensland, and then up into places like Papua New Guinea.
So what early British, French, and American whalers had figured out is that they can position themselves at different sites along the southern coast of Australia, and they could then harpoon whales, harvest them, and then process them for blubber, for oil, and then they would then trade in places like Europe or America.
These sites along the coast are really important sites, both for indigenous people and for the early colonial history of Australia. And they're also sites of contact between Aboriginal people and these whalers and sealers. In this series, I've been wanting to highlight that interaction.
In the image, you can see that I've carved a black Wadna or a boomerang, as well as a musket, which was used by the whalers and sealers, and a wirri, a wooden club on the bottom. This is just referring to that first contact and ongoing relationship that whalers and sealers had, which was mixed. It ranged from loving relationships and trade and also employment, to slavery and sexual assault of women and also murder. So it's a broad spectrum and in one of the works is a site of a large massacre done by whalers and sealers at a place called Allestree between Narrawong and Portland in Victoria, and these objects refer to those conflicts as well.
In this salon hang, there is a cross at the center and then there’s three photographs around it of different landscapes. All of the landscapes are significant to the representation of the cross.
When Australia was colonized by the British, they set up a series of missions all across Australia, and they were generally run by British or German Christians. Their sole objective was to remove Aboriginal people off the land, teach them English, and teach them Christian ways so that then they could become servants for white owners of the land.
Basically, the missionaries played a very significant role in the shaping of colonial Australia and Aboriginal lives for the last 150 years. The church for us has been a very destructive force, and its been bittersweet sometimes in the case of Kaurna in Adelaide. We had a place called Pirltawardli where they recorded Kaurna language, almost 4,000 words, by the German missionaries. But at the same time they then started a thing called the Stolen Generation where they removed children away from their parents and they took them 700 kilometres away from Adelaide to a place called Port Lincoln on the other side of the gulf. The children were then just brought up in English language and Christianity.
This has had a knock-on effect where we’ve had to spend the last 50 years since racial segregation ended picking up the pieces of the damage of colonization. So we’ve had to relearn language and learn our ways and reconnect with them. And some people managed to hold on to some things in missions, but it was really determined on how strict a mission was. Some missionaries allowed language to be taught. But in the case of Point Pearce where the majority of Kaurna people were taken there was a strict no language rule. Missions were quite destructive in our history.
To me, the places around them are relevant to sites of missions. That you see to your right, is an area called Lake Condah, which was set up in Western Victoria at a place where the Gunditjmara were taken, and also other Koori, Victorian Aboriginal people, were taken to that site.
There was a lot of displacement, moving people around so that they didn’t have connections to their relatives. The missions were really really horrible places for the Aboriginal people.
We Call This Place... Kaurna Yarta is a series of daguerreotype photographs of places on the Kaurna nation. The Kaurna nation is an area predominantly on the Adelaide plains in South Australia, but it also stretches down into the south to Fleurieu Peninsula and the Mount Lofty Ranges, as well as Kangaroo Island.
These places, when South Australia was colonized by the British in 1836, a lot of the indigenous place names were ignored, and the British renamed a lot of the places either after British people or British places. There’s a few German names as well from the German migrants.
There wasn’t that many original Aborginal names recorded in the Kaurna region, because it really was the first place to be colonized by the British so they named a lot of the places after the first migrants.
And so this series, I wanted to rename the places with Kaurna names. I used a combination of historical names that we know, but also the contemporary Kaurna language committee has been renaming places if they don’t know what the old name is, and giving dual names so there’s the British name and the Kaurna name.
In this series I’m just laying the Kaurna name over, and taking control of our land and inserting our language back into the country and back into photographs.
In these images, I’ve used a specific type of round hand from the 19th century with the Kaurna names laid over top. The round hand was used by the missionaries when teaching Kaurna people how to use Roman numerals with writing Kaurna language. We have a lot of letters written in Kaurna language taught by German missionaries in this type of round hand. In some way, I was trying to reinvigorate the time when those languages were spoken using this type of writing.
The images are displayed on Kaurna design, these geometric shapes such as this wavy line which references riverways. These designs all mean something to us and they are all part of our identity, so I wanted to overlay them on top of our imagery. The tones in the images are gold, which refers to the gold that was around daguerreotype photographs in the 19th century, as well as the red which refers to our most precious resource, which was red ochre, which to us is like gold.
This little grouping of images is on top of a diamond. The diamond shape features a lot in Kaurna carving, but also this one’s referring to a specific cultural object that is quite a sacred object, but I can represent it in this format as a diamond. At the center of the installation is a work with Pintingga. Pintingga refers to Kangaroo Island, which used to be part of the mainland at the last ice age but had got cut off somewhere between 12,500 years ago and had become completely cut off by about 9,000 years ago.
It used to be a place where Kaurna people used to live, as well as Ngarrindjeri people and Peramangk, and Narungga used to have connections to it, and Barngarla, too. These days we just have connections to it; it’s a place we call. So Pintingga directly means “the place of the dead,” and so no one really lived there since the island’s been cut off. There’s evidence people might have been living on there or visiting there ‘til up to about 2,500 years ago.
But it’s a very sacred place for us. We’re allowed to visit it but we’re not allowed to live there. It’s a space that we associate with mourning. The people who live there now are not indigenous people. And it was the site where the first whalers and sealers colonized because it was not inhabited and it was a good place to set up before colonizing the mainland. When the British arrived after the whalers and sealers, they set up a town at King’s Cove at this site of Kangaroo Island.
So we have multiple names for Kangaroo Island; we can call it Karta which means island, or Lap, or Pintingga “the place of the dead,” so in long-form sometimes we call it Karta Pintingga.
I wanted to acknowledge this place in the photograph, so it’s overlaid with text referring to that space.
This audio tour has been made possible in part by the National Endowment for the Humanities: NEH CARES.
Any views, findings, conclusions, or recommendations expressed in this audio, do not necessarily represent those of the NEH.
Transcript
Star Chart features work from a current ongoing project with the working title Deep Space. I consider the three completed films in Night Reels a trilogy and Deep Space is both similar and moving in a new direction. I try to build on the techniques I employ as I address a new project and in this case I will be adding text to the film in a collaboration with the poet Mary Szybist. What you see here is still silent, however. The landscape for the film is outer space and the film will feature Lillian Gish and Janet Gaynor. I plan to have a subtext involving aging, since Lillian Gish had a long cinematic career and she ages on the silver screen. She made her final film The Whales of August in 1989 when she was 92 years old. The images of her here are from a very early Biograph film called The Mothering Heart that she made as a teenager. I’m exploring contemporary feelings of uncertainty and peril. The film Deep Space is an internal exploration of the power of beauty and imagination alongside the specter of annihilation. For the Star Chart I made 3 loops from the work I have completed and placed them in this wooden disc that features a reproduction of a 19th century star chart. My collaborator Michael Schliske constructed the frame and put the piece together. I like the way the disc gives context to the loops and that there are screens occupying the surface like blinking solar systems in the vastness.
This audio tour has been made possible in part by the National Endowment for the Humanities: NEH CARES.
Any views, findings, conclusions, or recommendations expressed in this audio, do not necessarily represent those of the NEH.
Transcript
For the final film in the trilogy, Edge of Alchemy, I wanted to develop a relationship between two women. I decided to work with the silent-era actresses Mary Pickford and Janet Gaynor, both of whom project a sense of interiority and psychological complexity in their portrayals, which is something I’m always looking for. It occurred to me that it might be interesting to present a version of the Frankenstein story but with a gender reversal that would illuminate the classic story in a new way. I’m an avid gardener and I had been thinking about bees and hive decline, and I decided that that crisis could present an entry point for the film and help define the characters. Mary Pickford plays the “scientist” and Janet Gaynor the “creature’ she creates. I took elements from over a dozen films to create collages for Edge of Alchemy. I again used fragments from the work of 19th century illustrators to create the backgrounds.
Much of the action in Edge of Alchemy takes place in an arcane laboratory adrift in a world outside time. To accompany Edge of Alchemy, I worked with Michael Schliske to create several proto-scientific instruments that give the appearance of some sort of functionality while serving as miniature screening “rooms” for the re-scaled film material. I like to play with impact of scale and contrast the intimacy of the miniature with the physically encompassing experience of the big screen. Each instrument features lenses that in various ways distort the images on the screens embedded in them. I am interested in perspective and how our preconceptions alter our experience of what we see. The lenses play with and alter the images from Edge of Alchemy and I hope encourage the viewer to reflect on the subjective nature of interpretation and point of view.
This audio tour has been made possible in part by the National Endowment for the Humanities: NEH CARES.
Any views, findings, conclusions, or recommendations expressed in this audio, do not necessarily represent those of the NEH.
Transcript
The second film in the trilogy is Night Hunter. After I completed Phantom Canyon I knew I wanted to continue working with collages, but I was looking for a way to add psychological complexity to the characterizations. I had admired a performance by Lillian Gish in the D.W. Griffith film Broken Blossoms from 1919. Her portrayal of an abused child is quite staggering and vividly emotional. I thought I might be able to lift her from the scenes in that film and bring her into my own world. I began to cut her out of printed film frames and collage her into a mysterious house with a snake and confounding eggs where she is very much alone. I used fragments of 19th century Pre-Raphaelite illustrations to construct the collages. I ended up incorporating images from 4 of her silent-era films. Night Hunter explores a loss of control, heightened emotions, and maternal impulses. Gish expresses all of those magnificently. I create my films intuitively and don’t plan ahead. I’m inspired by Surrealist techniques, particularly those employed by women like Remedios Vara, Leonora Carrington and Frida Kahlo. Like them, my working process is organic and allows the unconscious to play a role. I am looking for a poetic alignment of elements, not a rational one. My films bring incongruous or unexpected objects into a pre-existing film frame or a newly assembled collage. Overtime, I’ve learned that these unanticipated conjunctions of actors and print elements create a kind of visual, energetic charge.
I decided to create Night Hunter House following on an opportunity to premiere the film Night Hunter at the Denver Art Museum. While I was constructing the film, I had the idea that it would be interesting to try to create a sculptural facsimile of the house where the film is set, with its many mysterious rooms. I worked with an architect friend, Mark Sofield , and we designed a 10 room miniature house with a video screen in each room. Michael Schliske finalized and fabricated the piece. As you move around the house and look into the windows, you can watch nearly all of the film in discreet loops. Along with the media, each room contains an assortment of miniature objects I placed there that parallel the action in the loop. I love using miniatures and I think the enactment of voyeurism as we gaze through the windows opens up the scope of film. I find the intersection of sculptural object and media help draw the viewer into the fantasy realm of the film and place the two elements in conversation with one another.
This audio tour has been made possible in part by the National Endowment for the Humanities: NEH CARES.
Any views, findings, conclusions, or recommendations expressed in this audio, do not necessarily represent those of the NEH.
Transcript
The first of the trilogy films is called Phantom Canyon. For this film I had the idea of incorporating the subjects from Eadweard Muybridge’s human motion studies from 1883. I was familiar with them from my years studying the figure, they are a resource for many artists since they show multiple images of bodies in motion performing various activities. I thought their stop-motion quality made them a natural fit with animation, and also that the male and female figures could become characters in a film that was a metaphorical examination of a relationship. I combined the figures with images from clip-art books which are collections of copy-right free images often used by artists. The bold contrast in the black and white images seemed to work well with the themes of passion and dismay that the film explored. From the very beginning the technique excited me.
I began to create 3D sculptural installation objects in collaboration with other artisans after I finished my second trilogy film Night Hunter and created Night Hunter House. The excited response to that work made me think about returning to Phantom Canyon and thinking of a way to incorporate a key element of the film with a small scale projection built into a sculptural object. Stack of Beds emerged from that process. The falling beds are part of a seminal scene in Phantom Canyon and creating a physical representation of that scene seemed like a fertile choice. My friend, the fine woodworker Michael Schliske and I designed the piece together, and he fabricated it using various antique beds and other elements he built. I like the way Stack of Beds plays with filmic scale and extends the metaphoric power of the film by placing the viewer inside the filmic space in a certain sense.
This audio tour has been made possible in part by the National Endowment for the Humanities: NEH CARES.
Any views, findings, conclusions, or recommendations expressed in this audio, do not necessarily represent those of the NEH.
Transcript
My name is Stacey Steers and I am the multi-disciplinary artist behind the work in Night Reels. Over the trajectory of my career the focus of my art practice has been experimental animation. I create my films by hand, like many artisans, in a way that harkens back to the early history of animation. For years I drew my animated films, but around 2000 I began to feel that the expressive quality of my drawing style was too confining and I began to search for a more neutral way to work with images. I decided to try my hand at collage animation, a form I was familiar with through the work of Larry Jordan and others. I decided to try creating collages by combining antique photographic materials or film stills with fragments of 19th century engravings and illustrations. Each collage is small, usually 4 x 5.5 inches, and I photograph them in sequence on an old animation stand using 35mm film. I have to make huge numbers of these works on paper to create a film, usually 8 unique images for each second of screen time. It’s a very obsessive, labor-intensive process. As an experimental filmmaker, I’m always looking beyond the conventions of narrative filmmaking and I try to explore a different sort of cinematic language. I like to try to leave room for the audience to have their own relationship to the images and ideas.
Landscape Manager Dan Bellavia goes behind the scenes of Dutch Connection, sharing its history and how it comes to life every year.
Landscape Manager Dan Bellavia goes behind the scenes of Dutch Connection, sharing its history and how it comes to life every year.
Hi, my name’s Will Green, and I’m the curator of the exhibition Carl Chiarenza: Journey into the Unknown.
I first came across Chiarenza’s work while studying at Rochester Institute of Technology, where a massive, 14-foot wide photograph by him is on permanent display in the lobby of the Frank E. Gannett Building. This photograph was different than any that I’d ever seen before. It didn’t depict a person, a place, or any other subject matter that I could easily recognize. At first glance, it appeared to be little more than a disorganized array of various textures, shapes, and tonal values. Yet as I passed by it each day on my way to class, this photograph began to make more sense. I started to notice the subtle ways Chiarenza repeated certain shapes and textures over the horizontal plane of the picture, and how he deftly balanced light and dark tonal values to construct a composition that was, the more I looked, surprisingly harmonious. In short, as I became more and more familiar with this particular photograph, it became more and more interesting to look at.
I hope that you’ll be able to slow down and take time to explore the works on display in this exhibition. Follow along with this audio tour as we learn more about Carl Chiarenza, his photographs, and what makes them so special.
This audio is made up of clips from interviews Chiarenza did in 2000, 2008, and 2019. I’d like to thank Brooks Jensen of Lenswork magazine, Gabriella Chiarenza, and Steve Osemwenkhae for providing this audio.
Carl Chiarenza was born in Rochester, New York, on September 5th, 1935. He picked up his first camera around the age of eight, and throughout his adolescence, photography and music were his main passions. Here’s Chiarenza recalling a funny story about his early efforts in photography during an interview with his daughter, Gabriella, in 2019:
The playground master—in those days we had a person in the playground—had himself an interest in photography, so he encouraged us young people to play with cameras. And some of us would do that, and I did that, and then went home and eventually made a darkroom in the attic where I processed film and made prints. And when I was developing film one day, I had the tank in the sink in the bathroom on the second floor underneath the attic and I was running water to wash the film—and I got the faucet going in such a way that it would go into the tank, move out of the tank in a way that kept it flowing regularly. And I went across the street to make some more negatives in the playground. And when I came back one day I got into real trouble, because the moving water changed its course and overflowed the sink and went down to the first floor—which caused me to have some issues with my father!
Source: Gabriella Chiarenza Interview (December 20, 2019)
Carl Chiarenza was a member of the second class to graduate from the newly-established bachelor of fine arts program in photography at Rochester Institute of Technology. His classmates included well-known photographers Bruce Davidson, Kenneth Josephson, Pete Turner, and Jerry Uelsmann. In an interview with LensWork magazine editor Brooks Jensen from 2000, Chiarenza discusses the dual influences of Minor White and Ralph Hattersley, two prominent faculty members at RIT during the mid 1950s:
Now in the photo thing, as this program is developing, Hattersley was the person—of the teachers we had Hattersley was the person who was directly involved with putting the program together. Minor came into the program when he moved to Rochester and Eastman House, so he came in part-time. Anyway, as the classes got going over the two-year period, we would be bouncing back and forth between Minor and Ralph. So the wonderful thing about this was that we didn't get stuck with a single track. We were not under Minor White, we were not under Ralph Hattersley. We would go to minor and we would learn the Zone System—and how to stare at a picture for an hour and really digest that picture detail by detail, you might say silver halide by silver halide. At the time, we all sorta thought he was really nuts, I mean having us sit there for an hour looking at these pictures, but again, as we’ve all said in retrospect, that was a major part of our education—what a picture is and how you deal with that, particularly in photography, where photographers generally see a subject or an object and say, “Oh, that’s nice, I’m going to make a picture of that,” whether its people or a lamp or whatever it is, and don’t really think about what’s going on behind it, in front of it, to the left of it, to the right of it, and so on. So we really learned to understand that photography, like any other picture, is made up of everything that’s in it. And everything that’s in it is important. On the other hand we went to Ralph and Ralph would say, ‘Well, what’s in the darkroom trash this morning? Is there anything interesting that we can pull out and start with?’ These would be prints that had stains on them that could be developed further. I know this sounds extreme, but it happened! Or he would take us on field trips to New York. We went to New York and we spent a couple days at LIFE magazine meeting people like Eisenstaedt and Margaret Bourke-White and meeting people and going through the whole building, the labs and meeting the layout people and so on. And we would go back to RIT with negatives that he had gotten for us from LIFE magazine and we experimented with them to see if we could do something different from what LIFE did. Or we went to Chicago and we met the people at ID, Callahan and Siskind, and learned about an entirely different way of teaching photography. We walked into—I guess it was the Mees building or Gropius building, I can’t remember—and as we were walking up toward the photo department, up the stairway, and we heard this terrific jazz going on. We make it up a stairway, up a landing, and there’s Chico Hamilton quartet playing, live, in the middle of this space. It wasn’t a concert, it was just in the middle of the building. So it was experiences like that that really opened us up to all kinds of creative worlds.
Source: LensWork Interview (2000)
During his early years, Carl Chiarenza started moving closer and closer to his subjects, resulting in photographs that looked more and more abstract. Here he is discussing that transition with LensWork magazine editor Brooks Jensen in 2000:
Well, when I started making serious photographs, after I got through with the photojournalism stuff and got back on some kind of track, I was really trying to work in the tradition of Minor [White] and Edward [Weston] and Ansel [Adams]. And I used to go out daily with Paul Caponigro—we lived together for a while—and we would go out to various parts of New England and photograph. He would always come back with wonderful landscape pictures and I would always come back with mosquito bites… and halfway decent pictures. But, you know, it took a long time for me to understand that that was not where I was going to be able to function, in terms of expressing what I needed to express. Because I didn't know any other way, there was no other way open to me but that tradition I inherited. So until I found myself getting smaller and smaller and smaller in terms of the parts of the world that I was looking at and closer and closer and closer that I began to understand that I wasn’t really interested in this landscape as a picture. Though I loved the landscape, it wasn’t that that was my picture. So I began making pictures that were smaller and smaller, more and more abstract
Source: LensWork Interview (2000)
Carl Chiarenza began working in the studio in 1979. His decision to move his artistic practice indoors was prompted by a chance invitation from the Polaroid Corporation to experiment with their massive 20 x 24-inch studio camera. In a 2008 interview with LensWork magazine editor Brooks Jensen, Chiarenza explains the circumstances behind this important transition:
The thing that happened in 1979 which caused me to change from outdoors to indoors—or from using things that existed in the world to making things that had not existed before—was because of Polaroid. When I, along with a half a dozen other people, were invited to test the new 20x24 camera, I was thrilled with the idea, but I had no idea what to do because I’d never brought things to the camera before. I spent a week using up a lot of their film (and therefore a lot of money that wasn’t mine) making pictures which I thought were pretty terrible because I had no idea how to do that. I was trying to do still lifes, but abstract still lifes. And it wasn’t working, and furthermore, they were in color because color was the only material they had in the first years of that camera. And since I can’t really work in color, that was the problem. But the major problem was how in the hell do you bring something to the camera—unless it’s a portrait and you do an ad or a regular still life. So that was the beginning of making collages. As I said, the stuff I made there in that first week with that camera were pretty horrible—and two things emerged from that: One, I shouldn’t try to do color. Two, I had to figure out how to make something that was related to what I wanted to see in a picture.
Source: LensWork Interview (2008)
In the studio, Carl Chiarenza works intuitively by following his instincts and seeing where they might lead him. Chiarenza discusses his daily routine with LensWork editor Brooks Jensen:
I go into the studio and I do everything I can to avoid getting started—that’s part of the ritual, I have no control over it—I’ve just finally figured it out, that’s just what happens: I go in and I do all sorts of stuff—I turn the radio on, I make coffee, decide which music I’m going to listen to, answer the phone, check the email. I mean, it takes an hour for me to get settled in. And then I literally go to my table, which is just covered with stuff and I just at random pick something and start playing with pieces of paper to see if something comes together. More often than not, I keep throwing these things away and throwing things away and starting over and starting over and then I get something that I think is going to begin to work. Then I start by making an exposure, change the lights, change the configurations and keep doing that, making prints and laying them out on the table and watching them develop—develop in terms of what the picture is. I keep responding to what I am seeing and let that determine what I should do next. So the materials and the picture themselves tell me what to do.
Source: LensWork Interview (2000)
Carl Chiarenza is very sensitive to the language that we use when discussing photography. Here he is in 2019 discussing the critical difference between taking and making a photograph:
Well, one of the things about the history of photography is the words that have been used since the beginning, and since the beginning there has been this notion of “taking” something, “capturing” something, or “shooting” something! And none of those words seem to make any sense to me, and that’s partly because some people before me asked these questions. Like Ansel Adams, for example, said, “I don’t take a picture, I make a picture.” And I couldn’t agree more. I don’t take, I make.
Source: Gabriella Chiarenza Interview (December 20, 2019)
Throughout his career as both a photographer and as a professor of Art History, Carl Chiarenza has argued that pictures come from other pictures. By this he means that we are influenced by all of the pictures we’ve seen before and—whether consciously or unconsciously—we use them as models when we create pictures of our own. Chiarenza elaborates on this idea in a 2008 interview with LensWork editor Brooks Jensen:
The whole idea of pictures coming from pictures—is in my career both as a photographer and historian—has always been central to my thinking about picture-making, and photography in particular. And more my work more particularly. In the past when I taught for some 30 years, I would start every class—no matter what the period or theme was, whether it was Renaissance art or medieval art, twentieth century art or photography—the first class would always involve cave pictures and we would have this discuss that we don’t know where those pictures came from. There are a lot of theories about it, but obviously, the cave people didn’t write anything down, so all we have are the pictures and our assumptions about ceremonies, about animals—either taking care of the spirit of the animals or... Anyway my point--before I go too far adrift!—is that it seems to be that those are the first pictures that we know about. And if we talk about what’s happened since, from my point of view, pictures have always come out of the picture making that started there. Which is to say it has something to with something that is very personal, that is communal, that is time specific, that refers to what they used to call the zeitgeist, and that every generation, it seems to me, reflects on what came before, either negatively or positively, and develops from that. So I don’t say there’s a progression or an evolution or development, but it seems to me that we always, whether we’re thinking consciously about it or not, If we’re making pictures, we can’t avoid that history that’s within us from looking, if not making.
Source: LensWork Interview (2008)
The landscape remained one of Carl Chiarenza’s main interests even after he entered the studio in 1979 and took his work indoors. In an interview with his daughter, Gabeilla, Chiarenza explains his evolving idea of landscape.
I always liked being outdoors in the landscape pictorially-speaking, because I liked looking at landscape and the things that nature put together and made interesting to look at, but I never liked being outdoors, physically, because even as a child I had trouble with heat and sunstroke. So while I was working with collages in the studio, I guess I started trying to make my own landscapes. So some of the collages I made were in fact inspired by landscape ideas or visions that I imagined, that could be made with paper and especially torn paper, to give a sense of a landscape moving across the surface. So a lot of the work that I was doing in those days—and still—have a reflection of my interest in landscape, which I couldn’t do physically.
Source: Gabriella Chiarenza Interview (December 20, 2019)
In a recent interview with his daughter Gabriella, Chiarenza had this to say about his series The Peace Warriors of Two Thousand and Three:
Well, the most obvious set of work I did that was directly impacted by what was going on in the world was during the war in Iraq , and I was very upset about what was going on there—I always had trouble with wars—so I started a series of pictures which ended up being called, “The Peace Warriors of 2003.” They were still abstractions made out of collages, but with some reference to military people and equipment and stuff, and fortunately, Nazraeli Press thought that was an interesting idea and decided to publish a portfolio book of that material. And that’s one of the very few times where I made references from abstraction to reality—“reality.” But I was so upset with that war that that motivated me to make those pictures.
Source: Gabriella Chiarenza Interview (December 20, 2019)
There is no correct or incorrect way to experience a photograph by Carl Chiarenza. He has long insisted that viewing his images is a personal and open-ended experience. Here’s Chiarenza in an interview from 2019 explaining what it is he hopes you, the viewer, might gain from looking carefully at his work:
I only hope that the viewer can find her or his own something in what I make, and I have said this over and over again, that the pictures are made to be responded to in any way that is personal to the person looking at it and responding to it. I’m not trying to persuade people to do anything. I don’t photograph as many of the great photographers like my schoolmate Bruce Davidson—I don’t do that kind of thing—not because I don’t like doing that kind of thing, but because I’m not very good at it, and he is. So, what I’m doing is responding to things the way composers respond to sound, and hoping that there are people out there who will be affected by it in some way that affects them personally and has nothing to do with me, but has something to do with what they get out of the picture.
Source: Gabriella Chiarenza Interview (December 20, 2019)
Introduction to Frederick Sommer's Interview by Jamie M. Allen by George Eastman Museum
Introduction to Roy and Marjorie Overbaugh's Interview by Nancy Kauffman by George Eastman Museum
The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.
Generous support for the introductions provided by Art Bridges, and made possible in part by the National Endowment for the Humanities: NEH CARES.
Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.
Generous support for the introductions provided by Art Bridges, and made possible in part by the National Endowment for the Humanities: NEH CARES.
Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.
Jesse Peers, Legacy Collection Archivist, shares more stories about Eastman's life in 1920 in this audio tour.
Jesse Peers, Legacy Collection Archivist, shares more stories about Eastman's life in 1920 in this audio tour.
Jesse Peers, Legacy Collection Archivist, shares more stories about Eastman's life in 1920 in this audio tour.
From photography’s beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography.
This audio tour features contemporary artists from the exhibition, who each answer the question: why clouds?
James Welling’s recent body of work integrates several strands of his artistic exploration over the past forty years. Each Choreograph is a large inkjet print combining images of dance, architecture, and landscape in layers of distinctive, luminous color. The works prompt associations with bodies in motion, eliciting sensations of momentum, force, and rhythm.
James Welling’s recent body of work integrates several strands of his artistic exploration over the past forty years. Each Choreograph is a large inkjet print combining images of dance, architecture, and landscape in layers of distinctive, luminous color. The works prompt associations with bodies in motion, eliciting sensations of momentum, force, and rhythm.
Meteorologist Scott Hetsko takes guests on a tour of Gathering Clouds, examining interesting formations and weather occurring in the images.
Meteorologist Scott Hetsko takes guests on a tour of Gathering Clouds, examining interesting formations and weather occurring in the images.
Meteorologist Scott Hetsko takes guests on a tour of Gathering Clouds, examining interesting formations and weather occurring in the images.
Meteorologist Scott Hetsko takes guests on a tour of Gathering Clouds, examining interesting formations and weather occurring in the images.
From photography’s beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography.
This audio tour features contemporary artists from the exhibition, who each answer the question: why clouds?
From photography’s beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography.
This audio tour features contemporary artists from the exhibition, who each answer the question: why clouds?
From photography’s beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography.
This audio tour features contemporary artists from the exhibition, who each answer the question: why clouds?
From photography’s beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography.
This audio tour features contemporary artists from the exhibition, who each answer the question: why clouds?
From photography’s beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography.
This audio tour features contemporary artists from the exhibition, who each answer the question: why clouds?
Meteorologist Scott Hetsko takes guests on a tour of Gathering Clouds, examining interesting formations and weather occurring in the images.
From photography’s beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography.
This audio tour features contemporary artists from the exhibition, who each answer the question: why clouds?
From photography’s beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography.
This audio tour features contemporary artists from the exhibition, who each answer the question: why clouds?
From photography’s beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography.
This audio tour features contemporary artists from the exhibition, who each answer the question: why clouds?
From photography’s beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography.
This audio tour features contemporary artists from the exhibition, who each answer the question: why clouds?
Meteorologist Scott Hetsko takes guests on a tour of Gathering Clouds, examining interesting formations and weather occurring in the images.
James Welling’s recent body of work integrates several strands of his artistic exploration over the past forty years. Each Choreograph is a large inkjet print combining images of dance, architecture, and landscape in layers of distinctive, luminous color. The works prompt associations with bodies in motion, eliciting sensations of momentum, force, and rhythm.
James Welling’s recent body of work integrates several strands of his artistic exploration over the past forty years. Each Choreograph is a large inkjet print combining images of dance, architecture, and landscape in layers of distinctive, luminous color. The works prompt associations with bodies in motion, eliciting sensations of momentum, force, and rhythm.
Meteorologist Scott Hetsko takes guests on a tour of Gathering Clouds, examining interesting formations and weather occurring in the images.
Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras.
Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra.
Escucha al artista hablar sobre su obra.
Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras.
Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra.
Escucha al artista hablar sobre su obra.
Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras.
Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra.
Escucha al artista hablar sobre su obra.
Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras.
Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra.
Escucha al artista hablar sobre su obra.
Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras.
Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra.
Escucha al artista hablar sobre su obra.
Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras.
Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra.
Escucha al artista hablar sobre su obra.
Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras.
Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra.
Escucha al artista hablar sobre su obra.
Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras.
Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra.
Escucha al artista hablar sobre su obra.
Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras.
Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra.
Escucha al artista hablar sobre su obra.
Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras.
Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra.
Escucha al artista hablar sobre su obra.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.
Hear the artist talk about his work.
In conjunction with the exhibition Voyages and Discoveries, the artist duo Anderson & Low dives deep into their practice, sharing work from myriad projects and discussing their art historical influences. The artists also examine a selection of objects from the Eastman Museum's photography collection in which they have found common threads to their own work.
Part of the Eastman Museum's Wish You Were Here Series.
Larry McNeil is a Native American photographer, artist, and scholar who cares deeply about people and life on Earth. McNeil's work reinforces his idea that photography may strive to embody relevance, meaning, and, hopefully, a sense of grace, inspiring positive change in times of need.
The Colorama display in Grand Central Terminal was one of the longest-running and most successful corporate marketing campaigns of the twentieth century. It is the subject of the recent book Colorama, which features an essay by Rachel E. Andrews, assistant collection manager in the Department of Photography. Andrews and Sarah Brody, Photographic Preservation and Collections Management graduate student, will discuss the Colorama campaign and the surviving materials in the Eastman Museum's collection.
George Eastman was in an expansive mood in 1919: With the Great War over, he set about broadening Kodak's welfare programs, Rochester's music scene, and even his own home. Eastman also found a new favorite region to take his summer vacations. Jesse Peers, archivist for the George Eastman Legacy Collection, shares what was on Eastman's mind a hundred years ago and how Kodak became a pioneer in industrial relations.
From famous locations to the simplest home vegetable garden, from worlds imagined by artists to vintage family snapshots, The Photographer in the Garden (Aperture and George Eastman Museum, 2018) traces the garden’s rich history in photography and delights readers with spectacular images.
At this talk, Jamie M. Allen, Stephen B. and Janice G. Ashley Associate Curator in the Department of Photography and author of the book's essay, will explore the relationships between photography, botanical images, and the cultivated landscape. Her talk will span the history of photography, starting with the medium’s invention in the nineteenth century. She will point out important photographic processes along the way—from daguerreotype to digital photography—while discussing the work of diverse photographers, including Anna Atkins, Edward Steichen, Imogen Cunningham, Stephen Shore, Abelardo Morell, Andrew Buurman, Tanya Marcuse, Sharon Core, Ori Gersht, Rachel Sussman, and Brad Temkin.
To celebrate the 50th anniversary of the moon landing, retired Eastman Kodak electronics engineer and scientist Arthur Cosgrove will discuss his involvement with the Lunar Orbiter Project in 1966 and 1967. That project paved the way for the success of the Apollo 11 mission through mapping the lunar surface.
First view of Earth taken from Lunar Orbiter 1 from a near orbit of the moon, August 23, 1966 (Image: NASA)
Curating a film program involves much more than just choosing titles. Curator of Film Exhibitions Jared Case will take you behind the scenes of how a Dryden Theatre calendar is constructed, from conception to research to implementation, and provide a sneak peek at what is scheduled for the fall.
In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.
In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.
In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.
In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.
In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.
In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.
In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.
For the exhibition, Nathan Lyons: In Pursuit of Magic, we asked artists who were impacted by Lyons work to select one of his photographs and comment on it. Each was asked to consider what drew them to the specific image, what notable elements do they see in the photograph, how it conveys meaning, and how the work is quintessential Nathan Lyons.
For the exhibition, Nathan Lyons: In Pursuit of Magic, we asked artists who were impacted by Lyons work to select one of his photographs and comment on it. Each was asked to consider what drew them to the specific image, what notable elements do they see in the photograph, how it conveys meaning, and how the work is quintessential Nathan Lyons.
For the exhibition, Nathan Lyons: In Pursuit of Magic, we asked artists who were impacted by Lyons work to select one of his photographs and comment on it. Each was asked to consider what drew them to the specific image, what notable elements do they see in the photograph, how it conveys meaning, and how the work is quintessential Nathan Lyons.
For the exhibition, Nathan Lyons: In Pursuit of Magic, we asked artists who were impacted by Lyons work to select one of his photographs and comment on it. Each was asked to consider what drew them to the specific image, what notable elements do they see in the photograph, how it conveys meaning, and how the work is quintessential Nathan Lyons.
For the exhibition, Nathan Lyons: In Pursuit of Magic, we asked artists who were impacted by Lyons work to select one of his photographs and comment on it. Each was asked to consider what drew them to the specific image, what notable elements do they see in the photograph, how it conveys meaning, and how the work is quintessential Nathan Lyons.
For the exhibition, Nathan Lyons: In Pursuit of Magic, we asked artists who were impacted by Lyons work to select one of his photographs and comment on it. Each was asked to consider what drew them to the specific image, what notable elements do they see in the photograph, how it conveys meaning, and how the work is quintessential Nathan Lyons.
For the exhibition, Nathan Lyons: In Pursuit of Magic, we asked artists who were impacted by Lyons work to select one of his photographs and comment on it. Each was asked to consider what drew them to the specific image, what notable elements do they see in the photograph, how it conveys meaning, and how the work is quintessential Nathan Lyons.
Meet Sheri Smith, projectionist in the Dryden Theatre and graduate of the L. Jeffrey Selznick School of Film Preservation. We took a few minutes to sit down with her to learn more about how she got started working at the museum and what's she is doing now.
During World War I, George Eastman became involved with what was then known as the War Chest, a fund that helped soldiers and their families during and after the war. The War Chest became the Rochester Patriotic and Community Fund, and later, it turned into what we now know as the United Way of Greater Rochester. Legacy Curator Kathy Connor discusses Eastman’s involvement with the United Way beginning in 1918.
Meet Dan Bellavia, landscape manager at the George Eastman Museum. Ever notice how amazing our historic gardens and landscape looks? You can thank Dan and his incredible team of staff and volunteers for that! We took a few minutes to sit down with him to learn more about how he got started working at the museum and what he is doing now.
Artist Gail Albert Halaban and Curator in Charge Lisa Hostetler discuss the work on view in the gallery for the opening of Albert Halaban's Out My Window.
In this tour of the exhibition, Out my Window, Gail Albert Halaban provides an introduction to the exhibition and shares some of the fictional narratives that have been crafted around these images.
In this tour of the exhibition, Out my Window, Gail Albert Halaban provides an introduction to the exhibition and shares some of the fictional narratives that have been crafted around these images.
In this tour of the exhibition, Out my Window, Gail Albert Halaban provides an introduction to the exhibition and shares some of the fictional narratives that have been crafted around these images.
In this tour of the exhibition, Out my Window, Gail Albert Halaban provides an introduction to the exhibition and shares some of the fictional narratives that have been crafted around these images.
In this tour of the exhibition, Out my Window, Gail Albert Halaban provides an introduction to the exhibition and shares some of the fictional narratives that have been crafted around these images.
Women have been essential to the production of photographic objects and the progression of the medium since photography's invention. Join Rachel E. Andrews, assistant collection manager in the Department of Photography, for a discussion of the photographs exhibited in the most recent installation of the museum's History of Photography Gallery. The selections in this rotation highlight works by women photographers, artists, printers, and entrepreneurs.
David Levinthal (American, b. 1949). Untitled, 1994. From the series Mein Kampf. Dye diffusion transfer print (Polaroid Polacolor). George Eastman Museum, gift of an anonymous donor. © David Levinthal
David Levinthal (American, b. 1949). Untitled, 2001. From the series XXX. Dye diffusion transfer print (Polaroid Polacolor). George Eastman Museum, gift of an anonymous donor. © David Levinthal
David Levinthal (American, b. 1949). Untitled, 1998. From the series Barbie. Dye diffusion transfer print (Polaroid Polacolor). George Eastman Museum, gift of an anonymous donor. © David Levinthal
David Levinthal (American, b. 1949). Untitled, 1995. From the series Blackface. Dye diffusion transfer print (Polaroid Polacolor). George Eastman Museum, gift of an anonymous donor. © David Levinthal
David Levinthal (American, b. 1949). Untitled, 1989. From the series Wild West. Dye diffusion transfer print (Polaroid Polacolor). George Eastman Museum, gift of an anonymous donor. © David Levinthal
David Levinthal (American, b. 1949). Untitled, 1985. From the series Modern Romance. Internal dye diffusion print (Polaroid SX-70). George Eastman Museum, gift of Donald Rosenfeld Jr. © David Levinthal
David Levinthal (American, b. 1949). Untitled, 1975. From the series Hitler Moves East. Gelatin silver print on Kodalith paper. George Eastman Museum, purchase with funds from National Endowment for the Arts. © David Levinthal
David Levinthal (American, b. 1949). Untitled, 1989. From the series American Beauties. Dye diffusion transfer print (Polaroid Polacolor). George Eastman Museum, gift of an anonymous donor. © David Levinthal
David Levinthal (American, b. 1949). Untitled, 2003. From the series Baseball. Dye diffusion transfer print (Polaroid Polacolor). George Eastman Museum, gift of an anonymous donor. © David Levinthal
David Levinthal (American, b. 1949). Dallas 1963, 2013. From the series History. Inkjet print, printed 2014. George Eastman Museum, gift of Donald Rosenfeld, Jr.
This podcast accompanies the exhibition David Levinthal: War, Myth, Desire, organized by the George Eastman Museum and on view June 1st 2018 to January 1st 2019. Major support for the exhibition was provided by the Henry Luce Foundation, with additional support from the Robert Mapplethorpe Foundation. Learn more at eastman.org.
The exhibition was curated by Lisa Hostetler, Curator in Charge of the Department of Photography. Manager of Digital Engagement for the Eastman Museum is Kate Meyers Emery.
The podcast was produced for the Eastman Museum by Today Then. Writing and narration by Eitan Freedenberg and Molly Tarbell. Audio engineering and sound design by Stephen Roessner. Find the Today Then podcast at todaythen.org.
This podcast features music by Lee Rosevere, Stephen Roessner, Dave Chisholm, H.A. Rappaport, Mike Troolines, Craig Nybo, Ben Cameron, Doctor Turtle, Clayton-Hamilton Jazz Orchestra, Blue Dot Sessions, Broke For Free, Chris Zabriskie, Podington Bear, SFXBass, Nancy Bea Hefley, David Szesztay, and Philipp Weigl. [Note, these are in the order they appear]
Major League Baseball footage used with permission of Major League Baseball Properties, Inc. and MLB Advanced Media, L.P., as applicable. All rights reserved.
Thanks to our contributors -- Chris Bensch, Kelly Dennis, Kenneth Goings, Kenneth Gross, Lisa Hostetler, June Hwang, and Thomas Shieber -- for providing insight into the themes and subjects in David Levinthal's work.
Finally, thank you to David Levinthal for generously sharing his stories and his creative vision with all of us.
David Levinthal (American, b. 1949). Untitled, 2007. From the series Space. Dye diffusion transfer print (Polaroid Polacolor). George Eastman Museum, gift of an anonymous donor. © David Levinthal
June 14, 2012. Part of the Wish You Were Here lecture series, which brings artists and photojournalists to the Rochester to share their stories and photographs.
Meet Rachel E. Andrews, Assistant Collection Manager in the Department of Photography, and the current curator of our History of Photography rotation that features works produced by women photographers, artists, printers, and entrepreneurs. We took a few minutes to sit down with her in our cafe to learn more about how she got started working at the museum and what's she is doing now.
Meet Jared Case, Head of Collection Information, Research, and Access in the Eastman Museum’s Moving Image Department, and Executive Director of the Nitrate Picture Show. We took a few minutes to sit down with him in our cafe and get to know him a little better (pardon the background noise!).
Jesse Peers, archivist in the George Eastman Legacy Collection, explores what George Eastman’s life was like a hundred years ago, through photographs and other archival documentation.
In conjunction with the exhibition Stories of Indian Cinema: Abandoned & Rescued, this talk dives into fascinating discovery of George Eastman’s bed.
Please note, around 10:30 of the talk, Kathy refers to a video of the bed being moved. You can watch that video here: http://bit.ly/EastmanBed
Before electricity, early photography studios were illuminated by large skylights. Some of these historic buildings still stand, and traces of their original details remain visible. Photographic antiquarian Nick Graver has been conducting research on and providing full-day field trips to these locations for more than forty years. Join us as he takes us on a digital tour of these unique studios and discusses their importance to the history of photography in our region.
The museum has just completed the first year of a three-year project, Making More Available: Secure and Accessible Archives, funded by the Institute of Museum and Library Services. Project staff will give an illustrated progress report and reveal some of the special items they have come across at the Richard and Ronay Menschel Library in their efforts to make archives and special collections more available.
Jamie M. Allen will discuss the latest installation in the museum’s History of Photography Gallery.
Part of the Focus 45 series.
For the past three years, Ellen Handy has been conducting research at the Eastman Museum for her forthcoming book, Histories of Photography: An Introduction, which draws extensively on the museum's collections. Handy states, "The George Eastman Museum is the home of the history of photography—not only because it is the home of the man who did so much to create the photographic industry and medium many of us grew up with, or because it is the first and greatest museum dedicated to the camera arts—but also because it was here that Beaumont Newhall codified the history of photography in narrative form in 1949. From the perspective of today, the most striking thing about the photographic medium is its multiplicity—it has many histories, not one, and they are all to be found under this roof."
Handy is the former Executive Curator of Photography and Visual Collections at Harry Ransom Center and Curator of Collections at the International Center of Photography. Currently, she is an Associate Professor in the Art Department at the City University of New York.
Early Kodak advertising is mostly associated with the iconic image of the Kodak Girl. Then in the 1930s, Eastman Kodak Company turned their advertising campaigns over to the New York advertising agency J. Walter Thompson. How did this change affect the public image of Kodak? Claudia Pretelin, art historian, will explore this era of Kodak advertising and how it created the basis for the so-called snapshot aesthetic.
Claudia Pretelin holds a BA in communications and received her MA and PhD in art history from the National Autonomous University of Mexico (UNAM). For ten years, she worked as a personal assistant to the Mexican photographer Graciela Iturbide. In 2011, she was awarded a fellowship from the Mexican National Council of Science and Technology (CONACYT) in support of her continuing research in Kodak advertising at the George Eastman Museum. She has worked for different museums, foundations, and photo collections in Mexico City, including the Fotoseptiembre Festival in 1999 and the International Biennial of Photography in 2000. She is currently exhibitions associate at the Rochester Contemporary Art Center in Rochester, New York.
Selections from three series by photographer Lucinda Devlin (American, b. 1947) are featured in this exhibition: Pleasure Ground (1977–90), Corporal Arenas (1982–98), and The Omega Suites (1991–97). Best known for The Omega Suites—precisely composed images of execution chambers in the United States—Devlin has devoted her career to exploring the relationship between our bodies and the spaces that they inhabit. She has concentrated in particular on interiors associated with pleasure or pain, creating photographs that draw attention to the power relationships embedded in a room’s architecture and decor. At the same time, her photographs function as poignant meditations on the familiar yet extraordinary spaces in which our bodies pass time.
Selections from three series by photographer Lucinda Devlin (American, b. 1947) are featured in this exhibition: Pleasure Ground (1977–90), Corporal Arenas (1982–98), and The Omega Suites (1991–97). Best known for The Omega Suites—precisely composed images of execution chambers in the United States—Devlin has devoted her career to exploring the relationship between our bodies and the spaces that they inhabit. She has concentrated in particular on interiors associated with pleasure or pain, creating photographs that draw attention to the power relationships embedded in a room’s architecture and decor. At the same time, her photographs function as poignant meditations on the familiar yet extraordinary spaces in which our bodies pass time.
Selections from three series by photographer Lucinda Devlin (American, b. 1947) are featured in this exhibition: Pleasure Ground (1977–90), Corporal Arenas (1982–98), and The Omega Suites (1991–97). Best known for The Omega Suites—precisely composed images of execution chambers in the United States—Devlin has devoted her career to exploring the relationship between our bodies and the spaces that they inhabit. She has concentrated in particular on interiors associated with pleasure or pain, creating photographs that draw attention to the power relationships embedded in a room’s architecture and decor. At the same time, her photographs function as poignant meditations on the familiar yet extraordinary spaces in which our bodies pass time.
Selections from three series by photographer Lucinda Devlin (American, b. 1947) are featured in this exhibition: Pleasure Ground (1977–90), Corporal Arenas (1982–98), and The Omega Suites (1991–97). Best known for The Omega Suites—precisely composed images of execution chambers in the United States—Devlin has devoted her career to exploring the relationship between our bodies and the spaces that they inhabit. She has concentrated in particular on interiors associated with pleasure or pain, creating photographs that draw attention to the power relationships embedded in a room’s architecture and decor. At the same time, her photographs function as poignant meditations on the familiar yet extraordinary spaces in which our bodies pass time.
Kodak research scientist Louis M. Condax is often referred to as “the father of the Kodak Dye Transfer process.” Researcher Stephanie Hofner discusses the significance of Condax’s achievements, providing an overview of his career and his contributions to the development of Dye Transfer at Kodak Research Laboratories.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
For the exhibition, we asked Eugene Richards to share stories behind some of the photographs featured in his retrospective.
Since the invention of photography was first announced to the public in 1839, architectural photography has been one of the medium’s most popular genres. Join William Green, curatorial assistant in the Department of Photography, for a discussion of the architectural photographs featured in the most recent installation of objects in the museum’s History of Photography Gallery.
The worldwide transition to digital cinema exhibition has left few opportunities to learn and practice motion picture projection skills. As a teaching institution that promotes film exhibition and excellence in archival projection standards, however, the George Eastman Museum is known internationally as a leader in this field. Film Technician Tim Wagner will discuss the important role of the Moving Image Department and the L. Jeffrey School of Film Preservation in teaching the next generation of projectionists, including the forthcoming projection manual to be published by the Eastman Museum.
In the early 1990s, digital photography emerged from the Kodak laboratories as a high-end consumer product, the Kodak Digital Camera System (DCS). Partnering with the Associated Press in 1994, Eastman Kodak Company helped to make the digital single-reflex (DSLR) camera the industry standard, and a decade later, DSLR camera sales eclipsed those of their film counterparts. Todd Gustavson, curator of the technology collection, will discuss this milestone achievement in image-making technology. Select DCS cameras are on view in the History of Photography Gallery.
Jesse Peers, archivist for the George Eastman Legacy Collection, has spent the last three years cataloging 155 boxes of George Eastman’s correspondences. For the first time, a complete index of every letter Eastman ever sent or received has been created. In this recording, Peers discusses his most interesting and surprising finds from his work on the project.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.
For the exhibition, A Matter of Memory: Photography as Object in the Digital Age, we asked artists to answer a question: Is your personal connection to digital images the same as it is to photographic prints? These were shared through our audio tour as part of the exhibition.
Lisa Hostetler, the curator of the exhibition and curator in charge of the Department of Photography introduces the audio.