I decided to take a little stroll through the Dryden Theatre to see if there were any interesting seat labels from our current Take a Seat campaign (more here) – and I was in luck. Take a look at a few of my faves – the rest you’ll have to come in and see for yourself.
See you at the movies!
More about the Dryden Theatre’s recent renovation here.
The Joel Hodgson (MST3K) is coming to town this Saturday May 4 at 8 p.m., to entertain with his brand new one-man show (Riffling Myself). We are looking forward to Hodgson diving into the stories of his B-movie insanity (think ventriloquist dummies and how MST3K took off.)
We’re giving a pair of tickets to this evening – one you won’t want to miss. Follow these two steps now, fast as you can!
1. Share this event on Facebook or Twitter. One or the other.
As part of Silver and Water, currently on view in the museum’s South and Brackett Clark galleries, an 8-foot by 12-foot negative of Kodak’s chemical factory was soaked in a shallow bath of water, the silver image slowly decaying.
Silver and Water artists Lauren Bon and the Optics Division of the Metabolic Studio are returning to Eastman House to create a public darkroom performance with the negative. The South Gallery is in process of being converted into a darkened space, and, with audience participation, a giant contact print of the decayed image will be created.
working on the transition this week
Wednesday, May 8 at 6:00 p.m. The event is included with museum admission, if you’re in town we hope to see you there!
There are exactly five hundred seats in the new Dryden Theatre. This now makes it the largest archival film theatre in the United States. In a commercial venue we are consumers; in an art house theatre, we are an audience. But in a place like the Dryden, you and I become the witnesses of something more — something special. We are witnessing the beauty of a performing art, just like in a concert hall.
In a good work of art, the devil is in the details:
The art of cinema requires silence but also darkness, so we have provided the theatre with a new atmospheric color and with anti-reflective glass in the balcony. We want patrons to enjoy the time being spent while waiting for the show to start, so we have given the theatre a palette of ever-changing color light in the coves. We also want patrons to see films in their correct aspect ratio, so we have installed not only a brand new screen, but also an automated masking system that will allow all cinema in its proper format.
The seats are another example. The seats have a pretty standard look, but — if you stand up, no one will hear the slightest sound, because we didn’t want you to be distracted during the screening if someone leaves. The old seats were beautiful, but boy, they were noisy.
More importantly, we want patrons to be able to discover all of the history of cinema, from its very beginnings to the present time. Did you know that there are only four theatres in the United States where you will be able to see digital cinema, 35mm, 16mm, and nitrate film, all in one place? The Dryden is one of these four theatres.
Behind the back wall of the auditorium there are people who are experts in the art and science of film exhibition: they are the film projectionists who know how to handle very film format ever devised. In the auditorium, there is a theatre manager whose duty is to ensure that you and I can see the film without undue distraction and knows the difference between an “OK” projection and a top class presentation.
Outside the theatre, in another area of the museum, a team of skilled technicians is in charge of preserving and making accessible films that were made twenty, fifty, and over one hundred years ago. Their duty is to make these films permanently accessible in their original form, now and for posterity.
That’s what art museums are about. That’s what makes a museum theatre different from any other venue.
-by Paolo Cherchi Usai, Senior Curator of Motion Pictures at George Eastman House
The initial group of 50 photographs on Google Art Project spans the 1840s through the late 20th century and a wide variety of photographic processes from the 174 years of the medium’s existence are represented. The variety of subjects featured include Frida Kahlo, Martin Luther King Jr., the first train wreck ever photographed, the Lincoln conspirators, the Egyptian pyramids and Sphinx in the 1850s, and a portrait of photo pioneer Daguerre.
The list of the masters include William Henry Fox Talbot, Hill & Adamson, Southworth & Hawes, Timothy O’Sullivan, Mathew Brady, Julia Margaret Cameron, Eadweard Muybridge, William Henry Jackson, Edward S. Curtis, Gertrude Kasebier, Eugene Atget, Alfred Stieglitz, Lewis W. Hine, Dorothea Lange, Nickolas Muray, and Benedict J. Fernandez. We will continually add works to the project throughout the year.
Our partnership with Google is an exciting endeavor and truly opens the door to the contents within our photography vault, with a reach unlike ever before. The online exhibition experience allows for high resolution and high level research with otherwise unseen objects.