Archive for the 'Other' Category

Another America: My Experience on an Amish Farm in Lancaster County

Posted by on Apr 28 2014 | Guest Blog, Other, Photography

Fifteen years ago, I was in my mid 30s and I didn’t know anything about farming. I bought a farm in Chenango County near Binghamton, N.Y. and bought two of everything—goats, sheep, cows, chickens, and pigs. People called me Noah.

Robert Weingarten (American, b. 1941). Amish 25, Lancaster County, PA, 2001. Inkjet print. Courtesy of the artist. © Robert Weingarten

Robert Weingarten (American, b. 1941). Amish 25, Lancaster County, PA, 2001. Inkjet print. Courtesy of the artist. © Robert Weingarten

I really liked the egg-laying hens. They’re really easy to work with. They make magic every day. They lay an egg every single day, nature’s perfect protein source.

I decided I wanted to learn how to raise organic eggs, so I called up Organic Valley and asked who’s raising eggs in the Northeast. They gave me the name of an Amish farmer in Lancaster County, who was at the time the largest producer of organic eggs for Organic Valley.

Robert Weingarten (American, b. 1941). Amish 52, Holmes County, OH, 2002. Inkjet print. Courtesy of the artist. © Robert Weingarten

Robert Weingarten (American, b. 1941). Amish 52, Holmes County, OH, 2002. Inkjet print. Courtesy of the artist. © Robert Weingarten

I just kind of broke that third wall, walked onto his farm, shook his hand, and said, “Hey, I want to raise organic eggs and I’ve heard you’re the best guy in the Northeast.” We immediately hit it off.

Jacob Glick lives in Bird In Hand, P.A. He and his family had five hen houses each with 10,000 chickens. All of the hens had access to the outdoors, and were let outside during the day to run around the pasture. It’s instinctual for them to come back into the barn at night and roost.

The most interesting and intriguing thing about the Amish lifestyle is how they’ve figured out ways to work around not having the modern conveniences we all think about, like electricity.

Chickens need a certain number of hours of light each day. So they had gas lanterns in the barn and used an old-fashioned windup alarm clock, with a string tied to the bells that when pulled would shut off the lights.

Robert Weingarten (American, b. 1941). Amish 10, Lancaster County, PA, 2001. Inkjet print. Courtesy of the artist. © Robert Weingarten

Robert Weingarten (American, b. 1941). Amish 10, Lancaster County, PA, 2001. Inkjet print. Courtesy of the artist. © Robert Weingarten

The Amish live a very simple life, very hard life. They’re not remotely afraid to put in a fifteen or sixteen hour hard day of physical labor, six days a week. Sunday is a day off, devoted to Church.

Robert Weingarten (American, b. 1941). Amish 35, Holmes County, OH, 2002. Inkjet print. Courtesy of the artist. © Robert Weingarten

Robert Weingarten (American, b. 1941). Amish 35, Holmes County, OH, 2002. Inkjet print. Courtesy of the artist. © Robert Weingarten

For a six-month period, I would go down and stay on Jacob’s farm for five or six days at a time. It was about 300 miles from my farm in Chenango County. He trusted me and I trusted him. Jacob was so giving and so helpful to me to really understand all the things I needed to do.

Some of my best memories are of the meals. Everything is made from scratch. That shoofly pie … wow! Lunch is the biggest meal of the day and also the only time the Amish do business.

The Amish are close to the vest when it comes to almost everything. For them to open up to me was very unusual.
The Amish are very helpful to each other. When someone gets married, they’ll buy a farm, and the whole community shows up to build a barn for them. It’s incredible how much gets done as a community. They’re a very, very tight knit community.

For a couple of years, Jacob hired a driver in a big truck (yes, there is an exception when hiring a driver) and he and his boys came up to my farm and stayed for well over a week and we went out hunting deer.

Robert Weingarten (American, b. 1941). Amish 72, Lancaster County, PA, 2003. Inkjet print. Courtesy of the artist. © Robert Weingarten

Robert Weingarten (American, b. 1941). Amish 72, Lancaster County, PA, 2003. Inkjet print. Courtesy of the artist. © Robert Weingarten

There’s an innocence about them that’s lost in our society now.

Related Exhibition and Program:

Another America: A Testimonial to the Amish by Robert Weingarten is on view through May 25, 2014 in Brackett Clark Gallery.

In Person: Photographer Robert Weingarten (Free to Members)
Thursday, May 1, 2014 at 6:00 p.m. in the Dryden Theatre.
Robert Weingarten will discuss his work on view in Another America.
 

 

 

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Making Fiber Based Photographic Paper Again in Rochester!

Posted by on Mar 07 2014 | Other, Photography

We’re getting ready for a fantastic Handmade Gelatin Photographic Paper workshop and it’s simply too fascinating to let slip by without mention.



In the early 1890s a new type of gelatin emulsion paper was introduced that was contact printed like the albumen print, but unlike albumen printing the image was made visible by a developer. The photographs were black and white, not shades of brown. This product was originally called “gaslight paper” because you could use your household gas light turned low as a darkroom safe light and use the same light turned up brighter to do the actual exposures with the paper in contact with a negative. One of the Kodak versions of this photographic paper was called “Azo” and it was manufactured until several years ago. In the past few years we have worked with Ron Mowrey, a retired Kodak emulsion engineer, to learn how to make and coat this type of emulsion. Not only is it one of the easiest emulsions we have made, but the results are extraordinary.

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Working in the darkroom is often described as a magical experience. For almost every lover of analog photography the decisive moment of that magical experience can be pin pointed to that instant the latent image explodes to life from a seemingly blank piece of paper. Sadly for many people bitten by the photo bug in our digital world this is an experience might never have the pleasure of enjoying, however its never to late to start!

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Actually making and using Azo emulsion to coat your own photographic papers and create stunning black and white contact prints is an experience that will take even the most seasoned photographer back to that first time they ever experienced the magic. If having that feeling again isn’t enough also take into account that you have created your prints entirely by hand. Taking raw materials and turning them into something beautiful is one of the more rewarding experiences one can have.

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The workshop is from March 17-20 and we still have a few spots available for this great class. For more information and on-line registration please go to: http://bit.ly/GEHWorkshops

 

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’12 Years a Slave’: Solomon Northup’s Descendants Gather for Photo Shoot at Eastman House

Posted by on Mar 01 2014 | Behind The Scenes, Motion Pictures, Other

The Hollywood Reporter recently brought together five generations from the family tree of the real-life Solomon Northup portrayed in the film 12 Years a Slave (Steve McQueen, US/UK 2013). Eastman House had the great honor of hosting the photo shoot for Northrup’s 26 upstate New York descendants. Similar gatherings were held for Northrup’s other family members in Los Angeles and Washington, D.C.
 
Nominated for nine Academy Awards, including Best Picture, 12 Years a Slave tells the story of Northup, a New York State–born free black man who was kidnapped in Washington, D.C., in 1841 and sold into slavery. He worked on plantations in the state of Louisiana, suffering extreme cruelty and brutal torture for twelve years before his release. The film is based on a book of the same name written by Northup in 1853.
 
The Hollywood Reporter wrote:

It’s one of the most visceral depictions of American slavery ever committed to the screen. But it’s the fact that 12 Years a Slave is based on the real-life events of Solomon Northup’s kidnapping and eventual escape that makes the film truly powerful — especially for his descendants.

Eastman House was honored to be chosen as the venue for these Rochester-area family members to gather and reflect on Northrup’s powerful legacy. Here are the resulting photos and video testimonials captured in the Dryden Theatre:
 



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More photos and stories from the other cities can be found here.

 

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Eastman House celebrates 20 years of Dutch Connection

Posted by on Feb 21 2014 | Exhibitions, History, House & Gardens, Other

For the last 20 years, in February, George Eastman House has organized the Dutch Connection to show the kind of flowers George Eastman enjoyed in his home from late fall to early spring. Although there is no record of his bulb order for 1913/1914, historic records indicate that Mr. Eastman typically ordered varieties of each plant included in this exhibition—tulip, daffodil, hyacinth, and amaryllis bulbs; freesia corms; and clivia, begonia, campanula, hellebore, primrose, and azalea. Because this two-week exhibition includes the total number of plants that Mr. Eastman would order for display over a five-month period, you are enjoying approximately ten times the number of blooms that Mr. Eastman would have displayed at one time.

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In July, 2013, nearly 6,000 bulbs were ordered. The bulbs were shipped in late September and volunteers and staff potted the tulips, daffodils and hyacinth. These pots were then placed in a dark, cool root cellar in Highland Park. Tulips, daffodils and hyacinth require a 12 to 15 week 40 to 45 °F cool, dark period, much like they get when planted in the garden. The potted bulbs that were in the root cellar were moved into the greenhouse in January. In the greenhouse, the bulbs require 2 to 7 weeks, depending on variety, at 55 to 65 °F. with full sunlight to flower. The bulbs were forced into bloom at Lucas Greenhouses, Fairport, NY. The freesias and amaryllis were grown in the Palm House until they could be moved to the greenhouse in January. The azaleas, hellebores, clivia, primrose, campanula, and begonias are grown on site or purchased from a wholesaler.

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The exhibition opened on Valentine’s Day and will close on Sunday, March 2. At any one time there are over 3,000 blooms in the exhibition. The tulip, daffodil, and hyacinth blooms last only a week in the relatively warm, dry, Conservatory environment, and are replaced once during the exhibition. The azaleas, hellebores, freesias, amaryllis, clivia, begonias, campanula, and primrose bloom two weeks or longer.

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Remembering Philip Seymour Hoffman

Posted by on Feb 06 2014 | Guest Blog, Motion Pictures, Other

Magnolia (1999)

Magnolia (1999)

I remember discovering Philip Seymour Hoffman for the first time at the movies. It was in Scent of a Woman. He looked like no one else you’d ever seen on screen before, and yet he was someone you immediately recognized as real. He played a bully in Scent and was more or less the villain of the movie, but something in his performance suggested an inner torment and that made him all the more recognizably human. His work in this movie was hard to forget. Maybe it was because we had never seen him before. Maybe it was because, as they’ve been saying, he was on his way to being the greatest actor of our generation.

He was a familiar face in Hollywood movies over the next couple of years. Because he was so indelible in Scent, it was hard not to feel that tingle of excitement every time he appeared on screen, even in forgettable movies. I really liked him as another bully, the cop who gets punched out by Paul Newman in Nobody’s Fool. Then came the unforgettable sequence where he played a degenerate gambler taunting Philip Baker Hall in Hard Eight (aka Sidney). That started a series of films with Paul Thomas Anderson. It was in their next collaboration, Boogie Nights, where, in one scene, the camera uncomfortably gazes on his character, the hapless boom operator Scotty, after he’s been rebuffed by Mark Wahlberg’s Dirk Diggler. Barely choking back the tears, Scotty performs a unique brand of self-flagellation, repeating, mantra-like, “I’m a fuggin’ idiot!” Was this the first time we shared a “private” moment with one of Hoffman’s characters on screen? I think it was the first of many times that he broke my heart.

This ability to play self-loathing characters who put up a false front while falling apart inside would turn out to be his specialty: Happiness, Almost Famous, Love Liza, Owning Mahowny, Before the Devil Knows You’re Dead, Synecdoche, New York, and The Master. The Oscars like to reward actors for historical impersonations, but his Truman Capote was so much more than just mimicry in a standard biopic. It was a vivid and moving portrait of an artist who was ultimately crippled by his own self-doubts.

I lived in Rochester for a little more than nine years while I worked at George Eastman House, and I became very close with Phil’s mother, Marilyn O’Connor. Through her influence, and the influence of Phil’s brother Gordy, we were able to bring Phil in for a screening of Love Liza at the Dryden. After the screening, I hosted a Q&A with Phil and Gordy (who wrote the film), but I don’t remember what we talked about. I do remember, just after the movie began, talking excitedly just outside the theater doors with Gordy and my brother Pat (he had become friendly with Phil after they both appeared in Magnolia). We must have been loud, because Phil, who was inside watching the opening of the movie, came out and shushed and scowled at us. He was right, of course.

About a year later, Phil and Gordy were home for the holidays and Gordy invited me to join his family in seeing the third Lord of the Rings movie. We went to a multiplex in Henrietta and Phil was very relaxed. I only noticed him being recognized once or twice and he was very sweet with anyone who approached him. Phil sat one row behind me and Gordy. The ubiquitous pre-feature trailers seemed to go on forever. One of the trailers seemed determined to overwhelm us with bombast and swagger: “Now,” read the on-screen text accompanied by thundering music, “the epic action-adventure the world has been waiting for…” Phil leaned forward between me and his brother and, before we could find out what this “must-see” entertainment was titled, he whispered, “The Gin Game!” Before we stopped laughing, he leaned forward again and murmured, “Mornings at Seven!”

The next month, Phil came back to Eastman House to present a documentary he appeared in called The Party’s Over. We talked afterward and he answered audience questions. I don’t remember much else about the evening, but my pal Bruce Bennett was there, and he reminded me that a teenage kid stood up and tried to explain how much Phil’s performances meant to him. He struggled in finding the right words and he finally just asked Phil if he could have a hug. Bruce remembers Phil as being “totally moved and disarmed and surprised by all the emotion clumsily and honestly pouring out of this young guy who clearly didn’t get to express his feelings too often” Phil quickly replied and said “yeah, sure, of course” and the two embraced. Bruce says, “People forget how much personal impact actors can have. I don’t think anyone’s ever asked to hug [Paul Thomas Anderson] because of a camera move he blocked or a line of dialogue he typed.”

I saw Phil a few more times over the years; once at his mother’s birthday celebration, another time at a party after the Toronto premiere of Capote. I last saw him introduce a movie he directed and appeared in, Jack Goes Boating, at Sundance in 2010. It was a nice little movie, based on a play in which he had also appeared. I regret never being able to see him perform live on stage.

These few, brief personal encounters were pleasant and memorable for me. They gave me little insight into what drove him as an artist. I only know that he consistently surprised me and moved me with his honesty and his understanding of human beings.

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