During our visiting artist lecture series Wish You Were Here, Lou Jones shared with us his experiences around the world…
Archive for the 'Photography' Category
This month Google adds more than 1,000 new destinations to experience via street view. It looks like we are one of the first destinations locally (Rochester, N.Y.) to open our doors beyond the street.
This is exciting to us for a few reasons – the first, visitors onsite will now have the opportunity to use their mobile’s to know where they are throughout the house and museum. Secondly, for those that may never come to Eastman House it is an opportunity to invite all to come on in and learn a little bit more about us.
Lastly, we realize as an institution another important aspect for Eastman House is what is going on behind the scenes – our schools (Photographic Preservation and Collections Management & The L. Jeffrey Selznick School of Film Preservation) and students working in the collections, our conservation labs and photo processes and finally, the vaults. We are pleased to reveal our technology vault three floors underground (are we the first museum to do so?)
Eastman House holds nearly 500,000 photographs representing every major process and the work of more than 14,000 photographers. In addition to the photographs, the collection holds important examples of the photograph’s role in our culture over time – including photojournalism, advertising, etc. The Motion Picture Collection is one of the major moving image archives in the U.S.
Eastman House is – and always has been – an independent nonprofit institution. We rely on the support of donors, locally and internationally so we can continue to tell the story of photography and motion pictures.
Our new director Bruce Barnes relays our situation honestly, “Frankly, it is a challenge to fund a non-profit institution of our scope in a metropolitan area of one million. George Eastman House has always been an independent, non-profit institution, but the prevailing economic environment has made fundraising more difficult – creating a shortfall at a critical time“.
Thanks for your consideration and above all else take a look!
Director’s Note – Since before Marcel Duchamp photographed Rrose Sélavy, his female alter ego, artists have used photography to explore issues of identity, sex, and gender. In recent decades, gender has been an increasingly prominent theme within contemporary art and, specifically, within photography. The Gender Show (on view through October 13) offers an extraordinary opportunity to see fifty contemporary artworks in the context of over 150 photographs from our worldclass collection.
The exhibition includes, on loan from artists and private collectors, a formidable set of photographs by prominent contemporary artists Janine Antoni (born 1964), Rineke Dijkstra (1959), Marilyn Minter (1948), Catherine Opie (1961), and Gillian Wearing (1963). Works by each of these artists have been exhibited extensively at leading museums, but this is the first time that any of their works has been shown at Eastman House.
The exhibition also includes ten photographs on loan from our trustee Elaine Goldman; gender issues are one of the themes in her wonderful collection. Also featured are videos by artists Jen DeNike (1971), Kalup Linzy (1977), and Martha Rosler (1943). In our Annex Gallery, we present sixteen photographs, on loan from artist Debbie Grossman (1977), from her recent My Pie Town series, in which she used Photoshop to manipulate a set of images of Pie Town, New Mexico, originally taken by Russell Lee for the Farm Security Administration in 1940.
The Gender Show, part of our ongoing program of major exhibitions from our permanent collection, is a survey of how photographs since the mid-nineteenth century have presented gender, with a special emphasis on the performances that the act of photographing or being photographed can encourage or capture. On view from our collection are photographs by many of the biggest names in the history of the medium—including Julia Margaret Cameron, August Sander, Edward Steichen, Nickolas Muray, Brassaï, Robert Frank, Andy Warhol, Barbara Norfleet, Mary Ellen Mark, and Cindy Sherman—as well as rarely seen cabinet cards depicting early vaudeville and music-hall stars.
In 1979, art scholar and critic Douglas Crimp (now the Fanny Knapp Allen Professor of Art History at the University of Rochester) included photographer Cindy Sherman among the emerging artists covered in his article “Pictures” in the influential art journal October. This article was a landmark in the contemporary art world’s embrace of photography as an artistic medium. In the ensuing years, young artists increasingly adopted photography as part of their artistic practice. Unfortunately, there has been an abiding separation between “contemporary photographers” and “contemporary artists” whose artistic practice is primarily or in part in the medium of photography. This artificial segregation has had a long-term adverse impact on exhibition programs and collection building at every one of the American museums with a leading photography collection, including George Eastman House. Our exhibition places works by contemporary artists in a broader context, illuminating art historical, aesthetic, and social issues and celebrating the diversity of inquiries into gender.
The first exhibition organized under my direction, The Gender Show represents a commitment by George Eastman House to exhibit and collect photographs by those in the contemporary art world. Photography is one of the most important media in contemporary art. Our world-class collection of photographs must include great examples of work by contemporary artists. The core exhibition of works from our permanent collection is curated by Senior Curator Alison Nordström and Assistant Curator Jessica Johnston. Additionally, Jessica chose the photographs kindly lent by Elaine Goldman. I had the pleasure of selecting the other contemporary artworks from outside of our collection. We hope that you enjoy the results of our collaboration.
More works from The Gender Show can be viewed on Artsy.
complete article on our photography blog, DODGE & BURN.
Gertrude Käsebier was born in 1852 in Des Moines, Iowa, daughter of John and Muncy Stanton. When she was still very young, Käsebier moved to Colorado where her father eventually became owner of a gold mine in Leadville. The trip across the plains by covered wagon and the frontier life near Indians sparked the imagination and adventuresome personality of Käsebier…[MORE]
via guest contributor, Chris Holmquist
Photographic Process Research Apprentice
In a few weeks, George Eastman House Process Historian, Mark Osterman and team will lead a photography workshop unlike any other; a tintype excursion along the historic Erie Canal.
For three days we will float down the waterway in an authentic canal boat; navigating the step locks, staying overnight in a bed & breakfast and most importantly, stopping along the way to make authentic large-format tintypes on location, using a portable darkroom.
This excursion is modeled after similar trips that took place in the 1860’s by members of the Philadelphia Photograph Exchange Club. Groups like this consisted mostly of ‘gentleman scholars’; men with the benefit of free time, the resources needed to pursue such an involved hobby and an aptitude to make legitimate contributions to an ever evolving science. Outings like a canal trip were an excellent opportunity for amateur photographers to share their techniques, enjoy the surroundings and generally celebrate the wonderful process of making images in a camera.
In that period it was “mule teams”on shore that pulled the canal boats along, and although we will be taking advantage of the internal combustion engine, it’s in the same spirit that we set out to explore the Erie Canal in the first week of June. It’s a rare treat to learn the wet collodion technique from one of the world’s leading authorities, while also getting a chance to forget the modern world for a few days and relive a piece of photography’s past.
UPDATE: The workshop sold out over the weekend, but if interested, please take a look at the rest of our workshops through 2013.
If this sounds like a fantastic opportunity, you’ll be pleased to hear that there’s one open spot remaining in our roster!