George Eastman Museum

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 Ass

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 Bienni

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.