Norman Rockwell: Behind the Camera is on display at George Eastman House now through Sept. 18, and features photographs and illustrations related to the classic 1963 painting that now hangs in the White House ...
I suppose it’s the feeling you get when you look at a garden you have cared for. Nothing can compare to experiencing it with your own senses, to see firsthand the fruits of your labor … that what you have planted, fed, and watered has flourished.
That was the feeling in the air at George Eastman House on Saturday, July 16, as National Endowment of the Arts (NEA) Chairman Rocco Landesman and Congresswoman Louise Slaughter toured Eastman House.
Any visitor who comes in through the main entrance of George Eastman House will notice a large glass wall to the left. Through this glass you can see the Richard & Ronay Menschel Library, curatorial departments such as Motion Pictures, Photography and Technology, and a staircase that leads down to two more floors.
In just over a year’s time George Eastman House has been painted with large splashes of Technicolor, Colorama, and now Kodachrome, via three important acquisitions.
Trustee Victoria Cherry refers to this as the Eastman House "portal", and it was in full effect this past Tuesday evening in New York City.
When you ask someone who their favorite silent film comedian is you’ll probably get the go-to answer of Charlie Chaplin. There’s a simple reason for that: because Chaplin is indeed one of the greats. There were, however, other silent-film comedians who were just as prolific as Chaplin. Personally, I have a fondness for the big three: Charlie Chaplin, Buster Keaton, and Harold Lloyd.
Water and it’s elemental forces have always been, artistic indicators for self-experience and self-loss. Images of the ocean determine the iconographic nature of the history of art. The sea has remained to this day one of the archetypal natural landscapes of our planet and therefore has not lost any of its enchantment. The ocean: a collective metaphor and a space of projection for our longings and desires. Therefore, on first encounter, Renate Aller’s Oceanscapes appear so familiar to us. What we are seeing is nothing new, but how it is presented to us is what makes the difference.