As part of our studies through the L.
The experience of watching a silent film has never been truly noiseless. From the early teens well into the late 1920’s, silent films were almost always projected with some form of musical accompaniment, the nature of which varied according to the individual film and the scope of the theatre and clientele.
Tonight, the Dryden Theatre screens two of Les Blank’s most loving odes to culinary creativity, Werner Herzog Eats His Shoe and Garlic Is as Good as Ten Mothers. These two lighthearted yet meticulously composed masterpieces are as endearing as they are interesting.
Over the winter, we completed the much-needed refurbishment of several galleries at George Eastman House. The improvements are dramatic. We have made all of these changes to better serve you, our members and visitors, and provide a better environment for objects on display. We are deeply grateful for the tremendous generosity of Bruce Bates, as well as Janet Reed and two anonymous donors, who funded the gallery refurbishments.
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.
In honor of Mary Pickford’s birthday today, we look beyond her famous golden curls at her close association with George Eastman House and her early film preservation efforts.
90 years ago this month, Douglas Fairbanks released his fantasy spectacle The Thief of Bagdad. This was Fairbanks’ biggest and most prestigious film produced to date and was one of the most expensive films of the 1920s with a budget of over $1,000,000. Fairbanks wrote, produced, and starred in the film, and was able to bring his artistic vision to the screen with the exceptional assistance of director Raoul Walsh, production designer William Cameron Menzies, and cinematographer Arthur Edeson.
We're getting ready for a fantastic Handmade Gelatin Photographic Paper workshop and it's simply too fascinating to let slip by without mention.
Thanks to the generosity of hundreds of donors, we have created an endowment for our Department of Conservation. The Andrew W. Mellon Foundation initially funded a $3 million challenge grant, which required that George Eastman House receive $2 million in matching cash contributions before drawing on the endowment. As a final push, we directed our 2013 year-end appeal to close the remaining gap. We were immensely gratified when the contributions received exceeded our goal.
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.
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.
February 2, 2014 is a significant date in the history of cinema. One hundred years ago on this date, a face that was to become one of the most recognized faces in the world was first illuminated on movie screens. That face was Charlie Chaplin’s, and on February 2, 1914, his first film was released in the United States.
Chaplin’s character of “the Little Tramp” didn’t spring forth on that day fully formed in baggy pants and bowler hat. Almost, but not quite! The film was Making a Living and Chaplin donned a long frock coat, top hat, and sinister mustache.
We’re excited about a new workshop at George Eastman House in February: Digital Negative Making. For years we have taught a growing number of photographers how to make their own photographic negatives on glass using historic processes. Realizing that not everyone is interested in going that route, we decided to look into a new approach for the rest of the world: the “digital” negative.
It is with great pride and pleasure that George Eastman House welcomes Lisa Hostetler, PhD, as the new Curator-in- Charge of our Department of Photography. This position is of such importance to our institution that I personally conducted the search. Over the course of the process, I met with more than a dozen curators, but from its inception I considered Lisa to be the leading candidate.
This month, Lisa Hostetler, PhD, joined the Eastman House staff as Curator-in-Charge of the Department of Photography. This is Part II of a recent conversation with Hostetler about the current state of photography, her interests in the medium, and her plans for working with the Eastman House collection. Click here to read Part 1!