This rotation in the Collection Gallery ranges from the Crimean War (1853–56) to the War in Afghanistan (2001–21). The works challenge us to think critically about how photography documents and disseminates information about war, and how photographers’ approaches to recording war has shifted over time.
On March 4, the George Eastman Museum will open a new exhibition space. The Gallery Obscura will feature exhibitions created or presented in collaboration with community organizations and school and youth programs, projects focused on Greater Rochester, and exhibitions from the museum’s collections that are thematically related to community events or that support other museum initiatives and programming. The inaugural exhibition in the Gallery Obscura is being produced in partnership with Flower City Arts Center featuring 678 Photo Club in 2021 and 2022.
For this nineteenth rotation, Stephanie Hofner, collection manager in the Department of Photography, worked with her four-year-old daughter Sawyer to select objects. While previous displays have been thematic, we will be sharing a wider variety of objects in the rotations going forward, while still highlighting the breadth and depth of the museum’s photograph holdings. An emphasis on family-friendly content can also be found thanks to Stephanie and Sawyer’s collaboration.
Loneliness permeates Adam Ekberg’s whimsical photographs that document the climax of orchestrated events. While the camera freezes them into still lifes, a sense of continuity—like the arc of a story—happens as one realizes that Ekberg (American, b. 1975) invented, manifested, documented, and concluded these events. The objects take on lives of their own, even though we know that such agency is impossible.
This annual display in the historic mansion provides a glimpse of George Eastman’s life and work one hundred years ago. The new selection of objects highlights the goings on in 1923—most notably the release of the Ciné-Kodak and 16mm motion picture film and a 10-week expedition in the Cassiar region of Alaska and British Columbia, which became his favorite camping destination for the remainder of his life.
This rotation in the Collection Gallery ranges from the Crimean War (1853–56) to the War in Afghanistan (2001–21). The works challenge us to think critically about how photography documents and disseminates information about war, and how photographers’ approaches to recording war has shifted over time.
For this nineteenth rotation, Stephanie Hofner, collection manager in the Department of Photography, worked with her four-year-old daughter Sawyer to select objects. While previous displays have been thematic, we will be sharing a wider variety of objects in the rotations going forward, while still highlighting the breadth and depth of the museum’s photograph holdings. An emphasis on family-friendly content can also be found thanks to Stephanie and Sawyer’s collaboration.
This rotation in the Collection Gallery ranges from the Crimean War (1853–56) to the War in Afghanistan (2001–21). The works challenge us to think critically about how photography documents and disseminates information about war, and how photographers’ approaches to recording war has shifted over time.
Loneliness permeates Adam Ekberg’s whimsical photographs that document the climax of orchestrated events. While the camera freezes them into still lifes, a sense of continuity—like the arc of a story—happens as one realizes that Ekberg (American, b. 1975) invented, manifested, documented, and concluded these events. The objects take on lives of their own, even though we know that such agency is impossible.
This annual display in the historic mansion provides a glimpse of George Eastman’s life and work one hundred years ago. The new selection of objects highlights the goings on in 1923—most notably the release of the Ciné-Kodak and 16mm motion picture film and a 10-week expedition in the Cassiar region of Alaska and British Columbia, which became his favorite camping destination for the remainder of his life.
On March 4, the George Eastman Museum will open a new exhibition space. The Gallery Obscura will feature exhibitions created or presented in collaboration with community organizations and school and youth programs, projects focused on Greater Rochester, and exhibitions from the museum’s collections that are thematically related to community events or that support other museum initiatives and programming. The inaugural exhibition in the Gallery Obscura is being produced in partnership with Flower City Arts Center featuring 678 Photo Club in 2021 and 2022.
Loneliness permeates Adam Ekberg’s whimsical photographs that document the climax of orchestrated events. While the camera freezes them into still lifes, a sense of continuity—like the arc of a story—happens as one realizes that Ekberg (American, b. 1975) invented, manifested, documented, and concluded these events. The objects take on lives of their own, even though we know that such agency is impossible.
On March 4, the George Eastman Museum will open a new exhibition space. The Gallery Obscura will feature exhibitions created or presented in collaboration with community organizations and school and youth programs, projects focused on Greater Rochester, and exhibitions from the museum’s collections that are thematically related to community events or that support other museum initiatives and programming. The inaugural exhibition in the Gallery Obscura is being produced in partnership with Flower City Arts Center featuring 678 Photo Club in 2021 and 2022.
This annual display in the historic mansion provides a glimpse of George Eastman’s life and work one hundred years ago. The new selection of objects highlights the goings on in 1923—most notably the release of the Ciné-Kodak and 16mm motion picture film and a 10-week expedition in the Cassiar region of Alaska and British Columbia, which became his favorite camping destination for the remainder of his life.
This rotation in the Collection Gallery ranges from the Crimean War (1853–56) to the War in Afghanistan (2001–21). The works challenge us to think critically about how photography documents and disseminates information about war, and how photographers’ approaches to recording war has shifted over time.
