Between August 5 and 8, the Dryden Theatre at the George Eastman Museum will present five films on screen as part of the Paul and Phil film series, all on rare 35mm. This year’s installment is part of an annual celebration of Philip Seymour Hoffman around his birthday, honoring one of Rochester’s shining stars. The acclaimed actor would have turned 59 on July 23.

Visitors to the George Eastman Museum have the opportunity to experience Ahndraya Parlato: TIME TO KILL, on view from June 20, 2026 to January 3, 2027.

Visitors to the George Eastman Museum have the opportunity to experience the exhibition Picturing Equality: The Lambda Network at Kodak, on view in the museum’s community gallery, Gallery Obscura, from June 27 to November 8, 2026.

The gardens at the historic George Eastman Museum reopen today for the season, welcoming visitors to experience their beauty in bloom. Guests are invited to enjoy a stroll in one of Rochester’s most iconic landscapes as well as participate in seasonal experiences and programs. Guided tours of the historic landscape, free with museum admission, are offered Saturdays and Sundays at 12:30 p.m., from May through October.

The George Eastman Museum recently received a grant award for $65,350 from the National Film Preservation Foundation to preserve three severely endangered nitrate feature films from the museum’s collection. The prints of His Last Race (US 1923), Payroll Pirates (US 1920), and When Betty Bets (US 1917) are likely the only versions of the films that still exist. Due to severe nitrate decomposition in all three films, this is the last chance to save these unique prints.

The George Eastman Museum was recently awarded the Frances Smyth-Ravenel Prize in the 29th annual Museum Publications Design Competition, presented by the American Alliance of Museums (AAM). This “Best in Show” honor was given to the museum for its David Levinthal: War, Myth, Desire (2019) publication.

The George Eastman Museum will host a virtual artist’s talk with Kota Ezawa in conversation with Bruce Barnes, Ron and Donna Fielding Director of the George Eastman Museum, on Thursday, October 22 at 6 p.m. The talk is free, and registration via Zoom is required as space is limited.

The George Eastman Museum officially cut the ribbon to open its new Thomas Tischer Visitor Center this morning at a 10 a.m. press conference. The Thomas Tischer Visitor Center includes the ESL Federal Credit Union Pavilion, which will serve as the museum’s new main entrance, located next to the Dryden Theatre. The transformative project, costing more than $5 million, was made possible by funding from a combination of philanthropy from individuals and private foundations, local corporate support, and a grant from the State of New York.

The George Eastman Museum is installing a reproduction of a Colorama image adjacent to its new Thomas Tischer Visitor Center. The public opening of the Tischer Visitor Center and the Colorama will be on Saturday, October 10.

The George Eastman Museum has received a grant award of $249, 517 from the Institute for Museum and Library Services (IMLS) through its Museums for America grant program. This is the largest grant program of IMLS. The Eastman Museum’s initiative to conserve 1,004 South Asian films in its collection was one of 109 projects that received part of the more than $19 million in grants awarded.

The George Eastman Museum has been awarded $135,000 from the National Endowment for the Humanities (NEH) CARES Act grant program to support essential operations of the museum that have been adversely affected by the COVID-19 pandemic. The grant funds will allow the museum to sustain, expand, and institutionalize the museum’s digital programs. The Eastman Museum was one of 317 cultural organizations selected to receive a grant award through this highly competitive program.

The George Eastman Museum premiered Gathering Clouds: Photographs from the Nineteenth Century and Today on July 26 in the museum’s main galleries. Gathering Clouds illustrates the key role that clouds played in the development and reception of photography from around 1850 to 1920. Bringing cloud photography into the present by way of Alfred Stieglitz’s Equivalents (1923–34), the contemporary works in the exhibition forge new artistic paths while responding in various ways to the history of cloud photography.