George Eastman Museum

For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what give...

For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what give...

For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what give...

For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what give...

For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what give...

For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what give...

For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what give...

For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what give...

For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what give...

For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what give...

In conjunction with the exhibition Voyages and Discoveries, the artist duo Anderson & Low dives deep into their practice, sharing work from myriad projects and discussing their art historical influences. The artists also examine a selection of objects from the Eastman Museum's photography collection in which they have found common threads to their own work. Part of the Eastman Museum's Wish You We...

Larry McNeil is a Native American photographer, artist, and scholar who cares deeply about people and life on Earth. McNeil's work reinforces his idea that photography may strive to embody relevance, meaning, and, hopefully, a sense of grace, inspiring positive change in times of need.

The Colorama display in Grand Central Terminal was one of the longest-running and most successful corporate marketing campaigns of the twentieth century. It is the subject of the recent book Colorama, which features an essay by Rachel E. Andrews, assistant collection manager in the Department of Photography. Andrews and Sarah Brody, Photographic Preservation and Collections Management graduate stu...

George Eastman was in an expansive mood in 1919: With the Great War over, he set about broadening Kodak's welfare programs, Rochester's music scene, and even his own home. Eastman also found a new favorite region to take his summer vacations. Jesse Peers, archivist for the George Eastman Legacy Collection, shares what was on Eastman's mind a hundred years ago and how Kodak became a pioneer in indu...

From famous locations to the simplest home vegetable garden, from worlds imagined by artists to vintage family snapshots, The Photographer in the Garden (Aperture and George Eastman Museum, 2018) traces the garden’s rich history in photography and delights readers with spectacular images. At this talk, Jamie M. Allen, Stephen B. and Janice G. Ashley Associate Curator in the Department of Photograp...

To celebrate the 50th anniversary of the moon landing, retired Eastman Kodak electronics engineer and scientist Arthur Cosgrove will discuss his involvement with the Lunar Orbiter Project in 1966 and 1967. That project paved the way for the success of the Apollo 11 mission through mapping the lunar surface. First view of Earth taken from Lunar Orbiter 1 from a near orbit of the moon, August 23, 19...

Curating a film program involves much more than just choosing titles. Curator of Film Exhibitions Jared Case will take you behind the scenes of how a Dryden Theatre calendar is constructed, from conception to research to implementation, and provide a sneak peek at what is scheduled for the fall.

In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.

In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.

In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.

In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.

In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.

In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.

In this audio tour, artist Tanya Marcuse discusses her process and work that was on view at the Eastman Museum.

For the exhibition, Nathan Lyons: In Pursuit of Magic, we asked artists who were impacted by Lyons work to select one of his photographs and comment on it. Each was asked to consider what drew them to the specific image, what notable elements do they see in the photograph, how it conveys meaning, and how the work is quintessential Nathan Lyons.