George Eastman Museum

Interview conducted by George Pratt. Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19. Any views, findings, conclusions, or recommendations expressed in this audio...

Interview conducted by George Pratt. Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19. Any views, findings, conclusions, or recommendations expressed in this audio...

Interview conducted by George Pratt. Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19. Any views, findings, conclusions, or recommendations expressed in this audio...

The spring schedule was thrown into some chaos with the announcement of our first award event in four years, but we’ve managed to put together a series of seven films and a roundtable discussion to celebrate the career of Jodie Foster. The actor, director, and producer has done a great amount of impressive work over the last 50 years, which will be discussed at our Dryden Roundtable discussion fea...

Join Curator of Film Exhibitions Jared Case and film critics Adam Lubitow, Matthew Passantino, and David Palmer as they discuss the films nominated for this year’s Academy Awards. Talk of the Oscar changes for this year, favorite nominations, and worst snubs will lead to deeper discussions about some of the best films of the year and how they made 2022 one of the best years in recent cinema memory...

One of the things I like to stress to people about how this show goes and how it is put on is that without the help of the landscape volunteers, this show would not happen. There are two people involved in this department, and without the volunteers, we wouldn't be able to do half of the things that are done both inside and out in the gardens. One of the things I'd like everyone to take away from...

Some of the biggest challenges that we run into, obviously, it's a plant. So trying to get plants to grow when you want them to is always a challenge. There are years that the tulips don't get enough of a cold season and won't bloom as well. There are times when there's a problem with the ball, and that whole type of daffodil I was expecting to see doesn't come up. There's also the huge challenge...

Once the show is done, the show is taken down, most of the product is given away to my volunteers. They're allowed to come in as a thank you for helping us out. The rest is given to a couple of community organizations that use them around the neighborhoods to plant up in the corner gardens that you'll see around the city, and then some of it does get composted. What we do find is that the neighbor...

This process to put a show together starts in June. It is almost a year-round process for us to put this on. Orders go in in June, with delivery in October. All of my orders are put through to two companies that are directly connected to Holland. Their offices are here in New York, but their farms are in Holland. The companies that I use, one of them is directly connected with Eastman. He original...

I began this journey of doing the gardens and the shows back in 2004. Was lucky enough to come in here out of school and be hired as an intern, and ever since then it's been just an upward challenge to keep the gardens in shape and to produce this show every year. This year's exhibit will contain upwards to 14,000 bulbs in bloom in the house at any one point. The show in February is one of the ear...

Speaker 1: The museum started this show back in 1995, and it has run annually since. It's inspired me trying to bring back a little bit of how George Eastman lived his life during the winter months, and to bring it back for people to see. Every year he would order 30 to 40,000 bulbs for some into the greenhouses, and put some into the yard every year. During the winter months, he would have his ga...

Welcome to the George Eastman Museum. My name is Dan Bellavia, I am the landscape manager here. Today I'm here to talk to you about the Dutch Connection, the annual Forced Bulb Show that has run every February here at the George Eastman Museum. This event was inspired from a letter that was sent from George Eastman to his mother back in 1895. He was taking a tour of Holland at that point, a bicycl...

Silver Voices: Advanced Studies Workshop, 1967 -- Robert Frank [Part 1 by George Eastman Museum

Silver Voices: Advanced Studies Workshop, 1967 -- Robert Frank [Part 2] by George Eastman Museum

Silver Voices: Advanced Studies Workshop, 1967 -- Robert Frank [Part 4] by George Eastman Museum

Silver Voices: Advanced Studies Workshop, 1967 -- Robert Frank [Part 3] by George Eastman Museum

Silver Voices: Advanced Studies Workshop, 1967 -- Robert Frank, Marie Czach [Part 5] by George Eastman Museum

My name is James Tylor, and I'm a visual artist based in Canberra, Australia. My art practice is predominantly photography. I have done some film, as well as sculpture, and food and smells, but predominantly I’m best known for my photographic work. My photography fits into two areas. 19th century photographic processes, so daguerreotype, wet plate, and UV paper processes from the 19th century, and...

The phrase “untouched landscape” refers to the idea of terra nullius, which was what the British constituted colonizing Australia and taking the land off Aboriginal people. So terra nullius means “no man’s land.” So the idea was that the British didn’t recognize that Aboriginal land ownership or Aboriginal land use was the same as Western cultivation or Western ideas of land ownership. It was larg...

The area of the Australian coast that I photographed stretches from Victoria, specifically Narrawong and Portland, through to Adelaide, in South Australia. And this stretch of coast is historically a whaling migration path. So whales start at Antarctica. And then they move up to the Australian continent. The way that Australia is shaped, there's a curved bit, of course, called the Great [Australia...

In this salon hang, there is a cross at the center and then there’s three photographs around it of different landscapes. All of the landscapes are significant to the representation of the cross. When Australia was colonized by the British, they set up a series of missions all across Australia, and they were generally run by British or German Christians. Their sole objective was to remove Aborigina...

We Call This Place... Kaurna Yarta is a series of daguerreotype photographs of places on the Kaurna nation. The Kaurna nation is an area predominantly on the Adelaide plains in South Australia, but it also stretches down into the south to Fleurieu Peninsula and the Mount Lofty Ranges, as well as Kangaroo Island. These places, when South Australia was colonized by the British in 1836, a lot of the...

This little grouping of images is on top of a diamond. The diamond shape features a lot in Kaurna carving, but also this one’s referring to a specific cultural object that is quite a sacred object, but I can represent it in this format as a diamond. At the center of the installation is a work with Pintingga. Pintingga refers to Kangaroo Island, which used to be part of the mainland at the last ice...

Little Library by George Eastman Museum

Entrance Hall by George Eastman Museum