George Eastman Museum

Living Room by George Eastman Museum

Eastman's Bedroom by George Eastman Museum

Second Floor by George Eastman Museum

Maria's Bedroom by George Eastman Museum

Billiard Room by George Eastman Museum

Side Hall by George Eastman Museum

Conservatory by George Eastman Museum

Dining Room by George Eastman Museum

This audio tour has been made possible in part by the National Endowment for the Humanities: NEH CARES. Any views, findings, conclusions, or recommendations expressed in this audio, do not necessarily represent those of the NEH. Transcript For the final film in the trilogy, Edge of Alchemy, I wanted to develop a relationship between two women. I decided to work with the silent-era actresses Mary P...

This audio tour has been made possible in part by the National Endowment for the Humanities: NEH CARES. Any views, findings, conclusions, or recommendations expressed in this audio, do not necessarily represent those of the NEH. Transcript The second film in the trilogy is Night Hunter. After I completed Phantom Canyon I knew I wanted to continue working with collages, but I was looking for a way...

This audio tour has been made possible in part by the National Endowment for the Humanities: NEH CARES. Any views, findings, conclusions, or recommendations expressed in this audio, do not necessarily represent those of the NEH. Transcript The first of the trilogy films is called Phantom Canyon. For this film I had the idea of incorporating the subjects from Eadweard Muybridge’s human motion studi...

This audio tour has been made possible in part by the National Endowment for the Humanities: NEH CARES. Any views, findings, conclusions, or recommendations expressed in this audio, do not necessarily represent those of the NEH. Transcript Star Chart features work from a current ongoing project with the working title Deep Space. I consider the three completed films in Night Reels a trilogy and Dee...

This audio tour has been made possible in part by the National Endowment for the Humanities: NEH CARES. Any views, findings, conclusions, or recommendations expressed in this audio, do not necessarily represent those of the NEH. Transcript My name is Stacey Steers and I am the multi-disciplinary artist behind the work in Night Reels. Over the trajectory of my career the focus of my art practice ha...

Landscape Manager Dan Bellavia goes behind the scenes of Dutch Connection, sharing its history and how it comes to life every year.

Landscape Manager Dan Bellavia goes behind the scenes of Dutch Connection, sharing its history and how it comes to life every year.

Hi, my name’s Will Green, and I’m the curator of the exhibition Carl Chiarenza: Journey into the Unknown. I first came across Chiarenza’s work while studying at Rochester Institute of Technology, where a massive, 14-foot wide photograph by him is on permanent display in the lobby of the Frank E. Gannett Building. This photograph was different than any that I’d ever seen before. It didn’t depict a...

Carl Chiarenza was born in Rochester, New York, on September 5th, 1935. He picked up his first camera around the age of eight, and throughout his adolescence, photography and music were his main passions. Here’s Chiarenza recalling a funny story about his early efforts in photography during an interview with his daughter, Gabriella, in 2019: The playground master—in those days we had a person in t...

Carl Chiarenza was a member of the second class to graduate from the newly-established bachelor of fine arts program in photography at Rochester Institute of Technology. His classmates included well-known photographers Bruce Davidson, Kenneth Josephson, Pete Turner, and Jerry Uelsmann. In an interview with LensWork magazine editor Brooks Jensen from 2000, Chiarenza discusses the dual influences of...

During his early years, Carl Chiarenza started moving closer and closer to his subjects, resulting in photographs that looked more and more abstract. Here he is discussing that transition with LensWork magazine editor Brooks Jensen in 2000: Well, when I started making serious photographs, after I got through with the photojournalism stuff and got back on some kind of track, I was really trying to...

Carl Chiarenza began working in the studio in 1979. His decision to move his artistic practice indoors was prompted by a chance invitation from the Polaroid Corporation to experiment with their massive 20 x 24-inch studio camera. In a 2008 interview with LensWork magazine editor Brooks Jensen, Chiarenza explains the circumstances behind this important transition: The thing that happened in 1979 wh...

In the studio, Carl Chiarenza works intuitively by following his instincts and seeing where they might lead him. Chiarenza discusses his daily routine with LensWork editor Brooks Jensen: I go into the studio and I do everything I can to avoid getting started—that’s part of the ritual, I have no control over it—I’ve just finally figured it out, that’s just what happens: I go in and I do all sorts o...

Carl Chiarenza is very sensitive to the language that we use when discussing photography. Here he is in 2019 discussing the critical difference between taking and making a photograph: Well, one of the things about the history of photography is the words that have been used since the beginning, and since the beginning there has been this notion of “taking” something, “capturing” something, or “shoo...

Throughout his career as both a photographer and as a professor of Art History, Carl Chiarenza has argued that pictures come from other pictures. By this he means that we are influenced by all of the pictures we’ve seen before and—whether consciously or unconsciously—we use them as models when we create pictures of our own. Chiarenza elaborates on this idea in a 2008 interview with LensWork editor...

The landscape remained one of Carl Chiarenza’s main interests even after he entered the studio in 1979 and took his work indoors. In an interview with his daughter, Gabeilla, Chiarenza explains his evolving idea of landscape. I always liked being outdoors in the landscape pictorially-speaking, because I liked looking at landscape and the things that nature put together and made interesting to look...

In a recent interview with his daughter Gabriella, Chiarenza had this to say about his series The Peace Warriors of Two Thousand and Three: Well, the most obvious set of work I did that was directly impacted by what was going on in the world was during the war in Iraq , and I was very upset about what was going on there—I always had trouble with wars—so I started a series of pictures which ended u...