George Eastman Museum Annual Report 2019
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Nosferatu (The Undead)
NEWS 500 University Ave., Rochester, NY 14607-1484 585.276.8900 • mag.rochester.edu MAG Contact: Rachael Unger, Director of Marketing and Engagement: 585.276-8934; [email protected] MEMORIAL ART GALLERY PRESENTS NOSFERATU (THE UNDEAD) April 22–June 17, 2018 Rochester, NY, March 5th 2018 — The Memorial Art Gallery of the University of Rochester (MAG) is pleased to announce NOSFERATU (The Undead), a film installation by New York-based artist Javier Téllez that focuses on cinema and mental illness. The work will premiere at MAG on April 22 and remain on view through June 17. NOSFERATU (The Undead) is the first exhibition to be presented as part of “Reflections on Place,” a series of media art commissions inspired by the City of Rochester, New York, and curated by world-renowned authority on the moving image John G. Hanhardt. Téllez’ film was inspired by Nosferatu, eine Symphonie des Grauens, the expressionist silent masterpiece directed by F. W. Murnau in 1922. Téllez made the work in collaboration with people living with mental illness after a series of workshops that he conducted on the subjects of vampirism and the representation of psychiatric institutions in film. Combining black-and-white 16mm and color digital film, NOSFERATU (The Undead) was shot at the Eastman Kodak factory, the Dryden Theatre of the George Eastman Museum, and at the Main Street Armory, all in Rochester. “We chose a vampire for the main character of the film,” said Téllez, “because we wanted to reflect on light and darkness as the fundamental principles of -
Kodak-History.Pdf
. • lr _; rj / EASTMAN KODAK COMPANY A Brief History In 1875, the art of photography was about a half a century old. It was still a cumbersome chore practiced primarily by studio professionals and a few ardent amateurs who were challenged by the difficulties of making photographs. About 1877, George Eastman, a young bank clerk in Roch ester, New York, began to plan for a vacation in the Caribbean. A friend suggested that he would do well to take along a photographic outfit and record his travels. The "outfit," Eastman discovered, was really a cartload of equipment that included a lighttight tent, among many other items. Indeed, field pho tography required an individual who was part chemist, part tradesman, and part contortionist, for with "wet" plates there was preparation immediately before exposure, and develop ment immediately thereafter-wherever one might be . Eastman decided that something was very inadequate about this system. Giving up his proposed trip, he began to study photography. At that juncture, a fascinating sequence of events began. They led to the formation of Eastman Kodak Company. George Eastman made A New Idea ... this self-portrait with Before long, Eastman read of a new kind of photographic an experimental film. plate that had appeared in Europe and England. This was the dry plate-a plate that could be prepared and put aside for later use, thereby eliminating the necessity for tents and field processing paraphernalia. The idea appealed to him. Working at night in his mother's kitchen, he began to experiment with the making of dry plates. -
Kodak SALES NEWS Published by the Marketing Division ! Coburg
'.':r~. J. L.'\CZ :rn . CO LO IJ :-: P: ~ I 'J' [' I l [PT ,o, sratt " " """ I '"'""'"'"· A BGO sro :'D . Kodak SALES NEWS Published by the Marketing Division ! Coburg. May/June, 1965 in the Retina caniera line ... • l KODAK RETINA REFLEX IV SALES NEWS "GIANT DOUBLEISSUE" Giant double issues of periodicals are usually produced about Christmas time, or as a "gimmick" to sell advertising space. The reason, however, for ou.r double issue is much more ordinary. The simple facts are that much of the copy for the May issue was held up and when the edition was ready for the press our Multi lith operator went down with a bad case of gastric influenza. When he returned to work he had to tackle the Kodak Price List, plus several other jobs of higher priority than Sales News. Rather than send out the May issue at the beginning of June we decided to combine it with the June issue. 1n the fin der and on top of the camera. The Kodak Retina Reflex IV Camera , In add1t1on lens aperture and shutter f i tted with f/ 2.8 Xenar le ns , 1s speed settings are visi ble in the priced at £109.0.0 retail, including finder. Two flash contacts are pro imported always - ready case. Fitted vided , one in the access ory shoe and with f/1 :9 Xenon lens £ 125 .5 . 0 , in c a cable socket on the front of the luding imported al ways re ady case. camern. The counter auto matica ll y re sets , to the sta rtin g mark before OOR PICTURE- TAKING Ci\J,TPJ\IGN number 36, on opening the camera back . -
KODAK CANADA the Early Years (1899–1939)
KODAK CANADA The Early Years (1899–1939) Ryerson Image Centre www.kodakcanada.omeka.net Table of Contents Introduction 9 Lodoe-Laura Haines-Wangda Women at Work: At Kodak Heights and Female Employment in the 1920s 19 Kate Fogle “Shooting” the Great War: Kodak Cameras and the First World War 29 Olivia Jenkins Difficult Histories: Looking Beneath the Surface 41 Misty-Dawn MacMillan Further Readings 44 Works Exhibited 46 Acknowledgements and Credits 48 Canadian Kodak Co. [Aerial view of Kodak Heights property], 1937 Gelatin silver print 20.3 x 25.4 cm Introduction Lodoe-Laura Haines-Wangda In 1899, the Rochester-based Eastman Kodak Company formally opened its first Canadian location on Colborne Street in Toronto. This movement northward to establish “Kodak Heights” allowed the corporation to extend its reach beyond its American borders, connecting the cities of Rochester and Toronto through photography, and establishing a new market of consumers for the Kodak brand. Kodak Canada: The Early Years (1899–1939) is an exhibition, publication, and digital project, created and organized by the 2019 cohort of Ryerson University’s Film + Photography Preservation and Collections Management program. Drawing from the Kodak Canada Corporate Archives and Heritage Collection at the University’s Archives and Special Collections, Kodak Canada examines the company’s earliest years in Canada and traces the global expansion of the Kodak empire into Canada in the early part of the twentieth century. Growth into Canada solidified Kodak as North America’s dominant man- ufacturer in photographic technology, a driving force behind visual culture in Canada, and a near century-long employer in Toronto’s Mount Dennis neighbourhood. -
MASTER PLAN DOCUMENT.Indd
Master Plan for the RICHARDSON OLMSTED COMPLEX Buffalo, NY September 2009 9.29.09 Prepared For: THE RICHARDSON CENTER CORPORATION By: CHAN KRIEGER SIENIEWICZ CKS ARCHITECTURE AND URBAN DESIGN in collaboration with: Richardson Center Corporation (RCC) Richardson Architecture Center, Inc Reed Hilderbrand *Stanford Lipsey, Chairman Peter J. Atkinson - Capital Projects Manager, Landscape Architecture Publisher, The Buffalo News Harvard University Art Museums Watertown, MA *Howard Zemsky, Vice Chairman Anthony Bannon - Director, Urban Design Project President, Taurus Capital Partners, LLC. George Eastman House Public Process URBAN DESIGN PROJECT Buffalo, NY *Christopher Greene, Secretary Barbara A. Campagna, FAIA, LEED AP - Graham Gund Architect of the Partner, Damon & Morey, LLP National Trust for Historic Preservation City Visions/ City Properties Real Estate Development *Paul Hojnacki, Treasurer Brian Carter, Ex Offi cio - Dean and Professor, Louisville, KY President, Curtis Screw Company University at Buffalo School of Architecture and Planning Clarion Associates Carol Ash, Commissioner Louis Grachos - Director, Economic Modeling NYS Offi ce of Parks, Recreation, and Historic Preservation Albright-Knox Art Gallery Chicago, Il *Clinton Brown, President Robert Kresse – Attorney, Parsons Brinckerhoff Clinton Brown Co. Architecture, PC Hiscock & Barclay, LLP Permitting Buffalo, NY Paul Ciminelli, President & CEO Lynn J. Osmond - President and CEO, Ciminelli Development Company Chicago Architecture Foundation Bero Architecture Historic Preservation -
17. Display and Illumination of Color and B&W Prints
575 The Permanence and Care of Color Photographs Chapter 17 17. Display and Illumination of Color and B&W Prints The Alarming Light-Induced Image Discoloration and Base Cracking of B&W RC Prints on Long-Term Display Those serving the needs of collections being as for how much image fading and staining can be toler- heavily used for exhibition face a serious di- ated. As discussed in Chapter 7, valuable color prints should lemma. On one hand, they are chronicling, aid- be monitored with a densitometer, and visually significant ing and abetting in the systematic destruction changes in color balance, overall density, and minimum of the photographs they are charged to protect density stain levels should not be permitted to take place. by supporting reprehensible exhibition prac- Display of color prints is inherently detrimental to them, tices. On the other hand, they largely owe their but avoiding display runs counter to the reasons most pho- existence to those very exhibition programs. tographs are made and frequently conflicts with the pur- . The current exhibition vogue amounts to poses for which most individuals and museums collect prints. a systematic program of accelerating the deg- radation of our most valued and important pho- The Expendable or Replaceable Color Print tographs. The practice can and must be changed. No doubt there will be many who will claim that If a color print has no lasting value — or if it can be such an assessment is too extreme and that replaced with a new print after the original has deterio- the problem is being exaggerated. -
582 King Street West
REPORT FOR ACTION Intention to Designate under Part IV, Section 29 of the Ontario Heritage Act - 582 King Street West Date: February 6, 2020 To: Toronto Preservation Board Toronto and East York Community Council From: Senior Manager, Heritage Preservation Services, Urban Design, City Planning Wards: Ward 10 - Spadina - Fort York SUMMARY This report recommends that City Council state its intention to designate the listed heritage property that contains significant built heritage resources at 582 King Street West (including the entrance addresses at 590 and 592 King Street West and 471 and 473 Adelaide Street West), formerly known as the Canadian Kodak Building, under Part IV, Section 29 of the Ontario Heritage Act. The property at 582 King Street West extends from the north side of King Street West to the south side of Adelaide Street West in the block east of Portland Street. It is a building complex containing an original collection of two four-storey factory-type buildings at 582-592 King Street West and one four-storey factory-type building and two-storey wing at 473 Adelaide Street West - all constructed between 1902 and 1911 by the Canadian Kodak Company Ltd. A single-storey garage constructed c.1928-1931 was added by Ontario Silknit Ltd. The property was listed on the City's Heritage Register in 2005 and identified as contributing in the King-Spadina Heritage Conservation District, adopted by City Council in 2017 and currently under appeal. Following city staff's additional research and evaluation under Ontario Regulation 9/06, the provincial criteria prescribed for municipal designation, it has been determined that the property at 582 King Street West merits designation under Part IV Section 29 of the Ontario Heritage Act for its design, associative and contextual value. -
Water Across the Curriculum Educator Resource Guide
Water Across the Curriculum Educator Resource Guide Pre-K – 12th grade Barbara Morgan (American, 1900 – 1992), Children Dancing by the Lake, 1940. Gelatin silver print, 13 5/8 x 17 15/16 in (34.6 x 45.6 cm). Gift of Lloyd and Janet Morgan, Collection of the Haggerty Museum of Art, Marquette University, 91.3.61. Table of Contents 1. What is Water? (Pre-K – 5th grade) .............. pg 6–19 Themes explored: Defining ater,w states of water, personal reflection + art 2. The Water Cycle (Pre-K – 5th grade) ....... pg 20–33 Themes explored: Evaporation, condensation, and precipitation; groundwater and underground aquifers + art 3.Water and Pollution (Pre-K – 12th grade) ... pg 34–49 Themes explored: Sources of water pollution for the Great Lakes + art 4. Water Properties (6th – 12th grade) ......... pg 50–64 Themes explored: Water as molecules, three different states of water, water terms such as surface tension, water pressure, cohesion + art Thank you to all who contributed to this project: Funding for Water Across the Curriculum is generously provided by Mr. and Mrs. Frank P. Thometz, the John P. Raynor, S.J. Endowment Fund, and the Friends of the Haggerty Museum of Art. Special thanks to UWM’s Peck School of the Arts Department of Art & Design, ArtsECO (Arts Education/Community Ecosystem) interns Bri Sayeg and Susannah Fricker, Alverno College Internship Program, Rebecca Sarenac (Media Design), and Marquette University’s Educational Opportunity Program high school student interns Jaylin Rivas and Demaris Rodriguez. Content advising provided -
ART-191 / Darkroom Photography
Course Name: Darkroom Photography Instructor Name: Course Number: ART-191 Course Department: Humanities Course Term: Last Revised by Department: April 2021 Total Semester Hour(s) Credit: 1 Total Contact Hours per Semester: Lecture: Lab: 30 Clinical: Internship/Practicum: Catalog Description: This course covers basic darkroom concepts and procedures. Students will learn to shoot with 35mm film cameras, develop roll film, make enlargements, and create full-sized negatives for contact processes. Students will learn to apply basic design elements and principles to their photographs. Via self- and class critiques, students will evaluate their own work and that of their peers. Required participation in the college photography show. This course will allow students to find new forms of self-expression, both in visual career fields and on a personal level. Pre-requisite: ART-184 Credit for Prior Learning: There are no Credit for Prior Learning opportunities for this course. Textbook(s) Required: Access Code: Required Materials: Suggested Materials: Course Fees: $35 Institutional Outcomes: Critical Thinking: The ability to dissect a multitude of incoming information, sorting the pertinent from the irrelevant, in order to analyze, evaluate, synthesize, or apply the information to a defendable conclusion. Effective Communication: Information, thoughts, feelings, attitudes, or beliefs transferred either verbally or nonverbally through a medium in which the intended meaning is clearly and correctly understood by the recipient with the expectation of feedback. Personal Responsibility: Initiative to consistently meet or exceed stated expectations over time. Department Outcomes: A. Students will analyze diverse perspectives in arts and humanities. B. Students will examine cultural similarities and differences relevant to arts and humanities. -
Information to Users
Alfred Stieglitz and the opponents of Photo-Secessionism Item Type text; Thesis-Reproduction (electronic) Authors Zimlich, Leon Edwin, Jr., 1955- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 21:07:09 Link to Item http://hdl.handle.net/10150/291519 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
COMMUNITY PARTNERS 13WHAM ABC & CW, WUHF Fox Rochester
COMMUNITY PARTNERS AS OF NOVEMBER 4, 2020 13WHAM ABC & CW, WUHF Fox Rochester Abbott's of Greece Abelard Reynolds School #42 Accountable Digital Accountable Health Partners ACT Rochester AFP Genesee Valley Chapter Al Sigl Community of Agencies Alfred University-Center for Student Involvement Allendale Columbia School Alliance Advisory Group, Inc. Allied Financial Partners Alpha Phi Alpha Fraternity Inc., Eta Rho Lambda Chapter American Foundation for Suicide Prevention - Western NY Chapter "American Heart Association American Stroke Association" American Red Cross Amy Kane Agency Anthony L. Jordan Health Center Architecture + Design at Alfred State College Asbury First United Methodist Church Assemblymember Harry Bronson's Office Association of Legal Administrators, WCNY Chapter AutismUp Bachelor Forum Balanced Care Community Services Bank of America Barakah Muslim Charity Barclay Damon LLP Bausch Health Benefit Resource LLC Best Buddies in Virginia & DC Best Buddies International Best Buddies WNY Big Brothers Big Sisters of Greater Rochester Bishop Kearney - A Golisano Education Partner Bivona Child Advocacy Center Black Button Distilling Bond, Schoeneck and King, PLLC Break The Ice Media Breast Cancer Coalition Bridgemark Solutions Brighton Central School District Brighton Chamber of Commerce Brighton Democratic Committee Brockport Central School District Brockport Student Government Brockport United Methodist Church Brockport Women's Club Soccer Butler/Till Calero-MDSL Cameron Community Ministries Campus Auxiliary Services Canandaigua National Bank and Trust Company Care-a-lot Child Care Career Start CASA of Rochester/Monroe County Catholic Charities Community Services Catholic Charities of Orange, Sullivan, and Ulster Catholic Family Center Causewave Community Partners Center for Community Engagement at St. John Fisher College Center for Perioperative Medicine Century Mold Co., Inc. -
Representations of the Female Nude by American
© COPYRIGHT by Amanda Summerlin 2017 ALL RIGHTS RESERVED BARING THEMSELVES: REPRESENTATIONS OF THE FEMALE NUDE BY AMERICAN WOMEN ARTISTS, 1880-1930 BY Amanda Summerlin ABSTRACT In the late nineteenth century, increasing numbers of women artists began pursuing careers in the fine arts in the United States. However, restricted access to institutions and existing tracks of professional development often left them unable to acquire the skills and experience necessary to be fully competitive in the art world. Gendered expectations of social behavior further restricted the subjects they could portray. Existing scholarship has not adequately addressed how women artists navigated the growing importance of the female nude as subject matter throughout the late nineteenth and early twentieth centuries. I will show how some women artists, working before 1900, used traditional representations of the figure to demonstrate their skill and assert their professional statuses. I will then highlight how artists Anne Brigman’s and Marguerite Zorach’s used modernist portrayals the female nude in nature to affirm their professional identities and express their individual conceptions of the modern woman. ii ACKNOWLEDGMENTS I could not have completed this body of work without the guidance, support and expertise of many individuals and organizations. First, I would like to thank the art historians whose enlightening scholarship sparked my interest in this topic and provided an indispensable foundation of knowledge upon which to begin my investigation. I am indebted to Kirsten Swinth's research on the professionalization of American women artists around the turn of the century and to Roberta K. Tarbell and Cynthia Fowler for sharing important biographical information and ideas about the art of Marguerite Zorach.