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A Life Reviewed: George Eastman Through the Viewfinder

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A Life Reviewed: George Eastman Through the Viewfinder Rochester Institute of Technology RIT Scholar Works Theses 10-25-2010 A Life reviewed: George Eastman through the viewfinder Emma Powell Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Powell, Emma, "A Life reviewed: George Eastman through the viewfinder" (2010). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. R • I • T A Life Reviewed: George Eastman through the Viewfnder by Emma Powell A Thesis Submitted in Partial ulfllment of the Re!uirements or the Degree of #aster of ine Arts in Imaging Arts S%hool of Photogra&hi% Arts and S%ien%es 'ollege of Imaging Arts and S%ien%es Ro%hester Institute of Te%hnology Ro%hester, )* +%tober ,-th ,./. A&&roval: 0en 1hite Date 'ommittee 'hair 'laren%e 23 Sheffeld( 4r3( Ph"( 'ommittee Advisor Date 'ommittee #ember Patti Rusotti( 'ommittee Advisor Date 'ommittee #ember Table of Contents Acknowledgements ii Abstract iii List of Figures iv List of Exhibited Works v 1 Introduction 1 !hotogra"hic #iogra"h$ % % Eastman&s Childhood ' ( )$ #ackground * ' Eastman and Industr$ 11 + )$ A""roach 1' , -odak&s .uccess and Eastman&s !hilanthro"$ 1/ * )$ Theoretical !osition / East Avenue and !ast Times + 10 Conclusion %% Works Cited %+ #ibliogra"h$ %, i Acknowledgments I am extremel$ grateful to have had the o""ortunit$ to work with so man$ wonderful individuals1 This "ro2ect was "ossible because of the ongoing su""ort of the 3IT facult$4 including m$ committee4 -en White4 Chi" .hef5eld4 and !atti 3ussotti1 I would also like to thank -ath$ Connor and the staff of the 6eorge Eastman 7ouse International Museum of !hotogra"h$ and Film4 for hel"ing me with m$ research and hosting m$ exhibition1 To m$ famil$8 -irsten 7oving 9Mom) thank $ou for $our endless enthusiasm and Luke !owell 9;ad: thank $our for making "hotogra"h$ a "art of m$ life1 Lastl$ I am grateful to all the "eo"le who hel"ed me research and "hotogra"h locations across the state of <ew =ork1 ii Abstract A Life Reviewed: George Eastman through the Viewfnder b$ Emma !owell #1A1 The College of Wooster4 00* )1F1A14 Imaging Arts4 3ochester Institute of Technolog$4 010 How do we look back on a time that has gone by? On a life that is over? How do we appraise and commemorate those responsible for making photography what it is today? A Life Reviewed: George Eastman through the Viewfinder addresses the legacy of George Eastman, the founder of Kodak and one of photography's most significant entrepreneurs ! visionary who sought to e"pand the scope of photography from the wealthy to the average person, he recogni#ed photography's power in the conte"t of many scientific advances in industry and society A Life Reviewed serves as visual biography as well as a romantic ga#e into past time $y photographing places and sub%ects important in Eastman's life through the viewfinders of old Kodak cameras, & have created a poetic aesthetic that is neither of the present or the past Eastman's story is one of creativity, ambition, and most of all determination & have studied Eastman's life and turned these details into images that capture contemporary decay as well as the artistic retelling of a life 'his series depicts many sub%ects, from the house in which Eastman e"perienced a peaceful, though short, childhood to the home he built in an attempt to recapture his own past, including relics from his own adventures, specifically trophy animals from big game safaris in !frica that, like photographs, serve as visual souvenirs 'his pro%ect e"plores the merging of the present and the historical past by telling a story about photography that is relevant to the medium itself iii List of Figures (igure 1. Through the Viewfinder Demo. (igure 2. Apples, George Eastman's Boyhood Home, Genesee Country Village and Museum (igure 3. Pink Bed! George Eastman's Boyhood Home, Genesee Country Village and Museum (igure 4. arn, Waterville, NY (igure 5. Eastman Family Plot, Waterville, NY (igure 6. Luke Powell, Light and Water, Herat, Afghanistan, 1970s. (igure 7. Eastman Kodak #'! Rochester Chapter – National Railway Historical Society, collection of the Rochester & Genesee Valley Railroad Museum, Rush, NY (igure 8. William H. Mumler, (ary Todd Lincoln with “ghost+ of her husband (igure 9. Dziga Vertov, Still image from (an with a Movie Camera, 1929. (igure 10. .,solete! Artisan Works, Rochester, NY (igure 11. Unknown Artist, Autochrome, Author's Collection (igure 12. Sally Mann, /ntitled (Deep South #23! 1998. (igure 13. David Maisel, Histor#5s Shadow GM12. (igure 14. 1ide Door, Eastman Dental Dispensary, Rochester, NY (igure 15. 1wans at Durand Eastman Park, Rochester, NY (igure 16. Robert and Shana ParkeHarrison, (aking Rain, Architect's Brother series. (igure 17. Paul Strand, Akeley Motion Camera, 1922. (igure 18. Eastman5s First Lion, George Eastman House Study Center, Rochester, NY (igure 19. Richard Barnes, Animal Logic Aseries) (igure 20. Elephant, George Eastman House (igure 21. 1uicide Note, George Eastman House, Rochester, NY iv 5ist of E"hibited 0orks 1. %odak World Head9uarters, Rochester, New York. 2. Portrait of George Eastman, Painted by Louis Betts, Eastman School of Music, Rochester, New York. 3. Eastman5s First Lion, Chronicles of an African Trip, Travel Diary published by George Eastman, 1927, George Eastman House Study Center 4. (odel of 900 East Avenue! George Eastman House Study Center 5. Elephant, Conservatory, George Eastman House 6. Globe, Little Library, George Eastman House 7. -lock, Billiard Room, George Eastman House 8. .rgan Pipes, Second Floor, George Eastman House 9. Eastman Theatre, Rochester, New York. 10. Eastman Kodak #', Rochester ChapterCNational Railway Historical Society, collection of the Rochester = Genesee Valley Railroad Museum, Rush, New York. 11. .,solete, AR'&<ANworks, Rochester, New York. 12. (ain Street! Big Picture Rochester 2009. Main Street, Rochester, New York. 13. Rock Garden, George Eastman House 14. 1ide Door, Eastman Dental Dispensary, Main Street, Rochester, New York. 15. %odak in Blue, View of Kodak World HeadDuarters, Rochester, New York. 16. Two Trees, Durand Eastman Park, Rochester, New York. 17. 1wans at Durand Eastman Park, Rochester, New York. 18. Terrace Stairs, Townson Terrace Garden, George Eastman House 19. Eastman Family Plot! Grave site of George Eastman's father, mother, and sister Emma Kate Waterville, New York. 20. Apples at Eastman5s Childhood Home! Genesee Country Village and Museum, Mumford, New York. 21. Pink Bed at Eastman5s Childhood Home, Genesee Country Village and Museum, -umford, New York. 22. $heelchair! Maria Eastman's Bedroom, George Eastman House 23. Desk, 5iving Room, George Eastman House 24. Eastman Statue! University of Rochester, statue by Marc Mellon (by permission of Marc v -ellonB 25. The Eastman Memorial, repository of Eastman's ashes, Eastman Business Park, :ochester, New York. vi 1 Introduction ;uring m$ 5rst tri" to 3ochester in 00*4 I visited the 6eorge Eastman 7ouse1 I was thrilled to be immersed in the atmos"here of the nineteenth centur$1 .urrounded b$ the textures and ob2ects of that time4 I stra$ed from the grou" and found corners of the dis"la$ where I could let m$ mind wander while I imagined sli""ing awa$ into another era1 It is this s"ace between the "ast and "resent that I am interested in "hotogra"hing1 L$le 3exer describes this goal in his anal$sis of >err$ ."agnoli&s contem"orar$ daguerreot$"es8 to ?ex"lore in a single image the collision of lived time and historical time1@1 In order to do this4 I needed to 5nd a wa$ to look back in time4 through a window into the "ast4 to visualiAe tem"oral distance1 I needed a turnBofBtheBcentur$ device that could s"eak to the technological advancements of the industrial revolution1 I needed a time machine1 Instead4 I used old cameras1 I began b$ stud$ing 3ochester&s histor$4 and while doing so I ke"t coming across 6eorge Eastman 9>ul$ 1 4 1*'( – March 1(4 1/% :4 the founder of -odak and remarkable benefactor of 3ochester1 7is inDuence on the cit$ and on the industr$ of "hotogra"h$ were eEuall$ "rofound1 The stud$ of his life became the grounding force of m$ work4 and it became clear that a "hotogra"hic biogra"h$ would be es"eciall$ 5tting1 In order to look back at Eastman&s life and tell his stor$4 I used the "roducts he created8 old -odak cameras1 I digitall$ "hotogra"hed their view5nders to "roduce an historic aesthetic1 Man$ earl$ sna"Bshot cameras have an auxiliar$ (ig ) Through the Viewfinder Demo 1 5yle Rexer, Photograph#5s Anti9uarian Avant<Garde : The New Wave in Old Processes (New 2ork: Harry N. Abrams, 2002), 11. 1 lens used onl$ to frame the shot1 To take these images4 m$ modern camera and I "eered down into the glass and mirrors of these old and dust$ devices4 looking at the traces of Eastman&s life1 These cameras are a "art of what made Eastman successful4 and the$ made what he accom"lished "ossible1 The$ also became the element I was looking for8 the gaAe back in time1 This "rocess enabled m$ work to combine both the nonB5ction research of the historian and the romantic reBimagining of the artist1 Through this work I examine the "hotogra"her&s relationshi" to the camera4 and the camera&s relationshi" to its sub2ect1 I studied the histor$ of "hotogra"h$ through a combination of to"ics based on research and ex"eriential methods of imageBmaking1
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