George Eastman Museum

Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras. Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra. Escucha al artista hablar sobre su obra.

Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras. Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra. Escucha al artista hablar sobre su obra.

Para su obra más reciente, Alejandro Cartagena busca entre los basureros fotografías desechadas. Luego, con una navaja filosa, extirpa de las fotografías cuerpos, caras y otros detalles, reconfigurando la composición original ya sea, al desplazar los fragmentos recortados o retirarlos por completo. Las fotografías modificadas permanecen extrañamente completas y sorprendentemente familiares, obligando así al espectador a reflexionar sobre qué es lo que da significado a una fotografía. Su redistribución nos revela cómo los aspectos aparentemente cruciales de una fotografía —un rostro o un cuerpo— ocupan un lugar tanto central como accidental en nuestra capacidad para comprender las obras. Cartagena produjo obras de arte específicamente para esta exposición, dando a los visitantes del Eastman Museum la oportunidad de ver por primera vez las fotografías más nuevas de su más reciente obra. Escucha al artista hablar sobre su obra.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Hear the artist talk about his work.

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 Were Here Series.

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 student, will discuss the Colorama campaign and the surviving materials in the Eastman Museum's collection.

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 industrial relations.

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 Photography and author of the book's essay, will explore the relationships between photography, botanical images, and the cultivated landscape. Her talk will span the history of photography, starting with the medium’s invention in the nineteenth century. She will point out important photographic processes along the way—from daguerreotype to digital photography—while discussing the work of diverse photographers, including Anna Atkins, Edward Steichen, Imogen Cunningham, Stephen Shore, Abelardo Morell, Andrew Buurman, Tanya Marcuse, Sharon Core, Ori Gersht, Rachel Sussman, and Brad Temkin.

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, 1966 (Image: NASA)