Showing posts with label George Eastman House. Show all posts
Showing posts with label George Eastman House. Show all posts

2.16.2012

RICHARD GERE: 2012 George Eastman Award

Portrait of Richard Gere © Michael Weschler Photography

Richard Gere Receives the George Eastman Award
By Elizabeth Avedon for Le Journal de la Photographie

“It's a great honor to receive this prestigious award. In light of past recipients and the valuable work the Eastman House has done in film preservation, photography and the captured image, I'm very grateful to have been recognized by such a distinguished group.” –Richard Gere

February 16th, Richard Gere received the the George Eastman Award for Distinguished Contribution in the Art of Film, as well as for his International Humanitarian Leadership, from George Eastman House in Rochester, NY.

Gere is known as much for his leading rolls in films such as American Gigolo, An Officer and a Gentleman, Cotton Club, Pretty Woman, Primal Fear, Unfaithful, The Hunting Party, and Chicago, as for his ongoing commitment as advocate and supporter of numerous humanitarian causes through his Gere Foundation.

Dr. Anthony Bannon, Director of George Eastman House, said about Gere's nomination, “We have a special interest in inviting Mr. Gere to receive this honor, as he embodies the spirit of all four of the major awards this institution bestows, including the George Eastman Award, the George Eastman Honors (which is presented to those who excel in both motion picture and photography) and the Eastman Medal of Honor (which is awarded for exemplary public service). We admire Mr. Gere’s own considerable photographic skills. I am also well aware of Mr. Gere’s work on behalf of the people of Tibet and his relationship with H.H. The Dalai Lama, and I have followed both his career and his advocacy for many years. I read with interest his recent statements before Congress, and must tell you they very much echoed a conversation I had with the late Manute Bol when he visited Eastman House to speak about the crisis in Darfur.”

George Eastman House, the world’s oldest museum dedicated to the art, history and science of photography and motion pictures, was the first museum to create a school of film preservation, the L. Jeffrey Selznick School of Film Preservation. Established in 1947, their motion picture archive contains the leading silent film collection in the world. With nearly 30,000 titles, the collection includes significant holdings from Metro Goldwyn Mayer, various independent studios, personal film collections of Cecil B. DeMille and Martin Scorsese, the Merchant Ivory Archives, the Technicolor Archives, as well as lesser known documentaries, shorts, newsreels, and avant-garde works. In addition, Eastman House is home to more than 400,000 photographs representing the history of photography, making Eastman House the world’s most consequential non-government, independent collection of still and moving images.

The George Eastman Award was first presented in 1955, and past recipients include Charlie Chaplin, Gary Cooper, Cecil B. DeMille, John Ford, Greta Garbo, Harold Lloyd, Louise Brooks, James Stewart, Gregory Peck, Lauren Bacall, Lillian Gish, Audrey Hepburn, Mary Pickford, Isabella Rossellini, Martin Scorsese, Meryl Streep, Gloria Swanson, Jessica Lange, and Graham Nash.

Also Read
An Interview With Richard Gere
by Elizabeth Avedon


10.05.2011

W.M.HUNT: George Eastman House Exhibition

W.M. Hunt at Home, Oct 2011
Photograph © Elizabeth Paul Avedon


The Unseen Eye: Photographs from the Unconscious
(Aperture, 2011) by W.M. Hunt

The Unseen Eye: Photographs from the Unconscious
(Thames and Hudson, 2011) by W.M. Hunt



When I turned 50, I decided my life’s mission would be to promote the pleasure of photography. – William Hunt

The first U.S. exhibition of 550 photographs from W.M. Hunt’s extraordinary collection opened at the George Eastman House International Museum of Photography and Film. Selected works include photographs by Man Ray, Irving Penn, Robert Frank, Diane Arbus, Richard Avedon, Edward Steichen, Robert Mapplethorpe, Berenice Abbott, and Nadar in a range of formats from daguerreotype to digital. Highlights from the collection have previously been shown at the Rencontres de la Photographie in Arles, France; the Musée de l’Elysée in Lausanne, Switzerland; and Foam-Fotografiemuseum in Amsterdam, The Netherlands. Thames & Hudson in the UK, Actes Sud in France and Aperture in the U.S. are simultaneously publishing his book, The Unseen Eye: Photographs From the W.M. Hunt Collection, to accompany the show.

Hunt’s collection follows an unprecedented theme in which the subject’s eyes are averted, hidden, concealed, pierced, or missing in every photograph. He began collecting over forty years ago with his first acquisition, Veiled Woman, by Imogen Cunningham...read the full Interview here

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Photographer Paolo Ventura exploring Hunt's Collection

[Paolo Ventura comes into the apartment during our talk. His exhibition The Automaton of Venice is at the Hasted Kraeutler Gallery through October 15 and he’s visiting for the day before returning to Italy. Ventura and Hunt discuss some 19th century photographs of nude women, prostitutes, Paolo saw in a flea market. Somebody had drawn beautiful masks to cover the eyes on the negatives.]

WM Hunt: The mask thing is a strange thing in the collection, because masks let the eyes in and this is very much about not letting the eyes in. For the show at the Eastman House I took out all the masks, so there are pictures in the book that aren’t going to be in the show.

My sister is the only one who’s seen all the different incarnations of this collection, so I’m curious to see what she thinks. This one will be really dense...read the full Interview here

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W.M. Hunt, with Gary Schneider diptych, Retinas, 1998.
Photograph © Elizabeth Paul Avedon

WM Hunt: Gary Schneider was doing a talk at ICP one night, just beginning work on the Genetic Self-Portrait series, and he showed a slide of this diptych. (Retinas, from ‘Genetic Self-Portrait’, 1998) When the lecture was over, I made a beeline for him. I wanted it. It looks like this moonlit night in the haunted forest; it looks like a lot of things. I think it’s very exciting.

[In “The Unseen Eye,” W.M. Hunt writes: “This is part of Gary Schneider’s ambitious self-portrait series, based on the extraordinary conceit of appropriating X-rays of the interiors of his own eyes – this really is the ‘unseen eye’ – and then printing these in his exquisite and exacting fashion. This image is a haunted landscape of the soul under a full moon, eerie and rapturous.”]

I’ve known Gary a long time and think he’s a real talent. His skill as a printer always preceded him. He had a photograph of a friend of ours daughter, Fotofolio’s Julie Galant and Martin Bondells’ daughter, Anya, when she was about 8 or 10. I bought it. It’s a great, great picture now in the book. (Gary Schneider, Anya, 1994)...read the full Interview here