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Working with photographic media and their histories, Liz Deschenes reconfigures the various relationships among image, viewer, apparatus, and architecture, often inverting their respective positions. Presented in conjunction with the George Eastman Museum’s 75th anniversary, Deschenes presents new works that draw connections among the museum’s collections of photography, film, and technology, testing the potential of these media to reproduce (and produce) perceptions of time and color. With this exhibition, the artist explains, “Moving images become still objects, and still objects become moving images.”
At the heart of the exhibition is a new installation of large-scale photograms that contends with the variability of frame rates in the silent film era. Other works turn to often overlooked features of photographic production and display—filters, screens, color separation channels, standard sizes, shelves, brackets, walls—that determine the landscape of what is visible or...More
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Press Release
Working with photographic media and their histories, Liz Deschenes reconfigures the various relationships among image, viewer, apparatus, and architecture, often inverting their respective positions. Presented in conjunction with the George Eastman Museum’s 75th anniversary, Deschenes presents new works that draw connections among the museum’s collections of photography, film, and technology, testing the potential of these media to reproduce (and produce) perceptions of time and color. With this exhibition, the artist explains, “Moving images become still objects, and still objects become moving images.”
At the heart of the exhibition is a new installation of large-scale photograms that contends with the variability of frame rates in the silent film era. Other works turn to often overlooked features of photographic production and display—filters, screens, color separation channels, standard sizes, shelves, brackets, walls—that determine the landscape of what is visible or...More
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