Initial Blog

Holding Pattern

2011-12-04T05:55:00.001-08:00

I know I shouldn't bitch, Google gives me this thing for free...but then, you get what you (don't) pay for. Blogger has made some improvements lately and I applaud that even though they took a little while to get going. Some competitors beating down their door maybe?

I admit I fall prey to the occasional "grass is always greener" trappings every once in a while and it seems blog platforms are the latest victim. I've used WordPress and I know of lot of coding guys who love it, but I'm not a real coding guy. Creativity is hard sometimes and trying to get content out there should not be a part of the pains of expression, but it can and will sometimes be.

So for now, I'm moving the Initial Blog HERE.

I may come back here, I may not. I look at this way, there are a lot of cocktails out there, and why not take the time to find out which one tastes better to you.

Thank you everyone who has always taken the time to indulge my ramblings and images. Now let's get in this car and drive a little further down the road together...

- T.C.

SOLD!

2011-10-02T02:26:00.000-07:00

Been a while listeners, but rest assured I have some (hopefully) good content coming your way via the 2011 George Eastman House Benefit Auction by Sotheby’s. It should be mentioned that none of the pieces are from within the walls of the GEH collections, but are donated by individuals, photographers, etc. and all proceeds benefit the mission of George Eastman House: International Museum of Photography & Film.

You can also get involved - just go HERE for details on what is up for bid and how you can support the museum by bidding on it.

Stay tuned for interviews, updates, photos and more via this blog and the following resources:

On Twitter via @EastmanHouse or @EastmanYP, #GEHAuction
On Facebook
www.EastmanHouse.org

Beat that with a stick...

2011-09-15T05:53:00.001-07:00

Greenhorn Bar & Grill

2011-09-05T12:30:00.000-07:00

My favorite recipe? Reservations. But lately, I'm trying to find a better me, and one of the new adventures is tackling this whole cooking thing. I hear it's pretty popular.

Sure, I've mastered pasta, cold cereal and the standard household grill but I think I've actually, meaningfully made a dish about three times in my life. Usually it was done to impress a woman and they always survived. But the last time I really followed a recipe, gathered all the ingredients, etc., was to make a bold statement, and it worked, so I felt I'd attempt it again. But for some reason I never embraced the real creative side of eating well at your own hand.

No more. But I made sure to start simple and consult that which is all things perfection. Esquire Magazine. Fresh from their "Recipes For Men" section I bring you...

COCA-COLA BRINED FRIED CHICKEN

Not too crazy from the ingredients side and real easy to accomplish once you get the assembly line down. Lots of great spice and an intriguing step in using Coca-Cola for the brine.

Not a bad arsenal

Old school bottles = tastes better

I made some changes and used egg beaters and also substituted Chipotle Sauce instead of Hot Sauce. Granted not the most healthy recipe but I'm a rookie, plus, I'm headed to New Orleans this Fall and this recipe is an old standard down there. Making the batter is easy, feel free to add some more spice if you like as the consistency of the batter and the brine do enough to cut any real hotness from the peppers and spices used. And like the 10 year old I am, it was fun to see the Coke brine bubble up as you add some of the ingredients.

Look at that cayenne!

Soaking up goodness

Assembly line is ready

Drain then dab dry the chicken!

Out of the brine and into the frying pan! You need a descent lagoon sized pan for the canola oil and shortening and be careful when it gets hot. Yes, I sprayed myself with hot oil more than once, an no, it was not as fun as it sounds.

If you do it right, the batter clings pretty well but you must make sure to drain the chicken post brine and then dab a little bit. Then, the fireworks!

First dip...BAM!

Almost ready

Remember to grab a thermometer to check the temperature of the oil, if you don't have one, just cut into a piece and take a look for your self after about 7 to 9 minutes - no pink!!

Victory!

I came...I saw...

Needless to say it was a bonafied delicious Americana recipe for this Labor Day weekend. The coke based brine makes for a very tender and juicy piece of fried goodness. And I'm still alive. Enjoy and on to the next culinary adventure!!

EYP Goes To The Presses

2011-09-02T13:27:00.000-07:00

Last week I was lucky enough to join some fellow EYP members (Eastman Young Professionals) for a night of good ole' fashioned letterpress printing at Genesee Center for the Arts.

The machine we used...

Stephanie setting a background...

My background...

Stephanie set us the perfect EYP plate...

My finished letterpress design...

Here's another one, perfection by Mrs. Kate Jacus...

Pieces of Norman Rockwell: An Interview with Curator Ron Schick

2011-08-30T05:42:00.000-07:00

Originally posted via EYP/Young Professionals blog via Democrat & Chronicle; written by T.C. Pellett

How much time went into putting this exhibit together?

For me it began actively in 2006, two and half years of research at the Norman Rockwell Museum, nine research visits in all over that period. I first discovered the images in 1993 purely by happenstance watching a PBS biography on Rockwell, two or three images flipped by, and it was immediately obvious that they were photos by Rockwell. It was also clear that he had taken so much time to put his style and his personality into these images and they were so close to the painting. It was a major find that I was stunned nobody had researched before.

I didn’t have the time in my career at that point but I would sort of check every 6 months or so and the photos remained untouched territory until 2006 to my amazement. So I then approached the Rockwell family first, who are very forward thinking people, and then I approached the museum. I assumed at first that I would doing this old school and just going through boxes of prints.

So how well organized was the collection?

Tremendously well organized, but here’s the important thing, since I first started researching photos in the 1970’s, all pre-digital of course, I had a certain MO of going through all photos, negatives, etc. of the various projects I’ve worked on. What you have to realize is you can’t approach Rockwell’s images that way because the prints to him were workaday tools. He would cut them up and it can make for a very incomplete record.

By pure coincidence, the Norman Rockwell Museum had gotten a grant to digitize the complete negative archive, and very kindly they let me in to be the first researcher to work on the newly digitized files. So I was the first non-staff set of eyes to go through all 18,000 plus scans, at least three times.

So from seeing the negatives and then going to the prints, or pieces of prints, which did you learn more about his process from?

I realized how you can deconstruct his process, he wouldn’t typically create a painting from a single photograph, he’d pick a face from this one, the feet from that one, hands from another, and he would organize them as a sort of analog Photoshop. So only by going through the series of negatives like that and finding out which element came from which, because prints may no longer exist, could we accomplish things like the montages in the show.

For example, when in one painting, a model appears at least three times, with mustache and then without.

These guys with mustaches were very important to him (laughs) He had one in New Rochelle in fact and convinced him to shave it off so he could pose him as a woman in “The Gossips” and the man’s mustache never grew back and Rockwell felt guilty for the rest of his life (laughs). And then he found a similar mustachioed guy in Arlington, after he left New Rochelle, as props and settings to him were almost as important as the characters themselves. So he then used that fellow twice in the painting once with the mustache and once without and then moved that mustache on to someone else’s face again. And you couldn’t do that without a photograph.

After seeing the exhibit for the first time and hearing other people’s reactions, maybe “surprised’ is not the word, but I don’t think the general knowledge of Rockwell prepares you for how dependent he was on photography.

Rockwell was a disciple of another illustrator named J. C. Leyendecker who also did covers for the Saturday Evening Post, and Leyendecker was adamant about never using photography and so I think instilled in Rockwell a certain guilt about using it. But on the other hand, all of his younger competitors, and I mean ALL of his younger competitors, used photography on a daily basis. So frankly, just to keep up, and stay afloat in his business, he really had to think more openly about adopting photography.

Again, it’s only sporadic, only when he poses say children or animals up to the 1920’s. Then the floodgates are really opened around 1935 when he gets this period where he felt he had kind of stalled, he had lived in Paris for a while to learn impressionist styles but it didn’t work out. He then had a prestigious commission to do new editions of “Tom Sawyer” and “Huckleberry Finn.” And here’s a a project where all of the models are going to be children so it became the perfect excuse to use photography throughout and he never looked back.

How do you deliberate over what work will go into the exhibition/the book from all that is available?

In some areas there’s more in the exhibition than there is in the book itself. It’s the exhibition that gave me a chance to take a second shot at the collection and re-think certain areas. So I think they compliment each other well and you really can’t get the whole story without experiencing both.

What we don’t have in the book but is in the exhibition specifically, are a large portion of his vintage work prints. And that is really not something that was possible for the book. It lends an immediacy I think because you can actually see the ones he chopped up into snippets and that adds an extra layer of his working process.

In your experience have you seen photography support another creative medium as well as this exhibition?

I can’t think of another body of work I’ve researched that is anywhere near as extensive as this one. Keep in mind, he was the most successful illustrator of his day, so he could afford to be as generous as he needed to be with materials, with his cameramen, and also his working method. The word I use in the show is that he was a “literalist.” He really needs the exact thing in front of him before he could put anything to canvas. Even as he revised that transfer he really needed it to be perfect, and so he could spend the time, the money, and the effort to make sure it was just right in the end. And that leaves behind a huge body of work. It also helped him to judge how it would look on the canvas in terms of the flat plane that a photographic print can provide.

What would you like people to walk away from this exhibit with stuck in their heads?

What a complex artist Rockwell was, because when I walked into this research, the first images I saw when I began were the photographs for some of the Civil Rights themed paintings, which were very tough. I think I came into the research with some pre-conceived Rockwellian notions that I think probably everyone has. What the photographs taught me from day one was to leave those notions behind. This is a complex body of work supporting the work of a complex artist.

Norman Rockwell: Behind the Camera is currently on exhibit through September 18, 2011 at George Eastman House: International Museum of Photography & Film, Brackett Clark Gallery. Sponsored by M&T Bank with additional support provided by The Robert Lehman Foundation.

EXHIBITION INFORMATION

EYP INFORMATION

Just like starting over...

2011-08-29T13:57:00.000-07:00

Well, I admit once again, I have been a dumb ass. When I signed up for Google+ there was all of my blog images in one folder visible on my account. Well, that doesn't make much sense I thought...and it's sort of redundant since all of these images exist on my blog already. If people want to see these images in context, they can just go directly to the blog. So I deleted the folder...

Then, my blog all of a sudden has all of these weird icons where my images used to be. I did a little more research and found people thought the same thing I did and deleted their folders as well, instead of just changing the privacy settings. The only solace I felt was the fact that at least there were more dumb asses out there with me, we have a support group now. Makes sense, since the Google did a lot to explain this and other Google+ anomolies...didn't they?

So one day if you hear a loud noise in your home or office, don't be concerned, it's just another Blogger user smacking their forehead in stupidity like I did. Back to the drawing board folks, but as I've recently learned, new beginnings don't have to be so scary.

So, see you all again soon after I do a huge "Take 2" on my blog. You've been warned people.

- T.C.

Are You Respecting Your Marketing’s “Dance Space?”

2011-06-03T14:52:00.000-07:00

Originally posted on the Butler/Till Media Mosaic Blog 6/3/11

Many years ago Patrick Swayze taught me a valuable lesson. It came to me via the eighties classic, “Dirty Dancing,” in which he uttered the phrase, ʻThis is MY dance space, this is YOUR dance space.” However, I must point out that this does not pertain to the two years I spent in the Webster High School Show Choir.

At the time, I didnʼt think much of the line, it just seemed like a good way for Swayze to explain his awesomeness to the “spaghetti armed” Baby. Years later, as I began to build a career in marketing and communications, I became aware of what experts call “really bad advertising.” And now, whether Iʼm trying to explain my own projects or understand someoneʼs approach to my marketing needs, that movie line has somehow become my creative mantra.

In design, everything has its place, and in a campaign, every piece has a relationship to the others. Understanding how all the pieces fit, or rather, how each piece has its own space, should always be step one. It seems like a more than obvious approach to things, but schedules, budgets, and personalities can throw an ideaology out faster than you think. If youʼre going to go to the trouble to craft a message that works, stand back and try to understand how brand and media will work together. Youʼve paid for it with time, emotion, and most importantly, your budget line. Respect the fact that while it may very well be your message, you might not always be in control of it. But you can at least try to guide it.

The worst offenders of “dance space” often…
• Place so much text you think youʼre reading stereo instructions.
• Cram so many miniscule logos in a banner ad that you hope no self respecting sponsor or client will see it.
• Buy a full page, color ad and then slap too much creative “weight” on a single, fuzzy image “we got off the website.”

Thatʼs not to say creative work or strategy should always play it safe or operate in a pure linear environment, far from it. This mantra even applies to what people still call “social media.” For instance, with one tweet, know that you should have a succinct headline, a solid #hashtag, and mention one or two followers. Space should be respected especially at 140 characters. Now now, donʼt pull the, “But I just donʼt understand the whole Twitter thing.” If you can write an e-mail, you can tweet. But thatʼs for another time.

Stand back, respect the organic “space” of marketing + creative, and no one will put your message in a corner.

T.C. Pellett was lucky enough to start what has become a 12 year marketing career at George Eastman House: International Museum of Photography & Film. From there he went on to be a brand champion for non-profits like the Rochester/Finger Lakes Film & Video Office, Visit Rochester, and the Seneca Park Zoo Society. T.C. is currently the Marketing & Education Manager for the Monroe County Department of Parks. He serves on the boards of the Rochester Advertising Federation (RAF) and Big Brothers, Big Sisters of Rochester. Another organization he has been proud to volunteer several years for is the Ad Council of Rochester. You can find out more about his career and work at www.tcpellett.com

JUDGEMENT WEEKEND: A rookie RAF Board member's guide to how the ADDYs are judged.

2011-03-02T19:40:00.000-08:00

“We have one heck of a creative communications community in Rochester. And the purpose of the RAF is to keep that community thriving. Through events and programs, we educate, connect, and inspire great work–and we have a ton of fun doing it.”

One of the more widespread misconceptions about The Rochester Advertising Federation's ADDY Awards is that the winners are decided by local creative professionals. Not true. Traditionally, seasoned creative professionals of diverse skill sets from around the U.S. are invited to judge the entries submitted by Rochester’s creative community. Then, representatives of the RAF’s Board of Directors typically travel with all of the work to a single city/district where the group of judges is located. To celebrate our 20th Anniversary we did it a little different for 2011. We used our association with the National American Advertising Federation and chose one judge each from four major markets that we had utilized in past years. The RAF is an affiliate of the AAF, empowered by 50,000 professionals in 220 advertising clubs, 220 college chapters, and 100 corporations.

JUDGEMENT WEEKEND IMAGE GALLERY
All images by T.C. Pellett except where noted - thanks so much John!

I had attended the awards in the past and had even volunteered on the committee, but was still intrigued about a side of the process most participants don’t get to see. After being asked to join the Board of Directors just about a year ago and being a relative rookie, I saw a chance to get more involved with what’s widely considered to be the RAF’s signature affair. Of course, the ADDYs are like a lot of events. There’s a roller coaster ride to find a theme, arrange for a venue, and constantly explore how the event can remain relevant to the membership and beyond. But this event dares people to offer up the results of their art and creativity in advertising, beyond the customer, to their peers. And then that day came, where thirty or so six-foot tables later, more than 300 entries were organized according to their submission numbers and categories.

We watched the airport arrivals ticker with despair

All we needed then was for the judges to arrive. However, one of the more annoying snow storms of the year hit the Rochester area the exact Friday we were bringing everyone into town. We watched the airport arrivals ticker with despair and by Friday night, we only had one judge safely in Rochester while the other three were stuck in the throes of domestic travel. Needless to say we were worried, not only for the safety of the nice people we invited here, but for the execution of the judging process as a whole. One judge unfortunately became stranded in Washington D.C. and never even made it to Rochester - but the other two eventually made their way and we were ready to get the process moving again.

By late morning Saturday everyone was settled in and ready to start. What was most refreshing was that the judges were a lively panel of individuals who set a tone mixed with levity and professionalism. Certainly a good group to be with for an entire weekend. All the judges we invited had typically done about two to four of these types of events a year so they have seen a real diversity of work. Given the “salvation” theme of the awards show this year, we thought it was a little more than coincidence that two of the judge’s names were Mark and John.

“You guys made it very hard for us..."

The judges were more than complimentary of “the work coming out of a market our size” with one going so far as to say, “You guys made it very hard for us because so much of the work was truly great. Definitely one of the better crops of work I’ve seen.” By early evening Saturday most, if not all, of the printed pieces, mounted campaigns, etc. was rated while some interactive pieces had been viewed and scored as well. Sunday morning would mean wrapping up the rest of the interactive pieces and then viewing all of the broadcast entries.

Representing the RAF in a situation like this is interesting in that you have to be helpful in making sure the judges understand the entries without any sort of bias or extra info. Even the thought of laughing at very funny broadcast pieces could feel awkward in their presence knowing their interpretation of the work has to be pure.

Once all of the judging was done it was time for them to select Best of Show and the pieces that were their personal favorites. Fellow board member Wayne Calabrese was on hand to film interviews and reactions to the work. Those interviews will then be put together for inclusion in the actual awards show. And that marked the end of “judgment weekend.” We all shook hands and exchanged contact info and thankfully, their exit from Rochester was much less dramatic than their entrance.

You’ll find out more about our great judges the night of the ADDYs - salvation can be found starting at 6:30 on March 24th - you can find all of the event details at rafconnect.org/events/addys so get your tickets and we will soon see who will be saved!

Find out about membership in the RAF by going to rafconnect.org/membership
Follow the conversation @RAFconnect
Really, really like us at facebook.com/rafconnect

Remembering the "Chill" of a good album - Part 1

2011-02-20T20:53:00.001-08:00

When filmmaker Lawrence Kasdan was in production on arguably his best film, The Big Chill, he and his wife began compiling music for the soundtrack. It was meant to be an exercise in re-discovering, like the characters would in the film, the music they loved and were shaped by in college. The result went on to be historic in its nature by selling millions of copies and ushered in the age of using popular music re-issues for complete soundtrack albums.

I often wonder what music I would compile if I had the same task ahead of me. There's a lot a of good music that when I hear it, I'm back there, in college all doe eyed and clueless. But of course, I now know that was the best part.

The following list is an attempt to remember and pay homage to my musical growth between 1994 and 1998. Admittedly, some obvious choices by the likes of Pearl Jam, Nirvana, The Counting Crows, The Stone Temple Pilots and many others will be missing from this list. Even though they were everywhere at the time, I wasn't ready to hear them yet. Sure, there are several tracks of theirs that wowed me then and now. But there were some whole albums that I would play all the way through, not believing that I would love the next track more than the previous. So I gave myself some simple rules for this list, only whole albums, no one-hit wonders and it had to be newly released music of the day. These rules unfortunately cancel out another groundbreaking soundtrack/film, "Pulp Fiction."

Harry Connick, Jr. - "SHE"
He really went all out on this one by completely pitching his "big band" persona and striking out on a funky journey. At first, I hated it, but it held on and then I couldn't get enough. It was my first lesson in artistic departure and now it's among my favorite albums of his.
FAVE TRACK: "Between Us"

Dave Matthews Band - "Under The Table and Dreaming"
Not that I really have to explain this choice. It's one of those 90's albums that can be best described by the phrase, "you had to be there" to know what it felt like. Lots of "experts" tried, but the sound of that album could not be compared to anything else before it. It holds up and is honestly like seeing a great old friend when you listen to it.
FAVE TRACK: "Jimi Thing"

The Wallflowers - "Bringing Down the Horse"
The first time I ever heard "6th Avenue Heartache" it literally set me on my ass. I was working at the campus fitness center when it came on the radio, I heard the first chords, stopped what I was doing, and just sat there to listen. I couldn't believe it was new. I didn't think they released such soulful material in the time of Ace of Bass. Thank God I was mistaken.
FAVE TRACK: Tie - "One Headlight"/"Three Marlenas"

The Beatles: Anthology 1
I know what you're thinking, that this album doesn't count, but this was the first time any of us Beatlemaniacs had heard these dusted off un-released tracks. The genesis of such fantastic music was finally ours to pour over, just when we thought we couldn't be any more obsessed with them.
FAVE TRACK: "One After 909 (False Starts)"

UP NEXT: We "Crash" into "Mr. Happy Go Lucky."

Andrew Moore

2010-10-28T18:53:00.001-07:00

This year George Eastman House is celebrating ten years of the “Wish You Were Here” travel photography lecture series. But if you know the Eastman House, these are not the kind of postcard memories the title of the program may evoke. The series is known for presenting the work of photographers who consistently challenge our understanding of place and the people within them.

Such a photographer is Andrew Moore, who in our brief time together used words like “bittersweet” and “cyclical” to describe his work. Moore’s father was an architect who presented him with a respect of space at an early age. He would eventually choose photography and while at Princeton University he had the privilege of learning a great deal from photographer Emmet Gowin. Of course, through his work, it may seem that he has become an architect of sorts anyway. With minimal process, he interprets those places that seem to exist somewhere between what has been forgotten and what defines a community. His latest work is an exploration of the seemingly empty and fallen city of Detroit, Michigan. I met Andrew about 20 minutes before his lecture. His plane was delayed and the evening’s schedule was rushed a little, but you would never know from his welcoming, honest demeanor and generosity of time before the evening’s presentation of his work.

When did you first become aware of George Eastman House? The Eastman House was the first public collection to acquire my work, in 1986, an early montage piece. In fact, it may actually be 2 montages. I was studying photography in the late 70’s and was aware of Eastman, Rochester, the museum. I had a private dealer and she sold a couple of pieces to the Eastman House. So it’s kind of like a homecoming for me.

How did photography find you? My father was an architect but also was a kind of amateur photographer and I shared a little darkroom with my brother when I was 13 and took a lot pictures. I got into painting when I was in high school. Then when I went to college, I thought, “Okay I’m going to be an architect,” but at that time post-modernism was really in the forefront and that was mostly paper architecture, it wasn’t really about building things, it was more about design and drawing, ideas and theories which was great, but I really wanted to make things. So when I was at Princeton I had a very good teacher named Emmet Gowin who was a professor there and I was his apprentice for about three years. I learned the 8 x 10 wide format, how to handle sheet film. Color came of age at that time, we had a color darkroom and I used to put the prints into color chemistry by hand, so I had a great education. Photography really combined all of my interests. Architecture, travel, print making, painting and narrative could kind of eventually get wrapped up in it.

When I first saw your work, it was clear that capturing “the space” is the most important thing and that your respect for the space is what makes the photographs so powerful. The work is very much about the space. I don’t see structure as constraining space but bringing it to life. Whatever I’m looking for, the first thing I’m looking for in the picture is how alive that space is.

Would you rather people come away from your images with a feeling for the beauty of what has been left behind or a statement on where we might be headed? I think it’s a little bittersweet. Hopefully it’s not just purely nostalgic or sentimental as in “oh, what a shame what’s happened.” More about a spread over time, almost an empathy for where it’s been, what it’s come to today and maybe a little bit about where that might lead to in the future. But what it’s really about, time goes through the cycles, busts and booms, ups and downs, civilizations rise and fall and to capture a little bit of that cyclical feeling in the photographs.

Was the timing of the Detroit photographs and the economic downturn an accident of sorts? You were originally going there just to shoot some old theaters at first. Yeah sort of, the serendipity of getting there just at the right time. And now it’s become hugely popular to work in Detroit. I started working Detroit before the economy crashed so everybody only thought about Detroit having some bad parts to it and it was still just limping along.

How did you find some of these places? I work with local people, often kids, the 16 and 17 year olds sometimes, who really know the city. Or often times, through people who are friends of mine who are essentially outsiders and explorers. So the really young urban explorers, and then I also do research on my own and contact the business men and real estate guys, and so forth, those people who really have the power to get access to places that are obviously locked down but still functional

How much time do you spend in a given location? Once you’re in one of these abandoned spaces you could be in there for days, which is kind of cool and you can take your time. Sometimes there can be a level of anxiety that once you get in you can’t make too much noise or the light is changing. I’m very dependent on natural light. I don’t use anything artificial so that one of the great compelling forces of a given location is the shifting light. One of the biggest technical problems I have these days is the film popping on overloaded exposure. I’d actually like to talk to the technicians at Kodak to see what they might have changed with the actual density of the base. It has a tendency to kind of shift more now.

As the tools do constantly change what have you resisted and what have you enjoyed about the technical improvements of photography? I’m a second generation guy. I grew up with analog and optical printing, later in my career I have shifted over to digital, but I’m still shooting on film. I feel like I’ve gotten the best of both worlds, shooting on film, great lenses, and then scanning it. Part of my training was in print making so I love making prints these days because I can just sit in my studio and print all week until I get it just right. It’s nice to know how it feels and I think print making is a big part of my process. Digital offers certain freedoms that you could never do before. I shoot digital for assignments, and with people, you have to know that you have the image, but there’s nothing like a beautiful 8x10 negative. Especially for making a giant 70 x 90 print.

Because you’re aware of how space influences us, do you have any requirements for a gallery showing your work? I just recently had the Detroit show at the Akron Art Museum and the curator up there painted the walls a sort of deep blue and bright, rust red, and it looked great against the white borders of the prints. So that’s the first time I’ve actually had somewhat non-standard walls and for that show it was superb. And now that I’ve seen that, I’m more interested, especially if you can get a little darker hue on the wall, even a middle grey and the colors can look incredible. One of the things I like doing now, I like showing the prints without glass - the print is mounted either die bond or aluminum and then it’s framed but there’s no spacer and there’s no glass, no plexi, no laminate, it’s just literally the naked prints surrounded by a frame. And so there’s no reflection, no glare. That’s an ideal way to show a photograph. I much prefer my pictures without glass.

And finally, being at Princeton when you were, are you looking forward to the lost tracks of Springsteen’s “Darkness On the Edge of Town?” (laughs) Sure, although I much prefer, ah, what’s the White Castle movie?

Harold and Kumar? Yeah, for the first one they shot up there in Princeton. That’s funny.

###

I would be remiss if I didn’t mention his reaction to a part of the Q & A that followed his lecture that evening. A museum patron asked if he had ever considered the decay and ruins of New Orleans for his next series of photographs. His answer felt like an honest definition of what kind of photographer he chooses to be. Moore continued that he felt the sorrow of that tragedy had been explored in such a capacity already, that he did not want to produce any work that might betray the extent of that sorrow. It seems Andrew Moore discovers where his camera is needed versus capturing something less than what the art form asks of him.

www.andrewlmoore.com

Where to buy Detroit Disassembled

To learn more about the upcoming Wish You Were Here guest lecturers, click here to go to the George Eastman House website. For more information on how to get involved with the Eastman Young Professionals, please contact us at eyp@geh.org, or find us on Facebook.