Shopping American-Style: The Arrival of the Supermarket in Postwar Italy

In July of 1968, George Eastman House opened Conscience the Ultimate Weapon (Conscience), an innovative audio-visual installation consisting of projected images dissolving from one to the next, accompanied by a synchronized soundtrack. Under the direction of Nathan Lyons, curator at George Eastman House from 1959 to 1969, the exhibition projected 780 photojournalistic images by Benedict J. Fernandez III, depicting protests and public demonstrations that affirmed political dissent throughout the United States during the 1960s. This provocative, political, and ultimately controversial exhibition was firmly grounded in the conflicts of the time. Further, it challenged the exhibition standards of an institution that was known primarily for the promotion of the photograph as fine art and the celebration of the photographic print. In 2008, George Eastman House created an interpretation of this historically important exhibition using modern technology within a contemporary social and political context. Through a case study comparing the 1968 George Eastman House exhibition, Conscience, with the 2008 interpretation of Conscience, this paper will provide an analysis of the preservation issues surrounding these time-based media installations.

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Preservation Of A Time-Based Media Installation : A Case Study of George Eastman House 1968 and 2008 Exhibitions, Conscience The Ultimate Weapon

10.32920/ryerson.14647164 ◽

2021 ◽

Author(s):

Alice Carver-Kubik

Keyword(s):

United States ◽

The United States ◽

Fine Art ◽

Modern Technology ◽

Political Context ◽

Political Dissent ◽

Photographic Print ◽

The 1960S ◽

Public Demonstrations

In July of 1968, George Eastman House opened Conscience the Ultimate Weapon (Conscience), an innovative audio-visual installation consisting of projected images dissolving from one to the next, accompanied by a synchronized soundtrack. Under the direction of Nathan Lyons, curator at George Eastman House from 1959 to 1969, the exhibition projected 780 photojournalistic images by Benedict J. Fernandez III, depicting protests and public demonstrations that affirmed political dissent throughout the United States during the 1960s. This provocative, political, and ultimately controversial exhibition was firmly grounded in the conflicts of the time. Further, it challenged the exhibition standards of an institution that was known primarily for the promotion of the photograph as fine art and the celebration of the photographic print. In 2008, George Eastman House created an interpretation of this historically important exhibition using modern technology within a contemporary social and political context. Through a case study comparing the 1968 George Eastman House exhibition, Conscience, with the 2008 interpretation of Conscience, this paper will provide an analysis of the preservation issues surrounding these time-based media installations.

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Gendered differences in emigration and mobility perspectives among European researchers working abroad

MIGRATION LETTERS ◽

10.33182/ml.v7i1.178 ◽

2014 ◽

Vol 7 (1) ◽

pp. 33-41 ◽

Cited By ~ 3

Author(s):

Elisabeth Scheibelhofer

Keyword(s):

United States ◽

Qualitative Research ◽

Qualitative Study ◽

Social Relations ◽

The United States ◽

Research Strategy ◽

The Future ◽

Highly Skilled

This paper focuses on gendered mobilities of highly skilled researchers working abroad. It is based on an empirical qualitative study that explored the mobility aspirations of Austrian scientists who were working in the United States at the time they were interviewed. Supported by a case study, the paper demonstrates how a qualitative research strategy including graphic drawings sketched by the interviewed persons can help us gain a better understanding of the gendered importance of social relations for the future mobility aspirations of scientists working abroad.

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‘A Routh O’ Auld Nick-Nackets’ – the antiquarian collection of John Rae

Scottish Archaeological Journal ◽

10.3366/saj.2014.0054 ◽

2015 ◽

Vol 36-37 (1) ◽

pp. 163-183

Author(s):

Paul Taylor

Keyword(s):

United States ◽

Nineteenth Century ◽

Social Context ◽

Moral Education ◽

The United States ◽

Representative Case ◽

National Museums ◽

The Individual ◽

The University

John Rae, a Scottish antiquarian collector and spirit merchant, played a highly prominent role in the local natural history societies and exhibitions of nineteenth-century Aberdeen. While he modestly described his collection of archaeological lithics and other artefacts, principally drawn from Aberdeenshire but including some items from as far afield as the United States, as a mere ‘routh o’ auld nick-nackets' (abundance of old knick-knacks), a contemporary singled it out as ‘the best known in private hands' (Daily Free Press 4/5/91). After Rae's death, Glasgow Museums, National Museums Scotland, the University of Aberdeen Museum and the Pitt Rivers Museum in Oxford, as well as numerous individual private collectors, purchased items from the collection. Making use of historical and archive materials to explore the individual biography of Rae and his collection, this article examines how Rae's collecting and other antiquarian activities represent and mirror wider developments in both the ‘amateur’ antiquarianism carried out by Rae and his fellow collectors for reasons of self-improvement and moral education, and the ‘professional’ antiquarianism of the museums which purchased his artefacts. Considered in its wider nineteenth-century context, this is a representative case study of the early development of archaeology in the wider intellectual, scientific and social context of the era.

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