Site Seeing: at the George Eastman House.

As an introduction to Site Seeing: Photographic Excursions in Tourism, the central exhibition at the George Eastman House in Rochester (NY) until September 5, 2004. Sean Corcoran, the Assistant Curator of Photography and Associate Project Director, points out that "over 160 years of postcards, slide shows, snapshots, and travel albums are so thoroughly intertwined that it is hard to imagine one without the other."

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Much of the exhibit, which occupies the two main galleries of the museum, calls to mind the "Grand Tour" of past centuries, when the wealthy from Europe and America could swarm over sunlit Mediterranean destinations--usually Italy, southern France, and the fabled Greek islands. As a testimony of their privilege, they would bring home sumptuous albums of carefully-crafted photographs to those who had not yet gone. Those who could not afford such luxurious travels were also offered opportunities to view professionally produced prints of tourist sights. The Eastman House exhibit offers large arrays of photographs that professionals and amateurs alike took of southern Europe. America, and Asia. In keeping with the current Eastman House policy all the visuals on display come from the institution's collection, although the show is supported in part by Muriel Siebert & Co. and the New York Council for the Humanities. The selection of travel photographs on display covers a period that starts in the year after the invention of the medium and extends to the present days. One key component of the museum's vast archive is an early French collection, the Cromer collection, acquired in 1939 by the Eastman Kodak company that loaned it to the GEH from 1949 until 1972 when the title was definitely transferred. The collection grew with the addition of gifts from individuals and institutions, and acquisitions.

It is no coincidence, but it is appropriate, that Site Seeing should be on display during normal vacation time. Much of the work in the exhibit was produced by amateurs, whose travel photos were originally intended for family and friends. The pictures generally represent what might be expected: scenes that proved that "we were there." Many vernacular items tended to imitate known work of professional photographers. This juxtaposition of the two categories tends to demonstrate the transition from vernacular to art, although the difference may sometimes be obscure for the general public. A more didactic approach from the creators of this show may have cleared some ambiguity and educated an audience of non-connoisseurs.

Some highlights of the Site Seeing exhibit:

- "Tracings of the Wider World" offers views produced by etchings. This part of the show also comprises camera-obscura drawings that were converted to dioramas (a technique used by Daguerre himself among others).

- Prints made from daguerreotypes, by a tracing and engraving process, of views from all over the world and often reproduced in books.

- "Armchair Traveler": Early (about 1870) albumen photographs offering views of the Nile, Constantinople (now Istanbul). Seville, and the Tower of London, made by the English photographer Frank M. Good.

- Boston street scenes, the Boston State House, and "Ice Foliage," made around 1870-75 by American photographer John P. Soule.

- "A World Within Reach": This group deals with western Europe. notably varied views of France. Greece, and Italy. Included are familiar Grand Tour sites. Among these are photos of famous art works, most notably Michelangelo's statue of David and the intricate sculpture of Laocoon and his sons in the coils of the great serpent from the sea. "Still in Italy": works by the country's best-known 19th century photographer. Fratelli Alinari, who sold prints to tourists, prints that often found their way into American albums.

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- more: "Exotica from India, China, and Japan," typical travel pictures; exhibits of 19th century negatives: photo albums, some containing professionally made scenes; and postcards and souvenirs.

- Contemporary film clips from home movies made by amateurs and professionals; also, slide shows from similar sources. How does one distinguish the work of professionals from amateur productions? The professionals do a noticeably better job of composing.

- 20th century tourism experience: In this display viewers see pictures with which they can identify; for example, camping scenes, getting lost on the way to a destination, and other homely experiences. Here again, the production of professionals, either fine art or commercial photographers, hangs side by side with some amateur views. Hilarious work by Elliott Erwitt. Also on view are nature scenes by Ansel Adams, Nature's champion, and 20th century historical photos in such diverse styles as those of Walker Evans, John Schott, Paul Strand, and Lee Friedlander.

As parting shots Site Seeing offers a wall of photos that illustrate the theme "I Love New York." This display comprises amateur and professional prints, including views of Niagara Falls spanning the years since 1855. Altogether, about 175 photos and additional artifacts make up a comprehensive exhibit combining familiar scenes with visual surprises. The show is well worth the trip.

The exhibition will begin a national tour following its debut at the George Eastman House. Venues to which Site Seeing will travel include The Chicago Cultural Center (Jan. 29-April 3, 2005), The Norton Museum of Art, West Palm Beach, Fla. (June 4-Sept. 4, 2005 and The Western Reserve Historical Society, Cleveland, Ohio (Oct. 8, 2005-Jan. 7, 2006.

MILTON LEDERMAN, PhD.