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FOR THEATRE LOVERS EVERYWHERE |
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Alice's Self Portrait wearing her favorite dress (1892) |
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| Clear Comfort |
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Alice stands atop a fencepost to get a better shot of some speed trials |
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A model demonstrates the incorrect way to round a turn |
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A chemist works at the Quarantine Station on Hoffman Island |
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Alice speaks to a reporter on Alice Austen Day in 1951 |
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ALICE AUSTEN HOUSE Photography Museum A National Historic Landmark |
Alice Austen House Museum
celebrates Alice's 140th Birthday.
CLICK THEN SCROLL TO WATCH THE ARTSPASS LIVE! INTERVIEW WITH EXECUTIVE DIRECTOR CARL RUTBERG
The Alice Austen House is a historical home
museum and
tribute to the life and work of its namesake, amateur
photographer Alice Austen.
Alice was born on March 17, 1866, and moved to the
Staten Island cottage known as Clear Comfort as a child.
She remained there until financial problems and illness
forced her move in 1945. She died on June 9, 1952, and in
her absence, Clear Comfort fell into
disrepair. When planned condos threatened the grounds,
the Friends of the Alison Austen House began working
towards its restoration.
In 1993, Clear Comfort gained
status as a National Historic Landmark. The Friends
currently operate the house and garden in agreement with
the New York City Department of Parks and Recreation.
Alice’s first camera was an early dry plate model
brought to her from abroad by her Uncle Oswald. Although
she was only ten years old, Alice took to medium
immediately, and through experimentation she was able to
teach herself how to operate the camera, develop its glass
plates, and make prints. Alice took extensive notes on her
shoots, learning from her mistakes and improving
technique. In her lifetime she created images on over
8,000 glass plates. More than 3,000 of these images still
survive.
Alice Austen was as likely to be home photographing her
family
and friends as she was to be walking around New York City,
photographing a parade through Manhattan's Canyon of
Heroes or taking pictures of "street types" she found
interesting. At the request of a U.S. Department of Health
official, Alice photographed immigrants in the Quarantine
Station just south of Clear Comfort. Ellis Island-bound
immigrants afflicted with measles, scarlet fever, and
diphtheria were removed from their ships and sent to
Hoffman Island for treatment (those with other diseases
were
taken to the neighboring Swinburne Island). Alice was so
taken by
her subjects that she returned to the Quarantine Station
for years, building a portfolio exhibited in Buffalo at
the 1901 Pan American Exposition.
Alice also worked with
friends on photographs for instructional books, including
a series of pictures to accompany a text entitled
Bicycling for Ladies.
The significance of her work lies in its simple,
documentarian style, though her point of view is often
revealed by her use of composition, pose,
costuming, and satire. The majority of her work is of very
high
quality, and her great range of subjects-—owing to her
extensive traveling and willingness to tote her heavy
equipment on all of her journeys—-has left us with
excellent examples of life in 19th century America.
Clear Comfort itself was built in 1690 and bought in
1844 by John Austen, Alice's grandfather. Though the farm
was in a shambles at purchase, John Austen worked to
rebuild it for 25 years, adding Victorian touches, an
extensive covered porch, and a variety of carefully
selected plants. Many of Alice's photographs were taken on
the grounds of Clear Comfort, and her affection for her
home is clearly visible in her work.
After the preservation efforts of the Friends of the
Alison Austen House, New York City bought Clear Comfort in
1975 and restored it and the grounds in the mid-eighties,
replanting the garden according to Alice's photographs.
Today, the rooms at Clear Comfort are arranged as they
were in Alice's day, and visitors to the House may take
guided tours and explore the grounds. Inside the home,
Photographs, music and reminiscences tell the story of
Alice's World in a video narrated by actress
Helen Hayes and produced and directed by Stuart Hersh.
All photographs courtesy the Staten
Island Historical Society
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