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var str = '\"Tonal Voices\" -- nonfiction prose';
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var str = 'Buzzo’s Music Shop on Main Street is an exciting stop-in for students of all musical abilities. Featuring CDs, records, guitar strings, sheet music, and most importantly, Buzzo’s wild stories, there is never a dull moment from the second you enter the shop until you check out your purchases and leave.';
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Kahn, Danielle
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Brackett, Walter (1823-1919)
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This untitled poem, written by Jerline Dobson talks about how her right foot was broken once, yet, never fixed. She talks about when the cold weather comes it starts to hurt and it reminds her of the time she broke her foot. Later in the poem, it is recognized that she broke her foot almost five years ago and it still hurts to this day because nothing was ever done to help it in the moment. While it is unknown the circumstances of how she broke her foot or why she never got it looked at, it is known that sometimes it feels like it just happened yesterday and it may even hurt like this for the rest of her life.
Jerline Dobson
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var str = '\"Voices of the Glen\" title page';
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var str = 'Illustration to a collection of poems written by visitors to William Pryor Letchworth\'s \"Glen Iris\" estate on the Geneseee River. Its composition suggests that the voice of nature itself--for example, the creek pictured--is being channeled via poetry.';
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Whitney, E. J.
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var str = 'Engraving';
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var str = '\"Wigwam\" of the 1860 Republican Presidential Convention, Chicago';
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var str = 'Engraving depicts wooden structure, built in just a few weeks, to hold 10,000 delegates to the party\'s nominating convention. In the years following it was used to hold rallies and political meetings during the Civil War before its demolition sometime during the late 1860s. Today, its location can be visited at the intersection of Wacker Drive and Lake Street.';
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var str = 'Library of Congress, Portfolio 13, no. 18';
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var str = '\"The Republican Standard\"
Blanchard, Rufus';
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var str = '1860';
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var str = '\"Young Lady, Age Twenty-One\" - Ophelia Bailey Poem ';
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var str = 'This poem, by Ophelia Bailey, shares her wishes that she could do more with her life like going to school to be a nurse or teacher. Bailey states that she wants to go into those occupations so that she can help people no matter their age or other characteristics. <br />Yet, unfortunately, Bailey is a migrant farm worker who has no way out of the cycle she is in.';
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Ophelia Bailey
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var str = 'Unknown ';
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var str = 'Michalkow, Nikolete ';
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<em>Following A Dream</em> Galleys and Selected Poems
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var str = 'This series of poems was created by various migrant workers on farms across New York that worked together with the Geneseo Migrant Center. The poems were organized in this collection by Sylvia Kelly, the director of the Creative Artists Migrant Program Services (CAMPS) of the BOCES-Geneseo Migrant Center. Several artists, teachers, and volunteers worked together to work, edit, and collect poems written during the 1980 migrant season. The collection was poetry was funded by Poets and Writer Inc. as well as assisted by other various companies around New York. The poems are a depiction of the experiences of migrant farmworkers, their dreams, aspirations, everyday thoughts, and overall view of the world. Poetry was a form of therapy for these workers to release their feelings and emotions surrounding their job system. Overall, \"Following A Dream\" showcases the hard work of the Geneseo Migrant Center C.A.M.P.S. and the talent of a multitude of migrant farmworkers. ';
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Kelly, Sylvia
Dailey, Joel
Martin, Richard
Boettger, Elizabeth
Mattera, Gloria
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var str = '1980';
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var str = 'Kershner, Natalie';
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var str = '10 and Out';
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This painting depicts a boxing match, in which one of the boxers successfully knocks out his opponent. The victor, standing upright on the right side sporting turquoise shorts, looks confident and strong as he watches his opponent on the ground along with the referee. His opponent is curled up on the floor of the ring, his face downturned and covered by his arms. The colors are vibrant, and the work’s shadows create a realistic effect. Braverman's painting takes on new significance when considered in relation to economic conditions during the 1930s.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in New York City, Braverman’s subsequent life tracks alongside the changing fortunes of radical politics in America. He appears to have lived in Chicago, studying in Paris with<a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Lhote" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">André L’hote</span></a>, but he also was listed as Chairman of the People’s Institute in Toledo, OH during 1911. Perhaps his debut as an artist began in 1907, at age 19, with political cartoons published in <i>To-Morrow Magazine</i>: on subjects like<a href="https://books.google.com/books/content?id=xbQRAAAAYAAJ&pg=RA2-PA125&img=1&zoom=3&hl=en&sig=ACfU3U0dyxIxH28CdN4Y610NeODPEO1arg&ci=3%2C116%2C988%2C1597&edge=0" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">plutocracy</span></a> and class-based<a href="https://books.google.com/books/content?id=xbQRAAAAYAAJ&pg=RA1-PA227&img=1&zoom=3&hl=en&sig=ACfU3U2oi9aYqcwYxsP9E4ouX6zImpxyxQ&ci=125%2C680%2C770%2C960&edge=0" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">sexual politics</span></a>. During the 1910s “Barney” was Associate Editor and Circulation Manager for <i>The Progressive Woman</i> in Chicago. It was founded as <i>The Socialist Woman </i>in 1907 by Josephine Conger-Kaneko and in 1913 would become <i>The Coming Nation</i> before folding in 1914. He produced the magazine’s<a href="https://openvalley.org/items/show/920" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">masthead</span></a> much of its political art: on<a href="https://openvalley.org/items/show/918" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">child labor</span></a>,<a href="https://openvalley.org/items/show/919" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">domestic work</span></a>, and<a href="https://openvalley.org/items/show/922" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">women in trade unions</span></a>. Meanwhile, Braverman also was drawing political cartoons for<a href="http://dlib.nyu.edu/themasses/images/the_masses_index.pdf" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2"><i>The Masses</i></span></a><i> </i>(1912) and publishing pamphlets like “Suffragists, Watch Out for the Wolf!” (1913). After passage of the Nineteenth Amendment in 1920, and as socialist unity fragmented under the duress of Palmer Raids and systematic anti-red legislation, Braverman became disillusioned and moved into poster art and advertising. By the 1920s he worked for the Curtis Company agency in Detroit, MI and then in 1926 the Hamman group in Oakland, CA. During his time in Detroit, Braverman played an important role in smuggling copies of James Joyce’s banned novel <i>Ulysses</i>. In 1922, the novelist Ernest Hemingway—who knew Braverman—suggested an arrangement with publisher Sylvia Beach: she would ship 300 books to Windsor, Ontario, where Braverman had rented a room; he would smuggle them across the US border individually, then re-bundle them and ship via a private express company. He asked only to be reimbursed for his expenses (no fee charged) at a time of heavy border patrols during Prohibition. Historian Kevin Birmingham writes that “it required him to break the law every time he crossed the border with a copy of <i>Ulysses</i>, possessed a copy for distribution in Michigan and shipped the book across state lines. He risked a five-thousand-dollar fine and five years in prison, but he would do it anyway” (<i>The Most Dangerous Book: The Battle for James Joyce’s Ulysses</i> 236-237). Later Braverman created works for the Federal Art Project, including “Down and Out” (1937)—perhaps modeled on the boxing paintings of George Bellows, like<a href="https://commons.wikimedia.org/wiki/File:Bellows_George_Dempsey_and_Firpo_1924.jpg" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">“Dempsey and Firpo”</span></a> (1924). One critic reviewing a 1936 group show complained that Braverman’s “static figures against his dynamic backgrounds drop his picture to a poster level...he suffers from commercial art influence, with its false emphasis on showiness” (<i>Brooklyn Daily Eagle </i>9 Feb. 1936: 40). But Braverman’s work always had been grounded in the striking image, and postwar Pop Art soon would incorporate both political and commercial iconography. Braverman always had a great interest in films, during the 1940s working upon an authorized biography of the director D.W. Griffith that never was published. He lived the last years of his life in St. Paul, MN.
Braverman, Barnet, b. 1888
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A neoclassical mansion, accessorized by ancestral family tree, looms over a woman wearing a long dress at lower left. Upon closer viewing the coherence of this scene breaks down; she's carrying an axe in her left hand, <em>a la</em> Lizzie Borden, along with something in her right hand we cannot see. Moreover, any attempt to inhabit a romantic tableau of the past is undermined by an historical marker on the front lawn--or is it a 1930s highway sign?--along with an airplane flying overhead.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Middletown, CT and trained at the Hartford Art School, Guy was among the earliest Americans to see European surrealism via a 1931 show at the Wadsworth Atheneum on the <a href="https://youtu.be/1UNpfGZ3wy4" target="_blank" rel="noopener">“Newer Super-Realism.”</a> Thereafter he was strongly influenced by painters like <a href="https://en.wikipedia.org/wiki/Salvador_Dal%C3%AD" target="_blank" rel="noopener">Salvador Dali</a>, <a href="https://en.wikipedia.org/wiki/Giorgio_de_Chirico" target="_blank" rel="noopener">Giorgio de Chirico</a>, and <a href="https://en.wikipedia.org/wiki/Jos%C3%A9_Clemente_Orozco" target="_blank" rel="noopener">José Clemente Orozco</a>. At the same time, Guy’s work was characterized by a sharp satirical edge that may have owed something to his own work experience—after high school he had tried selling rugs and typewriters; was a sailor and census-taker—and to his political activities, including membership in the radical John Reed Club. In 1930 he helped stage a 1930 labor play entitled <em>Strike</em>; amid unsuccessful attempts to stage it in New York, Guy remained in the city. During the Great Depression Guy was among the leaders of the Unemployed Artists Group (later renamed the Artists Union), which advocated government support for the arts and later resisted proposed cuts to the Federal Arts Program. Guy’s paintings were exhibited at the Wadsworth Atheneum Annex (1931), the ACA Gallery (1937), American Artists’ Congress (1937), a “Fight War and Fascism” show at the La Salle Gallery (1937), Federal Art Gallery (1938), Boyer Gallery (1939), and Ferargil Galleries (1941). In 1936 he married the respected woodblock artist Clara Skinner, and they co-exhibited at several shows. Guy also undertook public mural projects, referenced only as located in Mexico and “New York churches” (Older). One that is known was a 1934 three-panel project for the Hartford Public High School’s cafeteria on the production of food: “The New England fishing industry is at its center—the port of Gloucester, Mass.—is brought to life in the first panel. The second reveals the story of the wheat belt; fields of grain, elevators, transportation on the Great Lakes. From pastures to stockyard, the cattle industry is recorded in the third” (Older). Perhaps the peak of Guy’s popular recognition, by that time including the epithet of “Yankee Surrealist,” involved a 1941 portfolio of paintings published in <em>Esquire</em> magazine as <a href="https://classic.esquire.com/issue/19410801/print" target="_blank" rel="noopener">“Fun in Ghost Town.”</a> “Today he is more or less established,” the profile stated, “if somewhat precariously....James Guy may be called a depression period radical, for there is nothing in his background or conditioning which would make inevitable the questioning of social values that has been going on in his picture making” (Saltpeter). During World War II Guy worked at the Pratt Read glider factory in Deep River, CT where his visual style changed markedly into a futurism he called “industrial symphonies” (Dickinson). After the war he taught art at Bennington College, MacMurray College, and Weslyan University—with a sabbatical of several years during which he wrote and photographed articles on fishing for outdoor magazines (Stedman). 2 works at the <a href="https://www.nga.gov/collection-search-result.html?artist=Guy%2C%20James%20Miekle" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-47" target="_blank" rel="noopener">FAP</a>.<br /><br /><span style="text-decoration: underline;">Sources Consulted</span>: Ernest Dickinson, “Paints ‘Symphonies of Industry’”, <em>Hartford Courant </em>15 Oct. 1944: 67; Ilene Susan Fort, “Social Surrealism,” <em>Archives of American Art Journal</em> 22.3 (1982): 8-20; Gerald M. Monroe, “Artists as Militant Trade Union Workers During the Great Depression,” <em>Archives of American Art Journal</em> 14.1 (1974): 7-10; Cy Stedman, “Return of an Artist,” <em>Hartford Courant </em>19 Jan. 1958: 114-115; Harry Saltpeter, “Guy: Ghoul of the Ghostly West,” <em>Esquire </em>16.2 (Aug. 1941): 86-87; Julia Older, “Hartford Public Buildings Richly and Lastingly Adorned as Uncle Sam Becomes Nation’s Most Lavish Art Patron,” <em>Hartford Courant</em> 1 Jul. 1934: 59.
Guy, James Meikle, 1909-1983
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Wadsworth, William W. (1810-1852)
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