11 10 1402 https://openvalley.org/files/original/c7d556d7c88a4c477333621e7a036a15.mp3 0792d449aad8768f5019454326f2d98b https://openvalley.org/files/original/2a161bdeeb8af6f28e9986bf9f35638b.mp3 21b1f7c0ea704fc2e3fec52a2773b5ce https://openvalley.org/files/original/dfd78f3e3d32804db0a84b0b99777f75.mp3 e7ee8c6d54e65b54dec74cfc9fa51565 https://openvalley.org/files/original/cf8aa11b32f5a229a8fa5445685285a0.mp3 eabd08a880615259eac494de25718f78 https://openvalley.org/files/original/6e2097c9918a9fb7dc9d460b3fab1e85.mp3 1c2582084e8d02361eef65ca333cce24 https://openvalley.org/files/original/4d0651d227e087da36c5ed0be0782fc9.mp3 1b41ad47c8ff9c313cc99d350953063c Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview McShea, Arlene Strausenburgh, Shirly Interviewee The person(s) being interviewed Miller, Bessie Annis, Howard Annis, Betty Feeley, John Coleman, Irene Location The location of the interview Avon, NY Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data casette tapes Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5 mins Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Avon Voices Work Sound File Creator An entity primarily responsible for making the resource Avon Historical Society Description An account of the resource This is a collection of several clips from tapes that were recorded in the Avon Historical Society Date A point or period of time associated with an event in the lifecycle of the resource 1995-12-07 Contributor An entity responsible for making contributions to the resource Pellegrino, Eva Source A related resource from which the described resource is derived Collection of tapes Format The file format, physical medium, or dimensions of the resource mp3 Type The nature or genre of the resource Oral history avon historical society Avon, NY Interview oral history https://openvalley.org/files/original/6305cf9293859b9a26dcc4dce4e000f1.mp3 1ae28b523e7e4934d65a3fdc74de2506 https://openvalley.org/files/original/126b58b6470dd82cde3e56d3ad25521b.mp3 dd9ac8239d186f0863e3d7a79beef92c https://openvalley.org/files/original/57b21b05952633d24af5a9d4eb5e8b72.mp3 99334b71b783e153a6a759a05a3258dc https://openvalley.org/files/original/b265b0bc48d3f056042cc64a568596da.mp3 30c47c746530b1b1e02d4c459c5ce56a https://openvalley.org/files/original/76608d1d544268b453143ac557c0ff29.mp3 0822776678c41817e80472f2d65fddd8 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Avon Voices: Family and Future Generations Sound Files https://openvalley.org/files/original/d752ae617de88dccd1736986db8fa19e.mp3 6b294b17694e870500ff8f6a5762dfb7 https://openvalley.org/files/original/f658349837df9bb48305eb85c0cd2c30.mp3 94e301d4b70f9b68a0a8ad017a1d6cfd https://openvalley.org/files/original/a768e88131c00e94056c677007a8c456.mp3 10f7aa1f8c8c2dbf22c9de16f7010371 https://openvalley.org/files/original/f6321376accffb810ffdb067ebb98f76.mp3 23ce5bef0c414bb5da74f0b019c347c7 https://openvalley.org/files/original/96d05609b89f7b692ed78e997cb8e7bc.mp3 4d8ed9f7024576ba05591a715fdcc2bf Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Avon History Society Interviewee The person(s) being interviewed Coleman, Irene Collins, Richard Farnum, Edna Strasenburgh, Paul Location The location of the interview Avon, NY Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data cassette tape Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Avon Voices: Hard Times Sound Files Creator An entity primarily responsible for making the resource Coleman, Irene Collins, Richard Farnum, Edna Strasenburgh, Paul Contributor An entity responsible for making contributions to the resource Coleman, Irene Collins, Richard Farnum, Edna Strasenburgh, Paul Leville, Rebecca Source A related resource from which the described resource is derived Avon Historical Society Description An account of the resource Various clips discussing the hard times in Avon, NY including problems with the school district, victory gardens and living through the Great Depression. Date A point or period of time associated with an event in the lifecycle of the resource Various Format The file format, physical medium, or dimensions of the resource MP3, 1.9 MB MP3, 229 KB MP3, 1.1 MB MP3, 1.3 MB MP3, 500 KB Type The nature or genre of the resource Oral history avon high school avon historical society Avon, NY oral history https://openvalley.org/files/original/d1f528cb0bc0b9edb57aa85973f77882.mp3 b4840048cc73b8e5ef02dd50df058ec7 https://openvalley.org/files/original/090eeec42df5ec8d82c269d45614c23a.mp3 edcb1aea0944048c57799745cb79177e https://openvalley.org/files/original/9612b60ebac2deeb229e6b286c8ccbec.mp3 47b325726bcb4f68d06114e1a84fdab5 https://openvalley.org/files/original/090db9fbbd336aec1f31210774771b25.mp3 a85388a66d27626dcf79d83ee18f80bc https://openvalley.org/files/original/a95c84b54ad08c4f1a637919576c18c5.mp3 254d7ee048f712eb7340674aecfa5d06 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 114 seconds Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 96kbit/s Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Avon Voices: Leisure Sound Files Description An account of the resource The following are five separate historical accounts of leisure time activities that happened in Avon New York. They range from going to the movies, to participating in community events. Creator An entity primarily responsible for making the resource Avon Historical Society Date A point or period of time associated with an event in the lifecycle of the resource 1988-1995 Contributor An entity responsible for making contributions to the resource Bettina, Anthony Format The file format, physical medium, or dimensions of the resource m4a Primary Documents, Sounds, Avon https://openvalley.org/files/original/8f4073c80a9d5f0e739a179466c8e428.mp3 e1137dc150401a49d0cd7a80fcced17b https://openvalley.org/files/original/5ac396553380272b0ae6cd93f7788788.mp3 b333ccc5d0dc24375b84e258c9f0c110 https://openvalley.org/files/original/e6249b197f4e4724f3b2e56421a1b14b.mp3 20eee20f30fe2d2b15e1874421678125 https://openvalley.org/files/original/1fb682aaf2a49e33010f7b24670239b2.mp3 e6045c9a793dd3d8da5484fa69cb3bcc https://openvalley.org/files/original/d39d7ada29c024c921ae27aa67e77042.mp3 13db55d1ce82a28648eb011012247e79 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Avon Voices: Technology Sound Files Description An account of the resource Series of five short clips used to create an ArcGIS map tour of the same name. Included are... https://openvalley.org/files/original/85a2e8048c8bcd2ff6908e2ac529151b.jpg e3c9e67f8d532c0270312e92e9b9ed9b https://openvalley.org/files/original/e594abc60b62eeb20e826eeca691be27.jpg 6144c5b353654d3a3f1abdb76ab62bdf Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Back of Erna Lange painting Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Stern, Alison Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 791 KB jpeg, 521 KB Type The nature or genre of the resource Still Image Erna Lange Federal Art Project New Deal Gallery https://openvalley.org/files/original/03e50e9ca860be695133690c293fc964.jpg e814de177abecdf6e36799a5f3f9485e https://openvalley.org/files/original/3e4f027dc49154c3f28793dbdeb3d5ca.jpg dd6eefeb975d121dc6aa54d7d02b7fa7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 9 7/8 x 12 in. Sheet: 11 1/2 x 16 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Format The file format, physical medium, or dimensions of the resource jpeg, 2.7 MB jpeg, 2 MB Title A name given to the resource Backyard Description An account of the resource We look out from an elevated view towards a small lawn, enclosed between several city apartment buildings of varying sizes. An added layer of fence and trees can be seen between the apartments and lawn as well. The straight lines of the buildings contrast heavily to the curved and organic shapes of the trees and lawn. This gives a sense of uniformity to the man-made elements compared to a fluidity in the natural ones. The apartments take up a large portion of the print with their rigid verticality, that extends out of frame, leaving no clear skies visible. The view feels extremely small and communal, something that may not be thought of alongside the idea of a backyard in America. Compare Backyard to Faye's similar print, <a href="https://www.nga.gov/artworks/146231-old-apartment-house" target="_blank" rel="noopener">Old Apartment House</a>, showing neglected neighborhoods surrounded by industrial zones. Both give a notion of how valued privacy can be amidst the density of urban structures. The actual yard of the print is very small compared to other elements and is heavily obstructed by trees and buildings. One lone person can be seen on the bottom of the print. With no discernable features about the person, they are simply a neighbor to the viewer. The perspective gives a sense that you are meant to be looking out of your own apartment window: what you see as your "backyard" really is the lives of all the other people surrounding you. About the Artist Harold K. Faye was born in La Grange, Illinois. Faye pursued formal training at the AIC, Art Institute of Chicago. He made his way to New York City in his early 20s and enrolled in the National Academy of Design like many others of the time. Faye specialized in graphic prints, or lithographs, throughout his entire career. His works primarily depicted New York’s working-class locations and experiences, choosing not to idealize city life. Often favored industrial locations, like factories and locomotives, and densely constructed areas. He often featured smokestacks and dark-colored skies in his works. This was possibly drawing on social themes of urban density and pollution-stricken living. Working-class Americans were not privileged with affording nice living spaces. Faye was never a particularly famous artist but was featured in several FAP and AIC exhibits throughout the late 1930s for his lithographic work. Later in life, Faye pursued a career in cartography, moving on from city lithographs to map-making. Faye began exploring industrial design, and used his background in art to create exceptional maps for several <a href="https://archive.org/details/worldshistory0000fred/page/20/mode/2up">books</a> and <a href="https://archive.org/details/magazine-of-the-year_1947-08_1_6/page/10/mode/2up?q=%22harold+faye%22+maps">magazines</a> . Harold Faye passed away in 1980 in Irving, NY. 6 works <a href="https://magart.rochester.edu/artist-maker/info/717?query%3D%5bExhibitions%5d_ID%20%3D%20%22761%22%26sort%3D26%26page%3D51">at Memorial Art Gallery</a>. 1 work at <a href="https://www.hrm.org/collection/90-10-8/">Hudson River Museum</a>. 5 works at <a href="https://www.nga.gov/artists/33410-harold-faye">National Gallery of Art</a>. 16+ works at <a href="https://art.gsa.gov/people/1314/harold-faye/objects/images?page=1">US GSA</a>. 2 works at <a href="https://collections.mcny.org/CS.aspx?VP3=DamView&VBID=24UP1GZ2MN916&SMLS=1&q=Harold+Knickerbocker+Faye+(1910-1980)&RW=1366&RH=600">Museum of NYC</a>. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-6">FAP</a>. 21 images at <a href="https://art.gsa.gov/people/1314/harold-faye/objects" target="_blank" rel="noopener">GSA</a>. Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Creator An entity primarily responsible for making the resource Faye, Harold (1910 - 1980) Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Pallotta, Florence (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1216 Type The nature or genre of the resource Still image City Federal Art Project Harold Faye lithograph New Deal Museum Urban Setting https://openvalley.org/files/original/1fcf5d209e71f3a950b62fa2b013541e.jpg 3ebf94a2c3030a48bd25123fe046f124 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph Physical Dimensions The actual physical size of the original image Image: 11.5 x 9.75 in. Framed: 21 x 17 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Balcony Format The file format, physical medium, or dimensions of the resource jpeg, 2.1 MB Description An account of the resource Anchel’s lithograph depicts a large balcony appearing to be located in a theater. Figures stand above and below it, all in groups except for one. Most of the figures hold happy or neutral expressions, whereas the lone figure is almost brooding. He looms over the edge of the balcony, looking below. The balcony and ceiling are not rendered in a uniform perspective; they curve and seem to create a bubble around the second floor. The linear quality of the piece parallels its architecture: railings, windows, and building edges create a geometric framework that contrasts with and surrounds the organic shapes of the human figures. Anchel draws our focus towards the private balcony, his line work flowing towards isolated box seats at lower right. The value of the figures is much darker than the rest of the work, emphasizing their faces against the background. This private section sits closer to the stage, in contrast to a bunched group, at lower left, on the theater’s lower level. “Balcony’s” asymmetry and theme of isolation may have resonated with feelings of uncertainty during this era, reflecting confusion and loneliness in a place that represents collective enjoyment. If “All the world’s a stage,” as Shakespeare suggested, we never see the drama to which Anchel’s audience is reacting. About the Artist Anchel Harold Rosenberg was born in 1912 on the lower east side of Manhattan, New York City. He was artistic from a young age, creating many pieces for his mother as a teenager before attending the National Academy of Design, 1930-32. Anchel joined the innovative <a href="https://www.americandanceguild.org/ndghistory" target="_blank" rel="noopener">New Dance Group</a> in 1932, founded by six Jewish women whose motto became “Dance is a Weapon of the Class Struggle.” He performed in pieces with titles like On the Barricade and Hunger. Anchel joined the WPA in 1937, forced to drop his last name and switch the others since only two family members could apply: thereafter, he was Harold Anchel. He joined as one of the youngest employees at the FAP’s Graphic Arts Division, developing a dramatically composed, high-contrast style for depicting ordinary people in works like “Cafeteria”, “City Playground” and “Summer Afternoon.” His background in dance made him especially sensitive to the power of physical gesture. Anchel also executed at least one work for the FAP’s Index of American Design, entitled “Hitching Post.” In 1943, Anchel was drafted for the Second World War, assigned to paint insignias on buildings and planes. He was later relocated to Walterboro, SC where he utilized puppets to teach camouflage techniques. After WWII his style transformed from stark, black-and-white lithographs to<a href="https://david-anchel.format.com/5754895-40-s-and-50-s-paintings" target="_blank" rel="noopener"> abstract paintings</a>. Anchel’s works were exhibited in the Miami Museum of Modern Art, the Metropolitan Museum of Modern Art and the Riverside Museum in New York throughout the 1960’s. Anchel passed in 1980. 63 works at <a href="https://art.gsa.gov/artists/824/harold-anchel/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 17 works at <a href="https://www.metmuseum.org/art/collection/search?q=Harold+Anchel&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/harold-anchel-89" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-25" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/search/anchel" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Also Anchel Abstracts: Neijna Sculpture Exhibit Opening” Miami Herald 8 Nov. 1959: 121. A special thank you to David Anchel for his website <a href="https://david-anchel.format.com/homepage-gallery" target="_blank" rel="noopener">The Art of Harold Anchel</a>. Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Pasiak, Olivia (description and biography) Helquist, Morgan (photography0 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 271 Type The nature or genre of the resource Still image Federal Art Project Harold Anchel lithograph New Deal Museum https://openvalley.org/files/original/159368f1b65908bf3c3f032f382cc75d.jpg 5c941f139b88876998b533df3b6dc151 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Print advertisement Physical Dimensions The actual physical size of the original image 1 x 3 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ball & Donahue, General Store Description An account of the resource Number 24 on the Burleigh map of Caledonia, this enterprise was run by George T. Ball and J.D. Donahue--the latter of whom continued the business as J.D. Donahue & Son. Date A point or period of time associated with an event in the lifecycle of the resource 1894-03-22 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Caledonia Advertiser, 22 March 1894. Courtesy of Tom Tryniski / Fulton History. Format The file format, physical medium, or dimensions of the resource jpeg, 254 KB Type The nature or genre of the resource Print advertisement Publisher An entity responsible for making the resource available The Caledonia Advertiser Burleigh Litho Co business Caledonia, NY George T. Ball J.D. Donahue https://openvalley.org/files/original/a9d86eb1d69ec3f0b0ae32f4c68741a3.jpg 5593028fdba7e3b9853c3fe022926b3f https://openvalley.org/files/original/4578d2d96e0347e2363725dea11c7ae7.jpg bb624b911efe161830552f0d07b60e11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Print lithograph Physical Dimensions The actual physical size of the original image 11-1/2" x 16 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB jpeg, 1.1 MB Title A name given to the resource Ballet Dancer No. 4 Creator An entity primarily responsible for making the resource Murphy, Arthur G. Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1342 Type The nature or genre of the resource Still image Description An account of the resource Ballet Dancer No. 4 is a lithograph depicting a ballerina in motion, her upper body bent towards the ground, with most of her weight placed on her right leg. The other leg is bent at the knee and propped up on a platform of some kind. Most interestingly is the string she holds taut between both hands, seemingly guiding her stretch. The organic linework, lack of shadow, and minimal finer detail emphasizes the strength of the dancer’s form while adding fluidity. The background is mostly bare apart from the surface where she elevates her knee and what appears to be another string curling on the ground by her right foot. Light smudges of ink around the figure help her stand out in the emptiness, creating visual intrigue. This print is part of a series that Murphy created using dancers from the <a href="https://en.wikipedia.org/wiki/Ballets_Russes" target="_blank" rel="noopener">Ballet Russes</a>, which was passing through San Francisco. About the Artist Arthur Murphy was born in Tiffin, OH, later crediting aimless walks through its woodlands for teaching him how to see as an artist (Robinson). After graduation he moved to Cleveland and began work in the art department of the Central Press Association, meanwhile taking classes at the Cleveland School of Art. In 1927 Murphy relocated to New York, continuing his studies at the Art Students League with <a href="https://en.wikipedia.org/wiki/Boardman_Robinson">Boardman Robinson</a>. In 1930 Murphy took “one hell of a gamble” and left his illustrator job at the Associated Press—this during the Great Depression—to become a painter (Burkholder). He traveled West with virtually no money, riding trains with other hoboes and sketching scenery. Eventually, he settled in San Francisco, met the influential Mexican muralist Diego Rivera, and became a well-regarded painter, printmaker, and muralist. Murphy’s unconventional life path and choices of subject matter led a reviewer to remark in 1933:  “His story interests because it reveals how an artist grows up in America today, what it feels like to be an artist and what hardships may be cheerfully endured by one who feels the need to create” (Millier). All of Murphy’s work for the FAP dates to this period, nearly a hundred individual prints: series of lithographs showing steel riggers at work building the new Golden Gate Bridge; Ballet Russe dancers traveling through the city; rurally themed prints of cowboys, horses, and rodeos. “I can’t stand total realism,” he claimed, but as later critics suggested it was more a matter of matching at times wildly different styles to his wide-ranging subject matter (Cotter). After several exhibitions under the auspices of the FAP, in 1941 the San Francisco Museum of Art staged a solo show of Murphys’s considerable output. He was drafted into the Army, in 1943, as a combat artist in the Pacific. Murphy was an eyewitness to the <a href="https://en.wikipedia.org/wiki/Battle_of_Leyte_Gulf">Battle of Leyte Gulf</a> (1944), the largest naval battle of WWII, and on land recorded war atrocities through his drawings. Years later, he still was drawing those scenes from memory. Murphy returned to the US married to an Australian partner, settled in Old Saybroook, CT, and continued with his painting supplemented by income as an art teacher. During the mid-1960s, he was instrumental in forming the Old Saybrook Artists Association, supporting others until his death in 1991. 33 works at <a href="https://www.philamuseum.org/collection?artist=Arthur%20Murphy">Philadelphia Museum of Art</a>. 25 works at <a href="https://www.moma.org/artists/45861-arthur-murphy">MoMA</a>. 25 works at <a href="https://dia.org/search/collection?keys=arthur%20murphy">Detroit Institute of Arts</a>. 10 works at <a href="https://www.nga.gov/artists/33826-arthur-george-murphy">National Gallery of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/arthur-murphy-3464">Smithsonian American Art Museum</a>. 1 work at <a href="https://whitney.org/artists/4067">Whitney Museum of American Art</a>. 119 images at <a href="https://art.gsa.gov/people/1862/arthur-g-murphy/objects/images?page=1">GSA</a>. Works Consulted: Arthur Millier, “Comfort and Security Mean Nothing to Creative Artist,” Los Angeles Times 10 Sep. 1933: 26; Kenton Robinson, “He Began To Draw, Then To See,” Hartford Courant 27 Dec. 1981: 23+; Steve Burkholder, “At 80, Artist Finds New Challenges in Early Subjects,” Hartford Courant 24 Jan. 1986: 56; Holland Cotter, “A Wanderer With an Eye For Textures of His Time,” New York Times 10 Sep 1993: 73 <a href="https://www.nytimes.com/1993/09/10/arts/review-art-a-wanderer-with-an-eye-for-textures-of-his-time.html">Link</a>. Contributor An entity responsible for making contributions to the resource Derrell, Emma (description) Cooper, Keh (biography) Helquist, Morgan (photography) Arthur G. Murphy Dancing Federal Art Project lithograph New Deal Museum