13 10 1402 https://openvalley.org/files/original/445c6aad1b517669e67b624960164d6a.jpg 154253ec5a0daef534c1da07c64cb1dc https://openvalley.org/files/original/bb9d4fbf6a442166be4efaab60694bdc.JPG bf8470de998ac380de63b2d737d12895 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 print Physical Dimensions The actual physical size of the original image 16.5 X 12.5 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 Summer in the Berkshires Description An account of the resource This landscape portrays the rural mountainous region in western Massachusetts known as the Berkshires. Sketched entirely in black and white, the rolling hills and clusters of trees appear almost gloomy. A series of farms, divided by thin wire fences, make up the majority of the middle ground. The top half of the lithograph shows a series of light grey clouds, providing a sense of movement that parallels the tall, wispy grasses in the foreground. About the Artist: Born in the Bronx, New York, Brandfield studied at the National Academy of Design, the Art Student’s League and Cooper Union. According to one profile he was “an accomplished woodblock artist and lithographer active in the graphic arts division of the New York City WPA. He has been exhibited at the Chicago Art Institute, Los Angeles Museum, Whitney Museum of American Art and the New York Public Library” (A-D Magazine 6.5 [June-July 1940]). As of 1932 Brandfield was working at the New York Public Library; in 1939, his lithograph “Circus” was selected for a traveling WPA show that stopped in places like Butte, MT; Casper, WY; and Miami, OK. He moved to California at least by 1960 and lived in Grover Beach beginning in 1977, where he continued to work as a printmaker. 6 works at<a href="https://www.nga.gov/collection/artist-info.33227.html" target="_blank" rel="noopener"> National Gallery of Art</a>. 3 works at<a href="https://americanart.si.edu/artist/dayton-brandfield-550" target="_blank" rel="noopener"> Smithsonian American Art Museum</a>. 17 works at<a href="https://www.metmuseum.org/art/collection/search#!/search?artist=Brandfield,%20Dayton$Dayton%20Brandfield" target="_blank" rel="noopener"> Metropolitan Museum of Art</a>. 2 works at<a href="https://gallery.newarkmuseum.org/view/people/asitem/items@null:1010032/0?t:state:flow=26647e75-bdb9-4d0e-9d78-0c931021427e" target="_blank" rel="noopener"> Newark Museum</a>.1 work at <a href="http://collection.artbma.org/emuseum/view/objects/asitem/3201/617/primaryMaker-asc?t:state:flow=01969b8d-780e-489b-bff0-2b9f074d8e64" target="_blank" rel="noopener">Baltimore Museum of Art</a>. 1 work at<a href="https://www.dia.org/art/collection?keys=Brandfield&keyword=&start=&end=&sort_bef_combine=search_api_aggregation_6+ASC&Submit+Collection+Search=Search+Collection" target="_blank" rel="noopener"> Detroit Institute of Arts</a>. 3 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-25" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Brandfield, Dayton, 1911-1993 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 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Sheedy, Marianna (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18122 Format The file format, physical medium, or dimensions of the resource jpeg, 933 KB jpeg, 6.6 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 032 Berkshires Dayton Brandfield Federal Art Project lithograph New Deal Gallery https://openvalley.org/files/original/37b966621f9cd62c8e6794a11b61ea5d.jpg 188f7c05a25cdf7ad44af3a176365aed 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 Illustration 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 Child Labor Description An account of the resource Magazine illustration dates to a period when women’s suffrage and socialism were commingling in productive new ways. Here, Braverman's image perhaps redeploys American Association for the Study and Prevention of Infant Mortality--that is, simply thinking of children as "the nation's chief asset" in terms of health was limited. The wings of allegorical figure also protects children from economic exploitation. At the time of this illustration Braverman’s job title was “Associate Editor and Circulation Manager” for The Progressive Woman in Chicago; he also produced much of the magazine’s art. It was founded as The Socialist Woman in 1907 by Josephine Conger-Kaneko and in 1913 would become The Coming Nation before folding in 1914. 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 the Hamman group in Oakland, CA. He played a central role in smuggling copies of James Joyce’s banned novel Ulysses into America in 1922. Later Braverman created works for the Federal Art Project, including a work held by the New Deal Gallery at Mt. Morris: . He 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. Creator An entity primarily responsible for making the resource Braverman, Barnet (1888-1965) Publisher An entity responsible for making the resource available The Progressive Woman Date A point or period of time associated with an event in the lifecycle of the resource 1913 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 376 KB Source A related resource from which the described resource is derived "The Progressive Woman" 7.72-73 (June-July 1913): cover. Type The nature or genre of the resource Illustration Barnet Braverman New Deal socialism The Progressive Woman https://openvalley.org/files/original/501a4fbb02e4ec38c0f6e6537b1551b0.jpg 94625704de696132be596406e1d50d0e 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 Illustration 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 House Drudge Description An account of the resource Magazine cover dates to a period when women’s suffrage and socialism were commingling in productive new ways. Here, women's oppression within the home by husbands is linked to "man-made law" enacted without enfranchisement. As with other Braverman images, women appear as heroic figures contained by multiple social forces. At the time of this illustration Braverman’s job title was “Associate Editor and Circulation Manager” for The Progressive Woman in Chicago; he also produced much of the magazine’s art. It was founded as The Socialist Woman in 1907 by Josephine Conger-Kaneko and in 1913 would become The Coming Nation before folding in 1914. 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 the Hamman group in Oakland, CA. He played a central role in smuggling copies of James Joyce’s banned novel Ulysses into America in 1922. Later Braverman created works for the Federal Art Project, including a work held by the New Deal Gallery at Mt. Morris: "Down and Out" (1937). He 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. Creator An entity primarily responsible for making the resource Braverman, Barnet (1888-1965) Publisher An entity responsible for making the resource available The Progressive Woman Date A point or period of time associated with an event in the lifecycle of the resource 1913-05 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived "The Progressive Woman" 7.71 (May 1913): cover Format The file format, physical medium, or dimensions of the resource Illustration Barnet Braverman New Deal socialism Suffrage Movement The Progressive Woman https://openvalley.org/files/original/0d7bede47d472449c3cf7680f93bb3a0.jpg 61913133dbcdec2567da2786a37a4336 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 Illustration 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 Masthead for "The Coming Nation" Description An account of the resource At the time of this illustration Braverman’s job title was “Associate Editor and Circulation Manager” for The Coming Nation," published in Chicago; he also produced much of the magazine’s art. It had been founded as "The Socialist Woman" in 1907 by Josephine Conger-Kaneko and in 1909 changed its name to "The Progressive Woman." The final iteration shown above lasted only a year before folding in 1914. 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 the Hamman group in Oakland, CA. He played a central role in smuggling copies of James Joyce’s banned novel Ulysses into America in 1922. Later Braverman created works for the Federal Art Project, including a work held by the New Deal Gallery at Mt. Morris: “Down and Out” (1937). He 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. Creator An entity primarily responsible for making the resource Braverman, Barnet (1888-1965) Publisher An entity responsible for making the resource available The Coming Nation Date A point or period of time associated with an event in the lifecycle of the resource 1914-04 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived "The Coming Nation" 1.6 (April 1914): 3 Format The file format, physical medium, or dimensions of the resource jpeg, 376 KB Type The nature or genre of the resource Illustration Barnet Braverman New Deal socialism The Coming Nation The Progressive Woman https://openvalley.org/files/original/539f7a6fd5a50af60236d14cf6b76b74.jpg 930f3aad6f38eddab6efbffaa6dc4f54 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 Illustration 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 International Woman's Day Description An account of the resource Magazine cover dates to a period when women’s suffrage and socialism were commingling in productive new ways. Here, three different social ills are linked to the absence of suffrage: a mother and daughter under the tyranny of a patriarchal father, an impoverished prostitute with her son watching on, and an economically precarious mother alone. Suffrage was just part of a larger progressive agenda symbolized by the large allegorical figure. At the time of this illustration Braverman’s job title was “Associate Editor and Circulation Manager” for The Coming Nation," published in Chicago; he also produced much of the magazine’s art. It had been founded as "The Socialist Woman" in 1907 by Josephine Conger-Kaneko and in 1909 changed its name to "The Progressive Woman." The final iteration shown above lasted only a year before folding in 1914. 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 the Hamman group in Oakland, CA. He played a central role in smuggling copies of James Joyce’s banned novel Ulysses into America in 1922. Later Braverman created works for the Federal Art Project, including a work held by the New Deal Gallery at Mt. Morris: “Down and Out” (1937). He 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. Creator An entity primarily responsible for making the resource Braverman, Barnet (1888-1965) Publisher An entity responsible for making the resource available The Coming Nation Date A point or period of time associated with an event in the lifecycle of the resource 1914-03 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived "The Coming Nation" 1.5 (Mar. 1914): cover Format The file format, physical medium, or dimensions of the resource Illustration Barnet Braverman socialism Suffrage Movement The Coming Nation The Progressive Woman https://openvalley.org/files/original/ddc0eb5d4fd694f5c3b5290c58230a2a.jpg c2f8441dc16647a06d80ecefdd0ea55a 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 Illustration 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 The Workers of the World Description An account of the resource Magazine illustration dates to a period when women’s suffrage and socialism were commingling in productive new ways. Here, a recurring column on labor issues makes a point to have both men and women in an Atlas-like pose of bearing the burden of modern industrial America. At the time of this illustration Braverman’s job title was “Associate Editor and Circulation Manager” for The Progressive Woman in Chicago; he also produced much of the magazine’s art. It was founded as The Socialist Woman in 1907 by Josephine Conger-Kaneko and in 1913 would become The Coming Nation before folding in 1914. 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 the Hamman group in Oakland, CA. He played a central role in smuggling copies of James Joyce’s banned novel Ulysses into America in 1922. Later Braverman created works for the Federal Art Project, including a work held by the New Deal Gallery at Mt. Morris: “Down and Out” (1937). He 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. Creator An entity primarily responsible for making the resource Braverman, Barnet (1888-1965) Publisher An entity responsible for making the resource available The Progressive Woman Date A point or period of time associated with an event in the lifecycle of the resource 1912-11 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived "The Progressive Woman" 6.65 (Nov. 1912): 12 Format The file format, physical medium, or dimensions of the resource jpeg, 318 KB Type The nature or genre of the resource Illustration Barnet Braverman New Deal socialism Suffrage Movement The Progressive Woman https://openvalley.org/files/original/d49baf1589879b9366362ddfdbbfad7e.jpg 189045f80d6b8b5bcdf1496bcd117078 https://openvalley.org/files/original/c35693978c9f42b23c9c46b3116cd38b.JPG 2d52e298fef1bdc8622d34f3f2f23aca 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 Oil on canvas Physical Dimensions The actual physical size of the original image 23.5 X 29.5 in. Condition: peeling, punctures 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 10 and Out Description An account of the resource 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. About the Artist: 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"> André L’hote</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 To-Morrow Magazine: 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"> plutocracy</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"> sexual politics</a>. During the 1910s “Barney” was Associate Editor and Circulation Manager for The Progressive Woman in Chicago. It was founded as The Socialist Woman in 1907 by Josephine Conger-Kaneko and in 1913 would become The Coming Nation before folding in 1914. He produced the magazine’s<a href="https://openvalley.org/items/show/920" target="_blank" rel="noopener"> masthead</a> much of its political art: on<a href="https://openvalley.org/items/show/918" target="_blank" rel="noopener"> child labor</a>,<a href="https://openvalley.org/items/show/919" target="_blank" rel="noopener"> domestic work</a>, and<a href="https://openvalley.org/items/show/922" target="_blank" rel="noopener"> women in trade unions</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"> The Masses</a> (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 Ulysses. 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 Ulysses, 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” (The Most Dangerous Book: The Battle for James Joyce’s Ulysses 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"> “Dempsey and Firpo”</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” (Brooklyn Daily Eagle 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. Creator An entity primarily responsible for making the resource Braverman, Barnet, b. 1888 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 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Sheedy, Marianna (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18124 Format The file format, physical medium, or dimensions of the resource jpeg, 980 KB jpeg, 12.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 034 Barnet Braverman boxing Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/35321c8bf87f9ca1adea8cff62c0a12c.jpg 2ae53117a734eb7f1d24f49655fb13f4 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 Mills of Genesee Valley Description An account of the resource Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (lumber mill); grinding corn into animal feed or for distilling alcohol (grist mill); grinding wheat or other grains (flour mill); creating boxes and other products from wood pulp (paper mill); fabricating metals (triphammer mill); powering industrial equipment (textile mill); and by the 1880s creating electricity via turbines. This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Paper handbill, 4.7 x 4 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 Advertisement for mills and mill properties for sale in Rochester, N.Y., 1828 Description An account of the resource A handbill published by Matthew Brown, Jr. advertising property for sale near the High Falls of the Genesee River in Rochester, N.Y. Among these are a "merchant flouring mill, in good order for business" and a triphammer forge/mill, all located on a canal (mill race) "about sixty rods distant from the Grand Erie Canal." That mill race is called Brown's Race, named after Matthew and his brother Francis who together owned several mill enterprises in Rochester. Creator An entity primarily responsible for making the resource Brown, Dr. Matthew, Jr. (1766-1851) Date A point or period of time associated with an event in the lifecycle of the resource 1828-07 Source A related resource from which the described resource is derived Rochester (N.Y.) Historical Society Format The file format, physical medium, or dimensions of the resource jpeg, 910 KB Brown Brothers Milling mills Real Estate Rochester, NY https://openvalley.org/files/original/653acc47a59f30cfb5dae4d3ce715533.jpg b5a2bff559a101ad6186e5bd49fe73ae https://openvalley.org/files/original/c0226d981e37a3ff5cd7f8f3c15deec4.jpg 085f608876b196b898fa4fc82cf79371 https://openvalley.org/files/original/87cc883a87812ef8dd6e2a4207421b1d.jpg 24de7e3a3dd61c71d22bfdc46b1a3313 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 Photograph Physical Dimensions The actual physical size of the original image 5 x 7 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 Niagara Falls Dry Description An account of the resource During the mid-1960s, journalist Cliff Spieler of the Niagara Gazette published a series of articles warning that the American Falls were in danger of "disappearing" due to erosion and rockfall (two major incidents occurring in 1931 and 1954). By 1969, permission was granted to de-water the falls using a cofferdam; geologists drilled a series of exploratory holes and eventually concluded that . In the meantime, surreal images of a de-watered falls were recorded by curious tourist during a period of some five months. The photographs are somewhat ironic in that human intervention already was playing a role at Niagara Falls due to hydroelectric diversion. There are two images here, the second slightly cropped for the purpose of <a href="https://cdn.knightlab.com/libs/juxtapose/latest/embed/index.html?uid=744f0822-2a74-11ea-b9b8-0edaf8f81e27" target="_blank" rel="noopener">a Knight Lab Juxtapose application</a>. Creator An entity primarily responsible for making the resource Bryan, William (Bill) Date A point or period of time associated with an event in the lifecycle of the resource 1969 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://flic.kr/p/939tPb" target="_blank" rel="noopener">Courtesy of Flickr</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB Niagara Falls, NY Niagara River https://openvalley.org/files/original/e3b346102f257872cd9222eb53be0749.jpg 331e8146aaa8e051407823adb582cdf5 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 Graphical chart 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 Potato Production and Farm Disposition, 1909-1950 Creator An entity primarily responsible for making the resource Bureau of Agricultural Economics Publisher An entity responsible for making the resource available US Department of Agriculture Date A point or period of time associated with an event in the lifecycle of the resource 1953-03 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Potatoes: Acreage, Production, Value, Farm Dispostion, Jan. 1 Stocks (1866-1950). Statistical Bulletin #122. US Department of Agriculture, Bureau of Agricultural Economics (March 1953): 3. <a href="https://books.google.com/books?id=FnsWAAAAYAAJ&newbks=1&newbks_redir=0&printsec=frontcover&pg=PA1901&dq=potatoes:+acreage,+production+1866-1950&hl=en#v=onepage&q=potatoes%3A%20acreage%2C%20production%201866-1950&f=false" target="_blank" rel="noopener">Courtesy of Google Books</a> Format The file format, physical medium, or dimensions of the resource jpge, 365 KB Description An account of the resource Table from an in-depth survey of agricultural records reveals transformations in the economics of farming. While overall potato production rose during the first half of the 20th century, the "disposition" of that production changed: a smaller percentage was used for seed or consumed in farm households. This is attributed to fewer, larger farms growing potatoes as a commodity. Type The nature or genre of the resource Still image Agriculture farming Potatoes