14 10 1402 https://openvalley.org/files/original/d1aade290ac5ec8d66331609b55eaf79.png 8e6938ba539de6a3459fe9600791d576 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 Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. 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 Digital 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 Textile Industry Employment, 1990-2013 Description An account of the resource This graph shows dramatic effects caused by the globalization of manufacturing over the last few decades. While virtually all US sectors have suffered, it has been by far the worst in the textiles and apparel industry--with 70% and 85% job loss, respectively. Creator An entity primarily responsible for making the resource Bureau of Labor Statistics New York Times Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Stephanie Clifford, "U.S. Textile Plants Return, With Floors Largely Empty of People." New York Times 19 Sept. 2013. Web link: <a href="https://nyti.ms/1dsHbv2" target="_blank" rel="noopener">https://nyti.ms/1dsHbv2</a> Format The file format, physical medium, or dimensions of the resource jpeg, 183 KB Type The nature or genre of the resource Still image Globalization Perry Knitting Co. Textiles https://openvalley.org/files/original/6b6c9e7fcdc82caa58b3ed2e93a04650.jpg b9a76871c3bc0cfda58df964c08ca35c https://openvalley.org/files/original/78b0525d49ce1b77328bea19f67f3235.jpg 497ef67dc98416999018a120aa8e6d41 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: 16 x 12 x 16 in.  Sheet: 23 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/. Title A name given to the resource He Calleth His Own by Name--Potter's Field Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 1.7 MB Description An account of the resource Burke’s lithograph depicts an unidentifiable graveyard, set on rolling hills with trees scattered throughout the image. There are small human figures in the background, but the entire print feels desolate and void. Smaller gravestones are visible peeking through the grass, but the clear focal point of this image is a massive cruciform gravestone in the foreground of the print. The eye first travels to the right to the cross, then to the left to a scraggly tree, and finally to the background, where people appear to be digging. There is a contrast between the tonal values of the foreground and the background, with the foreground much darker and more defined, and the background lighter and more amorphous. It places a clear emphasis on the cross, disproportionately large and inevitably drawing attention--in stark contrast to the invisible indigent buried on Hart's Island, and the prison inmates who dug their graves. Burke's title alludes to a passage in <a href="https://www.biblegateway.com/passage/?search=John%2010&version=KJV" target="_blank" rel="noopener">John 10:3</a> that harshly judges the treatment of poor people in human societies, compared to a just world. About the Artist David Burke (Bochkousky) was born in Cleveland, Ohio in 1917. At some point in his early life, he changed his name to Burke, anglicizing it, perhaps to avoid anti-immigrant sentiments. Other than that, little is known about his life before his work with the WPA. He would have been about twenty when he moved to New York City to work for the Federal Art Project around the late 1930s. During this time, he was a student at the <a href="https://en.wikipedia.org/wiki/American_Artists_School">American Artists School</a>, a progressive school in New York City, associated with socialism. By 1940, he was a part of the faculty, teaching lithography classes there in the evenings (Stanley). Burke was also part of the American Artists Union. Starting in 1938, union members put on exhibitions to support artists during the Great Depression. His work, along with many others, like New Deal Museum artists Hugh Pearce Botts and Ernest Trubach, were shown at these exhibitions (McCausland). Along with this, Burke’s paintings were exhibited in many different galleries and schools in New York City, most notably at the New York World’s Fair in 1939. Here, he exhibited his work Evicted - Nanking, which unfortunately seems to have been lost to time. Burke also did an illustration for the Federal Writers Project’s New York City Guide (1939) showing a scene of a <a href="https://archive.org/details/wpaguidetonewyor0000unse/page/n651/mode/1up">Clam Shack</a> in Brooklyn. He was clearly very active during the New Deal era, but there is little information about his later life. It is unclear what he did afterwards or when he died, but his legacy lives on in many galleries across the United States. 18 works at <a href="https://www.metmuseum.org/art/collection/search?q=David+Burke&searchField=ArtistCulture">Metropolitan Museum of Art</a>, plus 1 as <a href="https://www.metmuseum.org/art/collection/search/374285">David Bochkowsky</a>. 3 works at <a href="https://www.nga.gov/artists/34161-david-burke">National Gallery of Art</a>. 2 works at <a href="https://emp-web-95.zetcom.ch/eMP/eMuseumPlus?service=direct/1/ResultListView/result.t1.collection_list.$TspReferenceLink.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=0&sp=3&sp=SdetailList&sp=0&sp=Sdetail&sp=0&sp=F&sp=Sartist&sp=l1618">Sheldon Museum of Art</a>. 1 work at <a href="https://collections.newarkmuseumart.org/search/david%20burke">Newark Museum of Art</a>. 3 works at <a href="https://www.philamuseum.org/collection?artist=David%20Burke">Philadelphia Museum of Art</a>. 1 image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-49">FAP</a>. 5 images at <a href="https://art.gsa.gov/people/909/david-burke/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: Art News 1 April 1939: 15+ <a href="https://archive.org/details/sim_artnews_1939-04-01_37_27/page/22/mode/1up?q=%22david+burke%22">Link</a>; Lee Stanley, “Teaching Democracy in Art,” Daily Worker 12 April 1940: 7 <a href="https://archive.org/details/per_daily-worker_daily-worker_1940-04-12_17_89/page/2/mode/1up?q=%22david+burke%22+">Link</a>; Elizabeth McCausland, “Significant Exhibits in Many Galleries,” Springfield Sunday Union and Republican 6 Feb. 1938: 6E <a href="https://www.newspapers.com/image/1063306911/?match=1&terms=%22david%20burke%22%20artist">Link</a>; Creator An entity primarily responsible for making the resource Burke, David (Bochkousky), 1917 - ? 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 1935-1942 Contributor An entity responsible for making contributions to the resource Donalty, Kenna (description and biography) Helquist, Morgan (photograph) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1151 Type The nature or genre of the resource Still image David Burke Federal Art Project Hart's Island, NY lithograph New Deal Museum Potter's Field https://openvalley.org/files/original/ae92b9bfd35e1b4712302daa42d7545e.jpeg 63c9316ed558a500aea1ed45c7141f68 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 Bird's eye view Physical Dimensions The actual physical size of the original image 37 x 71 cm 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 Clifton Springs, NY, 1892 Description An account of the resource Best known for its sulphur springs, this legacy still is seen in the large Sanitarium located near the center of panorama. Patients would have traveled there via the New York Central RR or the Lehigh Valley RR. At the time of this lithograph, the town had a population of around 1,300 residents. Creator An entity primarily responsible for making the resource Burleigh Litho Date A point or period of time associated with an event in the lifecycle of the resource 1892 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress Geography and Map Division <a href="http://hdl.loc.gov/loc.gmd/g3804c.pm005511">http://hdl.loc.gov/loc.gmd/g3804c.pm005511</a> Format The file format, physical medium, or dimensions of the resource jpeg, 758 KB bird's eye view Clifton Springs, NY https://openvalley.org/files/original/11f09494d9efd98e57b76734fb970d06.jpeg f238612f4308eed2081f594ba05604c8 https://openvalley.org/files/original/5ba7ca9651cbbfba95b83fbd19e676e5.jpg d6499fc4730eef5b34c07b3b38bbd055 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 Bird's eye view Physical Dimensions The actual physical size of the original image 39 x 77 cm 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 Geneva, NY, 1893 Publisher An entity responsible for making the resource available Burleigh Litho Date A point or period of time associated with an event in the lifecycle of the resource 1893 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress Geography and Map Division <a href="http://hdl.loc.gov/loc.gmd/g3804g.pm020160">http://hdl.loc.gov/loc.gmd/g3804g.pm020160</a> Format The file format, physical medium, or dimensions of the resource jpeg, 760 KB jpeg, 2.1 MB Type The nature or genre of the resource Bird's eye view Description An account of the resource At the time of this bird's eye view, the city of Geneva was one of the most important population centers in the Finger Lakes--as indicated by the 99 different points listed on Lucien R. Burleigh's map. The Seneca village of Kanadaseaga at the northern end of Seneca Lake was located near the junction of land and water trade routes; British colonists recognized its strategic value and built a fort here that later was destroyed during the Sullivan campaign in 1779. This map shows a diverse economy with strong emphasis upon manufacturing, an orientation that persisted well into the 20th century. Inset at lower right we see an historical view of the village as envisioned in 1836. Creator An entity primarily responsible for making the resource Burleigh Litho bird's eye view Burleigh Litho Co Geneva, NY Map https://openvalley.org/files/original/763129b735a1035d6b74aaeab275d2fe.jpg d231f6d032e67fd93ff71860e90a80f3 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 Bird's eye view Physical Dimensions The actual physical size of the original image 41 x 75 cm 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 Le Roy, NY, 1892 Creator An entity primarily responsible for making the resource Burleigh Litho Publisher An entity responsible for making the resource available Burleigh Litho Date A point or period of time associated with an event in the lifecycle of the resource 1892 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress Geography and Map Division <a href="http://hdl.loc.gov/loc.gmd/g3804l.pm005800">http://hdl.loc.gov/loc.gmd/g3804l.pm005800</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB Type The nature or genre of the resource Bird's eye view Description An account of the resource Looking roughly to the east, bird's eye view shows Oatka Creek winding through town of 5,000 as of 1890--the second largest in Genesee County after Batavia. First settled in 1793, Le Roy was created in 1812 from a portion of the Caledonia land purchase; the two communities have continued to share a number of economic and familial ties. The large number of numbered points in this relatively small town speaks to its civic spirit, an effective Burleigh sales agent, or both. Several lawyers and patent medicine manufacturers are listed as "places"; two railroads not even on the map paid the toll to be listed, as well. At this time, however, the most important player was the Le Roy Salt Works, point number fourteen located at upper left. bird's eye view Burleigh Litho Co LeRoy, NY Map https://openvalley.org/files/original/3455a5205fc5c9c59d34836ecd45d774.jpg c71b49fbae8c1e24892a9bf9f648a0e5 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 Bird's eye view Physical Dimensions The actual physical size of the original image 51 x 67 cm 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 Shortsville, NY, 1892 Creator An entity primarily responsible for making the resource Burleigh Litho Publisher An entity responsible for making the resource available Burleigh Litho, Troy NY Date A point or period of time associated with an event in the lifecycle of the resource 1892 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress Geography and Map Division <a href="http://hdl.loc.gov/loc.gmd/g3804s.pm006332">http://hdl.loc.gov/loc.gmd/g3804s.pm006332</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB Type The nature or genre of the resource Bird's eye view Description An account of the resource Named after the miller Theophilus Short, this small village of perhaps 800 seems to have been using this map in an aspirational way: by visualizing itself as a place to which more businesses and people would locate. The main appeal was its situation alongside Flint Creek--outlet for Canandaigua Lake--and the water power that delivered for manufacturing. The map shows a wheel works, drill factory, paper mill, planing mill. A branch of the New York Central & Hudson River Rail Road also passes through town. The panorama is looking roughly southwest. bird's eye view Burleigh Litho Co Canandaigua Lake Flint Creek mills Shortsville, NY https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg 4ea0ec4ca3b46f76a744db2e7172259d https://openvalley.org/files/original/fbbece1556e644df848c6ec6d2f34697.jpeg e8b9e9a2f2bf65d4d4064eb8d83156ab https://openvalley.org/files/original/e1c2ebc962edd21badb7045987ef5719.jpeg 9130b88507ac93ff0ed0cb06990f041f https://openvalley.org/files/original/c3762d01d48623b8e0b2a63f2f19f6a0.jpg a6cbfd4f0b81268550eff6904e5b44f4 https://openvalley.org/files/original/56d02acff88f5a69de36704c1a8990d8.jpg be0e3b2ee1494e146daffd8ff91aa13c 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 Paper map Physical Dimensions The actual physical size of the original image 13 x 25 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 Bird's-Eye View of Caledonia, NY, 1892 Description An account of the resource Aerial panorama of Caledonia, NY was 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. Burleigh's 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 make 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 48 points including 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. This item includes a small and large image file of Burleigh's map, and an enlargement of Seth Green's fish hatchery north of Caledonia. Creator An entity primarily responsible for making the resource Burleigh Litho. Date A point or period of time associated with an event in the lifecycle of the resource 1892 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 22.2 MB jpeg, 471 KB Burleigh Litho Co Caledonia, NY Lucien R. Burleigh Map Seth Green https://openvalley.org/files/original/42ab51945ea6b9e82354ee7bb8ac32f9.jpg 15813f6f1768d8ccbc3220b255d97a85 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 Map, lithographic Physical Dimensions The actual physical size of the original image 13.88 x 29.53 in. (35 x 75 cm.), on sheet 22 .44 x 34.25 in. (57 x 87 cm.) 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 Bird's-eye view of Mt. Morris, N.Y. Description An account of the resource Drawing of an aerial view of the village of Mt. Morris, N.Y., looking generally westward. The streets in the lithograph are labeled, and points of interest (buildings, businesses, etc.) are indexed. Creator An entity primarily responsible for making the resource Burleigh Litho. Co. Publisher An entity responsible for making the resource available Troy, N.Y.: Burleigh Litho. Co. Date A point or period of time associated with an event in the lifecycle of the resource 1893 Contributor An entity responsible for making contributions to the resource Argentieri, Liz Source A related resource from which the described resource is derived Library of Congress, Geography and Map Division, Washington, D.C. (American Memory Historical Collections, https://www.loc.gov/item/85693020/) Format The file format, physical medium, or dimensions of the resource jpeg, 759 KB Type The nature or genre of the resource Still image Aerial image maps Mount Morris, NY https://openvalley.org/files/original/a70ffbc86a3d93aad7f6331dde54599b.JPG 0f67b206c00cba435e9a7f177dc8793d 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 painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: surface dirt, slightly pitted 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 Easter Bouquet Description An account of the resource In this still life we see upon a sideboard a pot planted with large lillies, as well as smaller flowers growing around them. There is a book open, which looks to be a highly stylised Bible, propped up in its own rectangular vessel. Given the painting's title which one is the Easter Bouquet--the one including lillies (a traditional symbol of resurrection) or the Bible itself? Both are illuminated against a dark background that seems to encompass more than just shadows. About the Artist: About the Artist: Among the most accomplished and internationally known of the New Deal Gallery artists, Burliuk called himself “The Father of Russian Futurism” with good reason. He was an important figure in early 20th-century avant-garde circles, collaborating or exhibiting alongside painters like Kandinsky,  Picasso, and Rousseau;<a href="http://nationaltranslationmonth.tumblr.com/post/76356120439/david-burlyuk-translated-from-the-russian-by-alex" target="_blank" rel="noopener"> writing poetry</a> with Mayakovski, Yessenin, and Gorky; and counting as friends composers like Rachmaninoff, Scriabine, Gershwin, and Prokofiev. He painted a portrait of groundbreaking filmmaker Sergei Eisenstein. The multitalented artist—whose name sometimes is spelled Burlyuk—was born in Kharkov, Russia, attended various art schools in Europe, and became an energetic creator of multimedia happenings that anticipate performance art: drinking tea under a suspended piano; staging an exhibition of paintings in a coal mine. His constantly changing style has been characterized as Fauvist, Cubist, Futurist, Social Realist, and Neo-Primitivist. Burliuk lived through the Russian revolutions before relocating to Japan (1920-22) and then eventually to America (1922), claiming to have crossed into Alaska using as his passport a Vanity Fair article about him. He became a US citizen in 1930 and lived the rest of his life on Long Island. Between 1923-1940 he worked as art editor and proofreader for a communist newspaper published in New York called Russkiĭ golos (Russian Voice). Throughout his life Burliuk was a prolific painter (creating an estimated 18,000 pictures), self-published with his wife Marussia the art magazine Color and Rhyme (1931-1966), and wrote several important manifestoes—including<a href="http://391.org/manifestos/1912-slap-in-the-face-of-public-taste-burliuk-kruchenykh-mayakovsky-khlebnikov.html#.XCjJr6lRcWo" target="_blank" rel="noopener"> “Slap in the Face of Public Taste”</a> (1912). Of particular interest for his two works at the NDG and others from the 1930s is a 1926 manifesto entitled<a href="http://www.ubu.com/papers/burliuk_modernists.html" target="_blank" rel="noopener"> “Universal Camp of Radio Modernists”</a> and its vision of an animistic force in the world that infuses his paintings regardless of style: “Everything—from the tiny bug to a tea-spoon—has its specific soul. The whiskey bottle that was on the table is there still forever, but abstract. Consciousness is the possession not only of man, the insignificant particle of creation, but of Mother Nature as well.” 6 works at the<a href="http://collection.whitney.org/artist/201/DavidBurliuk" target="_blank" rel="noopener"> Whitney Museum of American Art</a>. 18 works at the<a href="https://www.moma.org/artists/877?locale=en" target="_blank" rel="noopener"> Museum of Modern Art</a>. 16 works at the<a href="http://ukrainianmuseum.org/burliuk/?q=node/4" target="_blank" rel="noopener"> Ukranian Museum</a>. 399 works at<a href="https://www.wikiart.org/en/david-burliuk" target="_blank" rel="noopener"> WikiArt</a>. 1 more image at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-53" target="_blank" rel="noopener"> FAP</a>. His papers are at<a href="https://library.syr.edu/digital/guides/b/burliuk_d.htm" target="_blank" rel="noopener"> Syracuse University</a>. Creator An entity primarily responsible for making the resource Burliuk, David, 1882-1967 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Domon, Victoria (biography) Cooper, Ken (biography) 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 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18125 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 035 Format The file format, physical medium, or dimensions of the resource jpeg, 914 KB 1930s David Burliuk Federal Art Project New Deal New Deal Gallery still life https://openvalley.org/files/original/edbb9322a30ded8be035fa5fb87c9129.jpg db4532434ede3a7bb5a3288fc13290c0 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 Watercolor painting Physical Dimensions The actual physical size of the original image 14.5 x 10.5 in. Condition: slightly buckled paper 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 Steamboat Description An account of the resource We see a steamboat on a river, its importance shown via a stack located at the center of Burliuk's composition and by how much space the boat itself occupies--seemingly the width of the river. The watercolor is drawn in a neo-primitive style, especially with the squat figures in foreground. Earth and sky are painted using the same hues; the steamboat incorporates some of them into itself. About the Artist: Among the most accomplished and internationally known of the New Deal Gallery artists, Burliuk called himself “The Father of Russian Futurism” with good reason. He was an important figure in early 20th-century avant-garde circles, collaborating or exhibiting alongside painters like Kandinsky,  Picasso, and Rousseau;<a href="http://nationaltranslationmonth.tumblr.com/post/76356120439/david-burlyuk-translated-from-the-russian-by-alex" target="_blank" rel="noopener"> writing poetry</a> with Mayakovski, Yessenin, and Gorky; and counting as friends composers like Rachmaninoff, Scriabine, Gershwin, and Prokofiev. He painted a portrait of groundbreaking filmmaker Sergei Eisenstein. The multitalented artist—whose name sometimes is spelled Burlyuk—was born in Kharkov, Russia, attended various art schools in Europe, and became an energetic creator of multimedia happenings that anticipate performance art: drinking tea under a suspended piano; staging an exhibition of paintings in a coal mine. His constantly changing style has been characterized as Fauvist, Cubist, Futurist, Social Realist, and Neo-Primitivist. Burliuk lived through the Russian revolutions before relocating to Japan (1920-22) and then eventually to America (1922), claiming to have crossed into Alaska using as his passport a Vanity Fair article about him. He became a US citizen in 1930 and lived the rest of his life on Long Island. Between 1923-1940 he worked as art editor and proofreader for a communist newspaper published in New York called Russkiĭ golos (Russian Voice). Throughout his life Burliuk was a prolific painter (creating an estimated 18,000 pictures), self-published with his wife Marussia the art magazine Color and Rhyme (1931-1966), and wrote several important manifestoes—including<a href="http://391.org/manifestos/1912-slap-in-the-face-of-public-taste-burliuk-kruchenykh-mayakovsky-khlebnikov.html#.XCjJr6lRcWo" target="_blank" rel="noopener"> “Slap in the Face of Public Taste”</a> (1912). Of particular interest for his two works at the NDG and others from the 1930s is a 1926 manifesto entitled<a href="http://www.ubu.com/papers/burliuk_modernists.html" target="_blank" rel="noopener"> “Universal Camp of Radio Modernists”</a> and its vision of an animistic force in the world that infuses his paintings regardless of style: “Everything—from the tiny bug to a tea-spoon—has its specific soul. The whiskey bottle that was on the table is there still forever, but abstract. Consciousness is the possession not only of man, the insignificant particle of creation, but of Mother Nature as well.” 6 works at the<a href="http://collection.whitney.org/artist/201/DavidBurliuk" target="_blank" rel="noopener"> Whitney Museum of American Art</a>. 18 works at the<a href="https://www.moma.org/artists/877?locale=en" target="_blank" rel="noopener"> Museum of Modern Art</a>. 16 works at the<a href="http://ukrainianmuseum.org/burliuk/?q=node/4" target="_blank" rel="noopener"> Ukranian Museum</a>. 399 works at<a href="https://www.wikiart.org/en/david-burliuk" target="_blank" rel="noopener"> WikiArt</a>. 1 more image at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-53" target="_blank" rel="noopener"> FAP</a>. His papers are at<a href="https://library.syr.edu/digital/guides/b/burliuk_d.htm" target="_blank" rel="noopener"> Syracuse University</a>. Creator An entity primarily responsible for making the resource Burliuk, David, 1882-1967 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Domon, Victoria (biography) Cooper, Ken (biography) Format The file format, physical medium, or dimensions of the resource jpeg, 938 KB 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 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18126 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 036 1930s David Burliuk Federal Art Project New Deal New Deal Gallery Watercolor