16 10 1402 https://openvalley.org/files/original/219413a710bb346d6f8418f899b52074.jpg c72df985d81a2a6ac71c8026e4263bb0 https://openvalley.org/files/original/ac41e90455b3527f833b2fdda31b75bc.JPG e01d6db130846a4b21e0fdf0f1def43e 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 24 x 30 in. Condition: surface dirt 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 Autumn Bouquet Description An account of the resource We see a wooden table, whose surface appears to consist of different textures, one half smooth and the other ridged. It becomes the space for an arrangement of autumn flowers and leaves in a white ceramic bouquet vessel, flowers painted on the vase itself. It rests on the table unnaturally, appearing two-dimensional. Bright white, orange and yellows are contrasted with dark browns, red and coppers colors to complete this bouquet. As the fall flowers begin to droop, winter seems to be in the near future. Caloenesco's background space creates a frame for the bouquet with an off-white background surrounded by a beige border; almost replicating the shape of the vase itself. About the Artist: Born in Romania, Caloenesco— her name sometimes misspelled as “Aurica Calonesco”—studied at the Beaux-Arts School, Bucharest, and exhibited even during the German occupation. She traveled to Paris in 1918 on an art scholarhip and received guidance from Picasso, Utrillo, and Modigliani. In 1926 she married Robert C. Hallowell, who along with Walter Lippman and Herbert Croly founded the New Republic magazine (he had become an artist himself in 1925, devoting his energies to watercolors and portraits, including Theodore Roosevelt and the revolutionary John Reed). Caloenesco exhibited in Paris at the Salon des Artistes Independants and Salon de la Societe des Artistes Francais, 1922-1928, in New York City in solo shows and with her husband at the Montross Gallery (1929) and the Delphic Studios (1936). Responding to her 1931 show at Hartford’s Colonial Galleries a reviewer wrote: “Along with color and composition, she is preoccupied with line wherein can be found much of the beauty of her work. Her lines are always sweeping, flowing, and very live. Most of her pictures are flat, with no attention to the tricks of achieving three dimensional effects by the use of light and in accordance with the school which claims that two dimensional canvas should be used to represent two dimensional things” (Hartford Courant 23 Mar. 1931: 2). During 1935-36 Robert Hollowell served as assistant to the director of the Federal Art Project; he died in 1939 while working on a mural. 4 images at University of St. Joseph <a href="http://artcollection.usj.edu/THA83?sid=36027&x=1572985" target="_blank" rel="noopener">Art Museum</a>. 1 work at <a href="https://libraryguides.lib.iup.edu/c.php?g=419334&p=2905115" target="_blank" rel="noopener">Indiana University of Pennsylvania</a>. Creator An entity primarily responsible for making the resource Caloenesco, Aurelia, 1895-1968 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 (photographer) Caldwell, Julia (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 #FA18127 Format The file format, physical medium, or dimensions of the resource jpeg, 905 KB jpeg, 12.5 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 037 Aurelia Caloenesco Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/4e5249df6d5456288b5fcc9ac836e1bc.jpg b769e7919148d27af83e61f2c930ee51 https://openvalley.org/files/original/d5278ca6d64d1518ec05122f2dfe2a79.pdf 17a6d29d807844c51d5b128ea076bccc 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 Printed program 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 Migrant Mexican Traditions Format The file format, physical medium, or dimensions of the resource pdf, 11.2 MB Creator An entity primarily responsible for making the resource Camacho, Juana Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 1990 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Description An account of the resource This program accompanied a 1990 gallery exhibit centered on Mexican folk art traditions, as seen through seven individuals or families. Its curator explained that it was "divided into four major themes which illustrate central aspects of the workers' daily lives in Mexico, such as work, religion, decoration and recreation. The media represented were quite broad and, for many Western New York visitors, unfamiliar. Besides leather working, wood working, and piñatas, there also were home altars, rag dolls, and varying forms of papercraft: crowns, flowers, and banners. Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Folk Art Geneseo Migrant Center Mexico migrant art https://openvalley.org/files/original/42212836f249522b0e9f74f5b055880a.jpg 5c5a3d7b0d72d18dd1000f10ff707a94 https://openvalley.org/files/original/284857da530104f5762e92b31bd61e1a.jpg 68f59cb6defcb30804a99411dbafa256 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: 12 7/8 x 9 7/8 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 New Hampshire Auction Description An account of the resource Reed's print presents a crowded rural auction taking place in front of a large farmhouse barn. A crowd gathers closely together with movement towards the barn’s open doorway, where an auctioneer can be seen standing on a pedestal above the crowd. The people in the scene are holding various objects such as bedframes, chairs, wheelbarrows, ladders, and other household items. Given its date, we might infer that bankruptcy is forcing the sale. The print is characterized by the artist's signature layered crosshatching and use of shading, to create contrast that draws the viewer's eye in. Campbell uses negative space to create depth in a busy area, intentionally allowing the subjects to blend into the white paper as they move into the background of the piece. Campbell uses sharp lines to cut through the blended background elements such as the ground, sky, and parts of the crowd. It’s notable that structures and objects of interest are structured in front of curved, blended elements of the work that are meant to show movement such as the busy crowd or the clouded sky.  While there's a strange energy to people carrying off purchases, a young girl points at a bedframe that might have belonged to her. About the Artist Blendon Reed Campbell was an American illustrator and painter whose life path, and even visual style, fundamentally transformed alongside events of the early 20th century. Born in St. Louse in 1872, he moved to San Francisco two decades later and began his career as a staff artist for the Chronicle. In 1897, Campbell relocated to Paris, studying at the Académie Julien and exhibiting at the American Art Association show in Paris. Upon his return to the US in 1900, he joined a short-lived studio under James Abbott McNeill Whistler. In 1902, Campbell joined a group that founded the California Society of Artists with the intention of providing opportunities for young artists outside of the already-established San Francisco Art Association; still, he moved East to sustain his career. In New York, Campbell was a prolific commercial artist, creating covers and illustrations in the Art Nouveau style for periodicals like <a href="https://archive.org/details/rare-posters-rare-posters-15-nobember-2020/page/n42/mode/1up" target="_blank" rel="noopener">Scribner’s</a>, <a href="https://archive.org/details/Cosmopolitan190502" target="_blank" rel="noopener">Cosmopolita</a>n, <a href="https://archive.org/details/McCluresMagazineV30n05190803/mode/1up" target="_blank" rel="noopener">McClure’s</a>,  <a href="https://archive.org/details/stnicholasv34part1dodgrich/page/194/mode/1up" target="_blank" rel="noopener">St. Nicholas</a>, and many others. In addition to magazine work, he provided illustrations for several books including Neith Boyce’s <a href="https://archive.org/details/eternalspringnov00boyciala/eternalspringnov00boyciala/" target="_blank" rel="noopener">The Eternal Spring</a> (1906), Booth Tarkington's <a href="https://archive.org/details/beautifullady0000unse/page/22/mode/2up" target="_blank" rel="noopener">The Beautiful Lady</a> (1905), and William J. Locke’s <a href="https://archive.org/details/christmasmystery00lock/page/n15/mode/2up" target="_blank" rel="noopener">A Christmas Mystery</a> (1910). Some of Campbell’s most frequently reproduced works focused upon Abraham Lincoln: in <a href="https://archive.org/details/lincolncentenary01abba/page/n79/mode/2up" target="_blank" rel="noopener">The Century Magazine</a> (1908), Ida M. Tarbell’s biography <a href="https://archive.org/details/fatherabraham00tarb/page/n7/mode/2up" target="_blank" rel="noopener">Father Abraham</a> (1909), and Osborn H. Oldroyd’s <a href="https://archive.org/details/bwb_T5-CRO-626/page/248/mode/2up" target="_blank" rel="noopener">The Poet’s Lincoln</a> (1915). Meanwhile, Campbell also was in demand as a portrait painter. While in New York, Campbell became a charter member of the Whitney Studio Club. In line with his work in California, that association was an important venue for artists of the time who intended to push academic norms. During the Great Depression, Campbell was amongst many artists who participated in the Federal Arts Project. His work from this period often depicted rural life and labor. In later years Campbell lived in Connecticut and Florida with his daughter, also an artist, before passing in 1969. 10 Works at <a href="https://www.philamuseum.org/collection?artist=Blendon%20Reed%20Campbell" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 10 works at <a href="https://whitney.org/artists/222" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 5 works at <a href="https://collections.newarkmuseumart.org/search/Blendon" target="_blank" rel="noopener">Newark Museum of Art</a>. 1 work at <a href="https://artuk.org/discover/artworks/day-a-group-of-female-figures-dancing-on-a-seashore-39896/search/2026--keyword:blendon--referrer:global-search" target="_blank" rel="noopener">Victoria Art Gallery</a>. 6 images at <a href="https://art.gsa.gov/people/1314/harold-faye/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “With the Artists,” San Francisco Chronicle 5 Mar. 1899: 22; “Art Triumphs,” Oakland Enquirer 23 Jan. 1900:1; Marjorie Zak, “A Visit With Blendon Campbell,” Bradenton Herald 27 July 1969: 1-B+; Blendon Reed Campbell, “Surrealism: New School of American Art,” The Literary Digest 15 Dec. 1934: 19 <a href="https://archive.org/details/literary-digest_1934-12-15_118_24/page/19/mode/1up" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Campbell, Blendon Reed (1872 - 1969) Publisher An entity responsible for making the resource available Federal Art Project Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 734 KB Date A point or period of time associated with an event in the lifecycle of the resource 1938 Contributor An entity responsible for making contributions to the resource Killelea, Keira (description and biography) Cooper, Ken (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1153 Type The nature or genre of the resource Still image Bankruptcy Blendon Reed Campbell Farm Federal Art Project Great Depression lithograph New Deal Museum https://openvalley.org/files/original/937e7d037ba8cb303c026baddd71649a.jpg 7cdcf7d03572198356d03aae7c3cf694 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. 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 Auction in New England Creator An entity primarily responsible for making the resource Campbell, Blendon Reed (1872 - 1969) 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 1937-05-13 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description and biography) Killela, Keira (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived Archives of American Art Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Description An account of the resource Compare this slightly earlier lithograph to Campbell's <a href="https://openvalley.org/items/show/2136" target="_blank" rel="noopener">New Hampshire Auction</a> (1938) to appreciate the artist's stylistic fluidity through the years. The situation is virtually identical: we're spectators on the outer fringes, perhaps witnessing the sale of farm and its contents. There's even a sleigh in the foreground, although here it's not a spectator watching the auction but (perhaps) a traumatized owner who can't bear to watch. A much harsher, high-contrast lighting gives the scene a documentary and even brutal quality that is matched by the physical actions. A glowering man carries a barrel from out of the cellar; the full bodies of bidders is shown pressing forward, instead of the later print's more abstracted forms. All of this suggests that Campbell may have considered his earlier print more documentary, and borrowed a social surrealist aesthetic for the revision. As he wrote in a 1934 article, "The problem-picture—the one that has to be explained—seems to have a vogue nowadays. Here is a field for the propagandist, where he has a new idea to get across. Some artists paint so one grasps the entire picture at one all-encompassing glance; others so something new can be read into the painting at each new look." About the Artist Blendon Reed Campbell was an American illustrator and painter whose life path, and even visual style, fundamentally transformed alongside events of the early 20th century. Born in St. Louse in 1872, he moved to San Francisco two decades later and began his career as a staff artist for the Chronicle. In 1897, Campbell relocated to Paris, studying at the Académie Julien and exhibiting at the American Art Association show in Paris. Upon his return to the US in 1900, he joined a short-lived studio under James Abbott McNeill Whistler. In 1902, Campbell joined a group that founded the California Society of Artists with the intention of providing opportunities for young artists outside of the already-established San Francisco Art Association; still, he moved East to sustain his career. In New York, Campbell was a prolific commercial artist, creating covers and illustrations in the Art Nouveau style for periodicals like <a href="https://archive.org/details/rare-posters-rare-posters-15-nobember-2020/page/n42/mode/1up" target="_blank" rel="noopener">Scribner’s</a>, <a href="https://archive.org/details/Cosmopolitan190502" target="_blank" rel="noopener">Cosmopolita</a>n, <a href="https://archive.org/details/McCluresMagazineV30n05190803/mode/1up" target="_blank" rel="noopener">McClure’s</a>,  <a href="https://archive.org/details/stnicholasv34part1dodgrich/page/194/mode/1up" target="_blank" rel="noopener">St. Nicholas</a>, and many others. In addition to magazine work, he provided illustrations for several books including Neith Boyce’s <a href="https://archive.org/details/eternalspringnov00boyciala/eternalspringnov00boyciala/" target="_blank" rel="noopener">The Eternal Spring</a> (1906), Booth Tarkington's <a href="https://archive.org/details/beautifullady0000unse/page/22/mode/2up" target="_blank" rel="noopener">The Beautiful Lady</a> (1905), and William J. Locke’s <a href="https://archive.org/details/christmasmystery00lock/page/n15/mode/2up" target="_blank" rel="noopener">A Christmas Mystery</a> (1910). Some of Campbell’s most frequently reproduced works focused upon Abraham Lincoln: in <a href="https://archive.org/details/lincolncentenary01abba/page/n79/mode/2up" target="_blank" rel="noopener">The Century Magazine</a> (1908), Ida M. Tarbell’s biography <a href="https://archive.org/details/fatherabraham00tarb/page/n7/mode/2up" target="_blank" rel="noopener">Father Abraham</a> (1909), and Osborn H. Oldroyd’s <a href="https://archive.org/details/bwb_T5-CRO-626/page/248/mode/2up" target="_blank" rel="noopener">The Poet’s Lincoln</a> (1915). Meanwhile, Campbell also was in demand as a portrait painter. While in New York, Campbell became a charter member of the Whitney Studio Club. In line with his work in California, that association was an important venue for artists of the time who intended to push academic norms. During the Great Depression, Campbell was amongst many artists who participated in the Federal Arts Project. His work from this period often depicted rural life and labor. In later years Campbell lived in Connecticut and Florida with his daughter, also an artist, before passing in 1969. 10 Works at <a href="https://www.philamuseum.org/collection?artist=Blendon%20Reed%20Campbell" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 10 works at <a href="https://whitney.org/artists/222" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 5 works at <a href="https://collections.newarkmuseumart.org/search/Blendon" target="_blank" rel="noopener">Newark Museum of Art</a>. 1 work at <a href="https://artuk.org/discover/artworks/day-a-group-of-female-figures-dancing-on-a-seashore-39896/search/2026--keyword:blendon--referrer:global-search" target="_blank" rel="noopener">Victoria Art Gallery</a>. 6 images at <a href="https://art.gsa.gov/people/1314/harold-faye/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “With the Artists,” San Francisco Chronicle 5 Mar. 1899: 22; “Art Triumphs,” Oakland Enquirer 23 Jan. 1900:1; Marjorie Zak, “A Visit With Blendon Campbell,” Bradenton Herald 27 July 1969: 1-B+; Blendon Reed Campbell, “Surrealism: New School of American Art,” The Literary Digest 15 Dec. 1934: 19 <a href="https://archive.org/details/literary-digest_1934-12-15_118_24/page/19/mode/1up" target="_blank" rel="noopener">Link</a> https://openvalley.org/files/original/2de85be6b508164a6fbb02b579f24a1c.jpg c19986691e3e2cf9cc90568f625374e4 https://openvalley.org/files/original/37e800c60cf42f4d2867be970e367906.JPG 653ce86ace3ab6739cc85a07c050b3f3 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 23 x 19 in. Condition: surface dirt, torn, chipped and peeling paint 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 Boats Description An account of the resource Multiple small craft boats of different shapes, sizes and colors are moored alongside a wooden dock. The water is calm enough to see a green look-out tower, the blue sky, and white clouds in its reflection. The water level, however, appears to be low. Buildings, trees, and a small town occupy the background of this piece, including a large brick church at the top of the hill. Predominantly earth-toned, including various shades of greens, browns, and reds. Two American flags and two crosses prominently stand out, suggesting patriotism and religion. About the Artist: Born in Budapest, Hungary, Candell described <a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-victor-candell-12351#transcript" target="_blank" rel="noopener">in an interview</a> how, as a boy, he was attracted to movie posters; by age 15 he already was a professional graphic artist, branching out to illustrations and caricatures in theater journals. Candell immigrated to America in the aftermath of World War I and the rise of fascism—although he returned to Paris during 1928-30 so as to educate himself via paintings (he called Cezanne and Degas “my teachers”). At that point Candell thought of himself as a cubist, the transiton from illustrator to painter influenced by Cezanne’s “direct contact with nature, still-life, figure, and all the rest of it, not on the academic level but on the level of just being confronted not so much with the idea or concepts of space or style but concrete reality and learn from it. This was my understanding that the great men had this as a kind of ante chamber to their main work” (“Oral History”). Candell immersed himself in self-guided study for 15 years, finally offering his first show at age 43. He was involved with the Whitney Studio project during the early 1930s and joined the Federal Art Project near its inception. In 1939, he contributed the political cartoon <a href="http://ufdc.ufl.edu/WOLF004747/00001/6j" target="_blank" rel="noopener">“That’s My Meat!”</a> to a pamphlet entitled 12 Cartoons Defending the WPA by Members of the American Artists Congress. His work was shown at the Whitney Museum of American Art, the Metropolitan Museum of Art, the Art Institute of Chicago, the Corcoran Gallery in Washington, D.C., and the Carnegie Institute. A respected teacher, Candell began this phase of his life teaching art to traumatized veterans at the Brooklyn Navy Hospital; in 1958, he and Leo Manso started the Provincetown Workshop—an art school modeled after the Cooper Union. Candell received numerous awards for his art work, including prizes from the Museum of Modern Art and the Unites States Treasury Department, the Emily Lowe Award, the Lamont Prize, and the Audubon and Silvermine Awards. 1 work at the <a href="http://collection.whitney.org/object/1551" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 1 work at the <a href="https://www.metmuseum.org/art/collection/search/488885?searchField=All&amp;sortBy=relevance&amp;ft=candell&amp;offset=0&amp;rpp=20&amp;pos=1" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 1 work at <a href="https://www.paam.org/collection/candell-1431-pa97/" target="_blank" rel="noopener">Provincetown Art Association and Museum</a>. 60 images at <a href="http://www.nutshellarts.com/victor_candell.htm" target="_blank" rel="noopener">Nutshell Arts Center</a>. His papers are at <a href="https://library.syr.edu/digital/guides/c/candell_v.htm" target="_blank" rel="noopener">Syracuse Univesity</a>. Creator An entity primarily responsible for making the resource Candell, Victor, 1903-1977 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 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) Caldwell, Julia (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Art Object #FA18128 Format The file format, physical medium, or dimensions of the resource jpeg, 838 KB jpeg, 9.7 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 038 Federal Art Project New Deal Gallery painting Victor Candell https://openvalley.org/files/original/1dac9766a8eae584fddaea64e75d33e3.jpg 6602e64ecb5f3f6912d555f0273a12e2 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 Pastel on paper Physical Dimensions The actual physical size of the original image 11 x 14 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 Patterned Kay Description An account of the resource Pastel drawing takes its name from a traditional Haitian house that is long and narrow, with its narrow end facing the road and lots of cross-ventilation through windows and doors. According to landscape architect <a href="http://www.domerama.com/types-of-domes/earth-buildings/kay-haitian-housing/" target="_blank" rel="noopener">Patti Stouter</a>, its design is similar to--and may have influenced--the American "shotgun shack." Kays often were colorfully decorated on their street-facing end, and this appears to have inspired the design of Catave Sean's drawing--although it has been abstracted to a shape and patterned colors. The painter, having migrated from Haiti, was at the time living at the Hoehandle labor camp in Castile, NY. The drawing appeared in a 1985 exhibit sponsored by the Geneseo Migrant Center called <a href="https://openvalley.org/items/show/1975" target="_blank" rel="noopener">African Past: Migrant Present</a>. Creator An entity primarily responsible for making the resource Cantave Sean Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 1985 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB Type The nature or genre of the resource Still image African Past, Migrant Present Creative Artists Migrant Program Services Geneseo Migrant Center migrant art https://openvalley.org/files/original/f832e27a0a438ff2470d19bc17a963c5.jpg 372145d5b75a277a917e337dd60a66e5 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 Pastel on paper Physical Dimensions The actual physical size of the original image 11 x 14 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 Ghost Creator An entity primarily responsible for making the resource Cantave Sean Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 1985 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB Description An account of the resource For the 1985 Genesee Migrant Center exhibit African Past: Migrant Present, this drawing was titled "Ghost"; for the 1991 exhibit Passages, it was title "Voudo Man." Cantave Sean's stylized figure recalls the vèvè of Voudon, symbols that were to act as beacons for spirits. The pose drawn by Cantave Sean, with its crucifix shape and stylized penis may allude to Baron Samedi, the lwa of the dead. Type The nature or genre of the resource Still image African Past, Migrant Present Creative Artists Migrant Program Services Geneseo Migrant Center migrant art https://openvalley.org/files/original/d91f1d43fc5f7041fb621c96ba0605f7.jpeg 4f45f2df9eae41f8420ef9f52bfa1711 https://openvalley.org/files/original/5eaefb11fb18fb85664a539b4fcbabb6.jpg 64de778e80d7792fe96449033a90322f 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 Photocopied draft of poem Physical Dimensions The actual physical size of the original image 8. 5 x 11 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 "My Grandmom" Description An account of the resource This poem showcases how much time migrant farmworkers spend apart from their families. Its circumstances were explained in an issue Real Talk, published by the Geneseo Migrant Center: "In honor of Mother's Day, Sunday May 14th, we would like to share a poem with you. The author, Herbert Canty, is a migrant farmworker who worked at Moore Camp in Wayland, New York last season. While he was in New York, his grandmother died. My Grandmom was written in her memory" (April 1989: 1). This poem captures the complexities of emotions that come with working separately from your family and facing the adversities of distance. Note: the document orginally appeared by itself on an 8.5 x 11 sheet of paper; this image has been cropped for better readability Creator An entity primarily responsible for making the resource Canty, Herbert Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 1988-10-12 Contributor An entity responsible for making contributions to the resource Dignan, Cecilia Format The file format, physical medium, or dimensions of the resource jpeg, 110 KB Type The nature or genre of the resource Still image Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts CAMPS Art Geneseo Migrant Center migrant families Migrant Farmworkers Poetry https://openvalley.org/files/original/4bdb458b210b07a19dc9e7af701d782c.jpeg 30adbb16131f6ae769bed427217f9f25 https://openvalley.org/files/original/4bb352d4027de22b0a51f4b8fab9aea0.jpg 665641bf9aab388f0ffd3538e40afa27 https://openvalley.org/files/original/4379f4651808048696f70c073914a8dc.jpg d00623585ce2e9dbec60a506e0ead8ba 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 Movie still 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 Pottersville and Bedford Falls Description An account of the resource Stills and composite image from Frank Capra's film "It's a Wonderful Life" juxtapose Dickensian, nightmare version of Western New York town and its All-American counterpart Bedford Falls Creator An entity primarily responsible for making the resource Capra, Frank (1897-1991) Date A point or period of time associated with an event in the lifecycle of the resource 1946 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Screenshot "It's a Wonderful Life" Frank Capra Underground Atlas https://openvalley.org/files/original/40c9ffd8ed8f0660376b576895d32fd9.png 643e84896ccb4dfe6c09adcce31253ae 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 Tree on city balcony Description An account of the resource A tree amongst the balconies of a city Creator An entity primarily responsible for making the resource Carolina G. Paris Publisher An entity responsible for making the resource available National Geographic Date A point or period of time associated with an event in the lifecycle of the resource 2019-03-15