17 10 1402 https://openvalley.org/files/original/f3a9afa85df52e300632b27749fd047e.jpg 59808ee4a8b5905a779bad6fb91fb803 https://openvalley.org/files/original/4d14d72fca6d676c432d2ed44cf4c682.JPG b5a873cc0576263610d84b7f2f521fa6 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. Physical Dimensions The actual physical size of the original image 20 X 20 in. Condition: Dented, stained, cracked paint. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting 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 Tulips and Pewter Pitcher Description An account of the resource In what appears to be a staged painting, we see a red cloth behind various objects, and a white cloth upon which they rest. Towards the left side there are books stacked up against each other and next to them, in the center, a small blue bowl of water with symmetrical designs. Although the blue bowl is in the center, the real eye-catcher here is the yellow tulips in the pewter pitcher. Many stand strong while others are carelessly reflected on the pewter's shiny surface. Although the small blue bowl also is reflected in the pewter's surface, there is a clear distortion between the distance of the bowl and the size of the bowl in its reflection. The pewter serves as a distorted mirror of the actual painting. About the Artist: We haven’t located much reliable information about this artist. Possibly born in Utica, NY, Carpenter studied at the Art Students League. Her paintings “The Green Vase” and “Nude” were exhibited at the Society of Independent Artists, 1930. Creator An entity primarily responsible for making the resource Carpenter, Margaret, 1897-1980 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Fernandez, Yadelin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Art Gallery, Genesee Valley Council on the Arts Object #FA18129 Format The file format, physical medium, or dimensions of the resource jpeg, 807 KB jpeg, 9.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 039 Federal Art Project flowers Margaret Carpenter New Deal Gallery Open Valley https://openvalley.org/files/original/2ceb131d8f95d80d81e40b78c8b22305.jpg d86991b662db729f4a6b457a77789133 https://openvalley.org/files/original/62fd9fade8cfc6e49c3b9d336aeb5b83.JPG 395d8000be95465050e2e637e5efaef4 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. Physical Dimensions The actual physical size of the original image 23.5 x 29.5 in Condition: surface dirt and peeled paint Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting 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/. Description An account of the resource In this still life, there are various objects placed on a brown table. Towards the left end of the table, we see a small container of ink standing next to a dip pen and a journal on the opposite end of the table. Towards the center, there is a cream-colored piece of cloth underlying an empty teacup and circular vase containing white calla lilies. Although pale as the wall beside it, the calla lilies are contrasted by the dark red curtains behind them. The cream walls are adorned by a framed portrait of a young lady smiling and a separate painting that has two nude figures. About the Artist: We haven’t located much reliable information about this artist. Possibly born in Utica, NY, Carpenter studied at the Art Students League. Her paintings “The Green Vase” and “Nude” were exhibited at the Society of Independent Artists, 1930. Creator An entity primarily responsible for making the resource Carpenter, Margaret, 1897-1980 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-10-27 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Fernandez, Yadelin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Art Gallery, Genesee Valley Council on the Arts Object FA#18130 Title A name given to the resource Still Life on a Table Format The file format, physical medium, or dimensions of the resource jpeg, 909 KB jpeg, 14 MB Federal Art Project Margaret Carpenter New Deal Gallery painting still life https://openvalley.org/files/original/b0e2b265ae6948b35d62cabef98c9447.jpg a105b30bcdeeb7feecd58998974ce93f 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 2048 x 1360 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 Beaver Description An account of the resource Beaver dragging a log to build its dam Creator An entity primarily responsible for making the resource Cathy Hart Publisher An entity responsible for making the resource available Design Pics Inc / Alamy Stock Photo Date A point or period of time associated with an event in the lifecycle of the resource 21 August 2009 Contributor An entity responsible for making contributions to the resource McCrohan, Niamh Source A related resource from which the described resource is derived Alamy stock photographs Format The file format, physical medium, or dimensions of the resource jpeg, 49.4 MB https://openvalley.org/files/original/881a65767fd7430e1f4f6d7a81b2a546.docx 38c24220022e36233a01ee9540b8c6e8 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. Text Any textual data included in the document ETHEL: I was born in 1917, so that makes me—well I’m going to be 94. I never did have a real good memory. I always used to tell people that they’ll never know when I have Alzheimer’s disease. ALYSSA: That’s smart. You’re just planning ahead. ETHEL: Well, yeah. But anyway, I’ve been very fortunate. I’ve enjoyed life. I was born at a good time. There was. I’ve gone through several wars as you well know and um, also breadlines, we had all that and seemed to come out of it very well. My family was middle class, we were not poor, we were not wealthy, and worked for everything we got. My dad was a very ambitious man. I have two brothers. I’ve got to count them all. I have twin sisters and two others. [. . .] ALYSSA: How long were you a beautician? ETHEL: Oh golly, I’ve forgotten when I graduated from high school. I think I had the beauty shop probably four years before we got married and we got married in ’41. I had the shop in my home for about four years and in the meantime, my husband had gotten a job. He went to Buffalo State and he was an industrial arts teacher and mechanical drawing so he had a job here in Geneseo. So that was in ’40. I think I’ve got those years right. Today it seems like they’re so busy, most of them that they just don’t have time for the kids. ALYSSA: Did he teach at the college? ETHEL: The high school. ANNA: Where did you meet your husband? ETHEL: Would you believe we started first grade together and went all through school together? ALYSSA: Oh my gosh!! That’s so precious. ETHEL: I’ve got some pictures of him in the clothes that kids wore, for his First Communion I have pictures of him. He wore a white suit. It was almost like a sailor suit with the wide collar in the back, ya know. I don’t know if they have them now. It went up and then it was boxed around the back. You know, a rectangle around the back. He had white socks on and black shoes. And hair, longer hair. Completely different than the kids are today. He was a neighbor, as I said. We didn’t pay attention to each other at all. We weren’t the least bit interested until we got in our senior year and we couldn’t afford to do anything about it because he had to have his education. He went to Buffalo State then and that’s where he got his degrees and I told you that he worked his way up here to being principal and so on. He started as shop teacher at this high school in mechanical and pretty soon he became vice principal, principal and then supervising principal when he died. ALYSSA: How did he get a job in Geneseo? ETHEL: I had gone to beauty school and socially I had a friend who had a beauty shop so when I was home in Williamsville I had a beauty shop in my home but when we came here, this friend of mine had a beauty shop up on Main St. right next to the parish center, you know where the Catholic church is in that house right beyond there? She had a beauty shop so it was a small town and a small business so I worked with her for a number of years and it worked out very well. ALYSSA: Do you remember what you used to wear when you were younger? I know you were just talking about your husband’s little sailor suit. Do you remember any of the outfits you used to wear? ETHEL: Yeah, I will, if you’re interested, look up some pictures. I can’t do it today. You wouldn’t know the hairstyles that they had then. My hair was almost black when I was a kid and I guess it really, really was black. I never quite thought it was but my dad did and he always, always called me “Blackie”. I can remember, I had bangs across here-right above the eyebrows and then came down straight and straight across the back. It was like a boy, they called them boy cuts. That was the style at the time. I didn’t mind it at all, I thought it was pretty cute. Anyway, so I worked for her for, I don’t know how many years, whenever she needed help. It was nice because we were having children at that time. My husband, he would get home from work and he would take care of the kids while I, although by that time, they were in school so I could work during the day too. It was a good life. ANNA: How many kids did you have? ETHEL: Three girls. Linda was the one you met, she’s the oldest. Then I’ve got another one, Debbie O’Mara. Do you know anybody in town by that name? That’s an old family. And she lives on the Long Point Road. You know how to get to Long Point? ANNA: To Conesus Lake? Yup ETHEL: Yeah. Going down the hill, the Long Point Rd. hill, you go straight, takes you right to the park and they’re that last house on that hill as you go down. It’s set way, way back. It’s hard to see because they have a field of weeds in front of i,t but when you drive, it’s a long drive way, but when you get back they have it mowed and so on. But they have their privacy with their field of weeds in the front of it. They’ve got a really cute house. It’s an interesting house. I remember the first time I saw it before they moved into it somebody else had built it and it was in the process of being built and they parted companies, and it never got finished. Deb and Tim bought it. It has a bough. It looks like the bough of a ship at the front. It’s very interesting to look at but inside is just darling. But I thought, “Oh my gosh! Who would want to live in that house?” Before I knew she was interested in it. But it was the cutest house. Like I said, the people were in the process of building it when they broke up so the main parts of the house were done but the trim around the doorways and windows and baseboards, things like that had to be done. They bought it as is and completed it themselves. It really is cute. ALYSSA: It sounds like it. So they fixed it up nicely? ETHEL: Yeah they like old things and they’ve got a house full. His mother and father were antique hunters and they’ve got it fixed up real cute. And of course he’s a collector too. Just like them. The garage is full of antique things that are meaningful to him, to someone else they probably aren’t, but they are to him. ANNA: Have you always lived in this house in Geneseo? ETHEL: No, when we first moved here, we lived right down on Second Street. Do you know where the Stucco house is down there? It’s right below here if you go to South Street and go down Second. It’s what? The second house from South Street. ALYSSA: Did you live in the apartment when you had Linda? ETHEL: No, we didn’t. After we moved out of that apartment, why did we move? We were probably there for two years. Then we lived in a house up on Oak St. It was a house to ourselves. The first one was an upstairs apartment. So we moved to the house up on Oak St. and we lived there I think two years and then Linda was born in this house. It was about five years before we moved into this house. It was in bad shape. It needed to have a lot of work done on it and as you come in the front door there, it’s a large living room. 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 Interview of Ethel Rost Description An account of the resource Ethel Rost talks about living in Geneseo with her husband and her children to SUNY Geneseo’s organization “Heard @ Geneseo.” She shares how she and her husband met and what brought both of them to Geneseo. The oral interview was taken and transcribed by Anna DiRienzo and Alyssa Cavallari, and it was later revised by Megan Wong and Jordan Keane. Creator An entity primarily responsible for making the resource Cavallari, Alyssa; DiRienzo, Anna Date A point or period of time associated with an event in the lifecycle of the resource 2011-11-18 Contributor An entity responsible for making contributions to the resource Rost, Ethel; Wong, Megan; Keane, Jordan Type The nature or genre of the resource Interview Format The file format, physical medium, or dimensions of the resource doc, 31 KB Geneseo Interview Underground Atlas https://openvalley.org/files/original/56aa3b277a29b3a92bb3c5f323317a2d.jpg 61a5a89f6cb25db9a8b017e4c331ab4b https://openvalley.org/files/original/9951429e6dd197db3cf4419299524db4.jpg c1222ef7da14f0bca9a558970e016cce 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 Painting Physical Dimensions The actual physical size of the original image 24 x 36 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 Cesar Description An account of the resource Cesar Chavez (1927-1993) along with Dolores Huerta was founder of the pioneering National Farm Workers Association in 1962--later reorganized as the United Farm Workers five years later. He adapted activist tools of both labor unions and the civil rights movement: strikes, organized boycotts, marches, and public information campaigns. Against the opposition of farmers, he was successful in negotiating a union contract that included pay raises, health care, and improved safety conditions. In this painting we see Chavez at the center of more than forty farmworkers, some of them working in the diagonally composed field rows and other in the foreground surrounding him. The specificity of these larger faces suggests they may have been portraits of people Cavazos knew. Regardless, a farmworkers union working primarily in California is shown to speak on behalf of them everywhere. Juan Cavazos is an originally self-taught painter working as a migrant farmworker in Western New York. With support from the Geneseo Migrant Center and the <a href="https://www.locuststreetart.org/about" target="_blank" rel="noopener">MollyOlga Art Center</a> of Buffalo, Cavazos began showing his art in several shows beginning in the late 1980s. Note: this item consists of both a smaller and larger file of his painting. Creator An entity primarily responsible for making the resource Cavazos, Juan 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 1989 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, 1.5 MB jpeg, 6 MB Type The nature or genre of the resource Still image Cesar Chavez Creative Artists Migrant Program Services Geneseo Migrant Center migrant workers painting United Farm Workers https://openvalley.org/files/original/a6507505a1e43488203f4d1ee24a1a1a.jpg 73940b130ea0d5b83079072f602038b5 https://openvalley.org/files/original/3bc30bd6e19bb96a3814dd352096af3f.jpg d2956190b7d8bd063ed9237934cf737a 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 Acrylic painting 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 Cherry Pickers Are Working Creator An entity primarily responsible for making the resource Cavazos, Juan 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 1985-1990 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 Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB jpeg, 12.2 MB Description An account of the resource Radical organization of space turns this lush orchard into a social cross-section of American agriculture. Four migrant workers are on ladders picking cherries, the one at left positioned to appear behind bars. A farmer or crew chief drives a tractor whose size overwhelms the shared space. Far in the distance, two people blithely sunbathe under an umbrella. Beyond them we see a blue lake, seagulls, a large yacht, and what appears to be the <a target="_blank" rel="noopener noreferrer" data-id="G4-sqVS" href="https://www.lighthousefriends.com/light.asp?ID=306" class="jsx-3525936280 underlined">Sodus Outer Lighthouse </a>on Lake Ontario. Most disquieting of all is a laborer in the foreground looking directly at us and winking: this is where your cherries come from, and now you know how. At or shortly before the time of this painting, Juan Cavazos lived in migrant housing at the Long View Fruit Farm not far from Sodus. He had traveled to the US in 1985 from his home in Monterrey, Nuevo Leon, having supported himself sketching portraits in the taverns of Chihuahua and Ciudad Juarez. A teacher in the Creative Artists Migrant Program Services, Annie Salerno, noticed his abilities at a workshop and helped to support his work, along with the MollyOlga Center in Buffalo (now called <a href="https://www.locuststreetart.org/" target="_blank" rel="noopener">Locust Street Art</a>). This painting was exhibited at <a href="https://openvalley.org/items/show/1978" target="_blank" rel="noopener">a solo show</a> hosted by the Geneseo Migrant Center in 1989. Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Geneseo Migrant Center Juan Cavazos migrant art Orchards painting https://openvalley.org/files/original/146648a2a31bbf71ae35597b6018f274.pdf 2da6afb41d1c562bdccbd2f538f91ce6 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 Drawings Physical Dimensions The actual physical size of the original image Two sheets, 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 Exhibition Sketches for My Journey Through the Fields Creator An entity primarily responsible for making the resource Cavazos, Juan Format The file format, physical medium, or dimensions of the resource pdf, 1.6 mb 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 1989? 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 Ahead of Cavazos' 1989 show at the Bertha V. B. Lederer Gallery, he sketched several of the works that appeared in the exhibition. Perhaps it was to help others identify the objects; perhaps it was intended for subsequent shows in Buffalo. <a href="https://openvalley.org/items/show/1978" target="_blank" rel="noopener">The program</a> for My Journey helps to identify how Cavazos grouped the individual pieces. See also a photograph for his sculpture entitled "Watching" (Observando). Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Exhibition Geneseo Migrant Center Juan Cavazos https://openvalley.org/files/original/7a814aab8fe67342695571f64cc798b5.jpg e89ee0f111db05caf0628a1253ef45d9 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 of an acrylic (?) painting 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 Pale Rider Painting Description An account of the resource Photograph of an unidentified painting, probably by Juan Cavazos. A self-taught painter, Cavazos traveled from Mexico for employment as a migrant farmworker in Western New York. With support from the Geneseo Migrant Center and the <a href="https://www.locuststreetart.org/about" target="_blank" rel="noopener">MollyOlga Art Center</a> of Buffalo, Cavazos began showing his art in several shows beginning in the late 1980s. The painting here apparently shows a dairy farm, with a farmworker at lower right feeding cattle. Its appearance however is very surreal, even apocalyptic. Darkness frames the scene, including a defoliated tree at left and shadows at top, A blonde woman sits side-saddle upon a white horse, paralleling another that runs through the grazing cattle. Likewise, a wooden fence corralling the cattle is echoed by a wooden beams enclosing the farmworker. One of the most unsettling features is a composition that initially seems to have us looking up at a patch of blue sky, but probably is looking down upon a pond surrounded by mud and cattails. Creator An entity primarily responsible for making the resource Cavazos, Juan 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 1985-1990 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 Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB Type The nature or genre of the resource Still image Allegory Farm labor Geneseo Migrant Center Juan Cavazos painting https://openvalley.org/files/original/d795af09ceb9a60b48c3565f77902139.jpg 5ae8916728beaf103c3afc6009e2c288 https://openvalley.org/files/original/b8ae96f80040fde28f79e013651177b5.jpg 56708f4fff8889c720611a97ca1e1b5b 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 Acrylic painting 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 Cabbage Field Description An account of the resource Like other Cavazos paintings about agricultural work--<a href="https://openvalley.org/items/show/1951" target="_blank" rel="noopener">Fields</a>, <a href="https://openvalley.org/items/show/1991" target="_blank" rel="noopener">The Cherry Pickers Are Working</a>--sweeping vistas evoke underlying, difficult questions about perspective. Here, the curvature associated with panoramic views depicts a long line of cabbages receding into the distance of a farmhouse in the distance. In another direction, a tractor drives down the road of a fruit orchard. In the foreground a woman looks out over the fields, seemingly sharing a viewer's appreciation. This is complicated, however, by three farmworkers toiling below her, and a young child seeking her attention. Another interpretation might have the woman as a kind of Madonna looking over the laborers ... Cavazos' image is quite ambiguous. Juan Cavazos, from Monterrey Nuevo León, was himself a farm laborer in Western New York who often sketched portraits of his fellow workers. He was encouraged to take studio classes at MollyOlga Neighbord Art Classes, in Buffalo and eventually began showing his paintings, drawings, and sculpture. An exhibit titled <a href="https://openvalley.org/items/show/1978" target="_blank" rel="noopener">"My Journey Through the Fields: The Art of a Migrant Farm Worker"</a> was hosted by SUNY Geneseo in 1989. Creator An entity primarily responsible for making the resource Cavazos, Juan 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 1989 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 MB jpeg, 3.2 MB Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Geneseo Migrant Center Juan Cavazos Migrant Labor painting https://openvalley.org/files/original/3a2d5b23f21c5ee6d0aa44d2daf2fca0.jpg 53b45170b7f79934e6778ae5eca7a0ac https://openvalley.org/files/original/b6773bbcc869e6dc3888234387953755.jpg a5a93716bb2062e117ab89ddea28ee1b https://openvalley.org/files/original/166251233a9b845af5fa35af9817eb7d.jpg a8debcdee3e204c1ef0084cb30b4e2fc 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 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 Fields Creator An entity primarily responsible for making the resource Cavazos, Juan (1963- ) 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 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, 1.8 MB jpeg, 16.9 MB jpeg, 1.1 MB Description An account of the resource Landscape painting adopts an aerial perspective upon a farm in the midst of harvesting--tomatoes, potatoes, and corn all are represented. Large formal blocks of color divide the different spaces, and farm equipment conveys a sense of energy via zig-zagging passes. An important facet of the painting is what's easily overlooked: a farmhouse, barn, and silos in the far distance; and numerous field workers picking the tomatoes. Juan Cavazos, from Monterrey Nuevo León, was himself a farm laborer in Western New York who often sketched portraits of his fellow workers. He was encouraged to take studio classes at MollyOlga Neighbord Art Classes, in Buffalo and eventually began showing his paintings, drawings, and sculpture. An exhibit titled "My Journey Through the Fields: The Art of a Migrant Farm Worker" was hosted by SUNY Geneseo in 1989. In his artist's statement, Cavazos wrote that "Farmworkers are a group apart in the society. What belongs to us is the courage to face and challenge hard labor. We make an immense contribution to the community, society, and the country." Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Farm labor Geneseo Migrant Center Juan Cavazos painting