2 10 1386 https://openvalley.org/files/original/c901207121c65aa2fd4e7d935a8e27ef.jpg 74f6296c741a597d7b951428aed6169d https://openvalley.org/files/original/c4723ab0748652e3491201364f6c423e.docx 587d5e459fd1502e18dc66ede959907e 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 Enter, and you’re greeted by wild hair, curled with the stories of the wilder days of Geneseo. Stories of rock-and-roll and drama, of students climbing to tops of buildings to pull pranks, laughing, beer sloshing in their stomachs as they run free around the campus. You listen to these stories, to the hustle of an old-time cash register “ding”ing through the store. Scan the walls, hearing titles of albums and singles play off the spines of books. It’s chaos. It’s crooked posters and instrument pieces next to theory books next to a broken record player. It’s a tiny shop in a tiny town in the middle of nowhere, bursting with more music and people and life than it can hold. And like the town itself, it’s all about the stories. It’s about tales of students woven into wild hair, about love songs and heartbreaks and broken instruments woven into the pages of books and the notes on the sheet and the back room. It’s about a little store woven into Main Street in a little town that holds so much history and backbone and life. 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 "Tonal Voices" -- nonfiction prose Description An account of the resource Buzzo’s Music Shop on Main Street is an exciting stop-in for students of all musical abilities. Featuring CDs, records, guitar strings, sheet music, and most importantly, Buzzo’s wild stories, there is never a dull moment from the second you enter the shop until you check out your purchases and leave. Creator An entity primarily responsible for making the resource Kahn, Danielle Date A point or period of time associated with an event in the lifecycle of the resource 2015-12 Format The file format, physical medium, or dimensions of the resource doc, 27.8 KB Type The nature or genre of the resource Prose Contributor An entity responsible for making contributions to the resource Kahn, Danielle Geneseo Underground Atlas https://openvalley.org/files/original/ee5cd74e82f762d6493159dfa5f334fc.jpeg 8a6ea4665721603ebc6db13138092a71 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas Physical Dimensions The actual physical size of the original image 14 x 20 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 "Trout" Description An account of the resource Oil Creator An entity primarily responsible for making the resource Brackett, Walter (1823-1919) Publisher An entity responsible for making the resource available Online Collection of Brooklyn Museum Date A point or period of time associated with an event in the lifecycle of the resource 1867 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Online Collection of Brooklyn Museum angler art Brackett, Walter M. Seth Green trout https://openvalley.org/files/original/7f53a5b60f7cf09066416e82271f6991.png 7ccd065ff75214740db34f9cbd90f2ed 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. 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 "Untitled" Poem - Jerline Dobson Description An account of the resource This untitled poem, written by Jerline Dobson talks about how her right foot was broken once, yet, never fixed. She talks about when the cold weather comes it starts to hurt and it reminds her of the time she broke her foot. Later in the poem, it is recognized that she broke her foot almost five years ago and it still hurts to this day because nothing was ever done to help it in the moment. While it is unknown the circumstances of how she broke her foot or why she never got it looked at, it is known that sometimes it feels like it just happened yesterday and it may even hurt like this for the rest of her life. Creator An entity primarily responsible for making the resource Jerline Dobson 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 Unknown Contributor An entity responsible for making contributions to the resource Michalkow, Nikolete Source A related resource from which the described resource is derived Geneseo Migrant Center Format The file format, physical medium, or dimensions of the resource png, 128KB Geneseo Migrant Center - Migrant Farmer Poems https://openvalley.org/files/original/c3fc120c8f3e5cdd9bfe5eb1a805d3eb.jpg d95242a7316104298dec9de21eae46b9 https://openvalley.org/files/original/748b67f7e94c92aa1eb999e9a1b849f6.jpg e05793313875d259173a5b50a149c1cf 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 Engraving 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 "Voices of the Glen" title page Description An account of the resource Illustration to a collection of poems written by visitors to William Pryor Letchworth's "Glen Iris" estate on the Geneseee River. Its composition suggests that the voice of nature itself--for example, the creek pictured--is being channeled via poetry. Creator An entity primarily responsible for making the resource Whitney, E. J. Publisher An entity responsible for making the resource available American Scenic and Historic Preservation Society Date A point or period of time associated with an event in the lifecycle of the resource 1876 Contributor An entity responsible for making contributions to the resource Stappenbeck, Austin Source A related resource from which the described resource is derived Henry R. Howland, ed. (?). "Voices of the Glen," Rev. ed. Published under the auspices of the American Scenic and Historic Preservation Society (1911). Format The file format, physical medium, or dimensions of the resource jpeg, 544 KB jpeg, 191 KB Type The nature or genre of the resource Engraving Glen Iris Inn Letchworth State Park Poetry Voices of the Glen William Pryor Letchworth https://openvalley.org/files/original/2b957c2f97f4dd30aee985bb5a422969.jpg 2285be55098f658351f481e4c32c8078 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 Broadside engraving 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 "Wigwam" of the 1860 Republican Presidential Convention, Chicago Description An account of the resource Engraving depicts wooden structure, built in just a few weeks, to hold 10,000 delegates to the party's nominating convention. In the years following it was used to hold rallies and political meetings during the Civil War before its demolition sometime during the late 1860s. Today, its location can be visited at the intersection of Wacker Drive and Lake Street. Publisher An entity responsible for making the resource available "The Republican Standard" Blanchard, Rufus Date A point or period of time associated with an event in the lifecycle of the resource 1860 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, Portfolio 13, no. 18 Format The file format, physical medium, or dimensions of the resource jpeg, 790 KB Abraham Lincoln Chicago Republican Sheffield Peabody Wigwam https://openvalley.org/files/original/c15ac0e2f50bf69b24d7015a9977df67.png 7fe1d2a42c845ba4969a0fc101914011 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. 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 "Young Lady, Age Twenty-One" - Ophelia Bailey Poem Description An account of the resource This poem, by Ophelia Bailey, shares her wishes that she could do more with her life like going to school to be a nurse or teacher. Bailey states that she wants to go into those occupations so that she can help people no matter their age or other characteristics. Yet, unfortunately, Bailey is a migrant farm worker who has no way out of the cycle she is in. Creator An entity primarily responsible for making the resource Ophelia Bailey 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 Unknown Contributor An entity responsible for making contributions to the resource Michalkow, Nikolete Source A related resource from which the described resource is derived Geneseo Migrant Center Format The file format, physical medium, or dimensions of the resource png, 581KB Geneseo Migrant Center Migrant Farmer Poems https://openvalley.org/files/original/48e7bcfa6581e61a0f5291af7907cdc9.jpeg ae2eaae5d6b5d35d31b6c699038c74ee https://openvalley.org/files/original/0bec7e8390671ebb257edcaf63eed45c.jpg c7d820da3a3a8967119136a01822b194 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 Woven Paper Physical Dimensions The actual physical size of the original image Canvas size: 13.5 x 20 in; Framed: 23.5 x 29.5 in Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Angler Description An account of the resource A large and elegant boat dominates this scene, immediately drawing the viewer’s attention. Those few people visible in Jacks' print, scattered around the docks, appear almost ghost-like, as if incorporated into the backdrop. Their small number and otherworldly quality give the setting a sense of emptiness, making the composition feel mythical or even ominous. The Angler sits at a dock that is otherwise barren, and it is the only vessel present, further emphasizing the isolation of the scene. Jacks' use of space in her lithograph is particularly interesting, as it highlights the relationship between different elements. Small figures on an empty dock draw attention to the surrounding desolate space, creating a tension between isolation and the expansive landscape. The boat’s overwhelming size compared to the people suggests visual weight, whereas the figures appear vulnerable and hidden in the background, reinforcing the boat’s symbolic importance. The Angler itself floats on what appears to be windy water, with small, calm ripples outlined in sharp black. Overhead, the sky shifts from light to dark, moving from the top left to the right side and guiding the viewer’s gaze across the scene. This shift in tone moves the mood from calm to ominous.  About the Artist Mabel Wellington Jack was born in 1899 in New York City. During her early life, she lived in Ohio and traveled frequently with her parents on one of the last showboats to sail down the Mississippi River.  She was educated in Midwest private schools, where she received several art scholarships. From roughly 1935 to 1943, she worked as an artist for the New York Art Project and the Federal Art Project (FAP), also creating artworks for the New View Hospital and Home during this time. She was mainly a printmaker who experimented with bold and dramatic nautical themes during the WPA era. Like another of her works from this period, <a href="https://commons.wikimedia.org/wiki/File:Swan_dive_-_Mabel_W._Jack._LCCN2002706837.jpg#/media/File:Swan_dive_-_Mabel_W._Jack._LCCN2002706837_(cropped).jpg" target="_blank" rel="noopener">Swan Dive</a> (1935), they can be appreciated as “representative of a new world into which women were propelling themselves” (Adams and Keene 54). During World War II, Jack was involved with the Red Mask Players, a Red Cross Circuit troupe, where she designed scenery and danced in performances, although further details of her roles are not recorded. Jack was married twice during her life, though not much is known about her late husbands; she preferred to use her maiden name publicly. In 1946, she moved from Greenwich Village to Staten Island, NY. There, she became an active member of the <a href="https://southshoreartistsgroup.org/" target="_blank" rel="noopener">South Shore Artist Group</a>, an important art community that showcased both amateur and professional artists through frequent exhibitions and outdoor shows. She regularly exhibited her work at the Staten Island Museum and in various outdoor events, eventually earning the distinction of honorary lifetime member. Before her passing, she lived at Richmondtown Treasure House and later at Annadale Beach. Mabel Wellington Jack passed away at the age of 80 on July 12, 1975. 5 works at the <a href="https://americanart.si.edu/artist/mabel-wellington-jack-2415" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 works at the <a href="https://collection.artbma.org/people/9691/mabel-wellington-jack/objects?_gl=1*17m8k71*_ga*MzkxMDk0NTgwLjE3NzIxMjc4NDI.*_ga_Z89PXM15R3*czE3NzIxMjc4NDIkbzEkZzEkdDE3NzIxMjc4NTAkajUyJGwwJGgw" target="_blank" rel="noopener">Baltimore Museum of Art</a>. 2 works at the <a href="https://www.nga.gov/artists/33591-mabel-wellington-jack" target="_blank" rel="noopener">National Gallery of Art in Washington</a>. 1 work at the <a href="https://www.fdrlibrary.org/art-detail" target="_blank" rel="noopener">Franklin D. Roosevelt Presidential Library and Museum</a>. 1 work at the <a href="https://artmuseum.princeton.edu/art/collections/objects/3674" target="_blank" rel="noopener">Princeton University art Museum</a>. 1 image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-38">FAP</a>.  Works Consulted: “Miss Mabel W. Jack, Island Artist,” Staten Island Advance 23 July 1970: 19; Katherine H. Adams and Michael L. Keene, Women, Art, and the New Deal (2015). Creator An entity primarily responsible for making the resource Jack, Mabel Wellington (1899-1975) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1936 Contributor An entity responsible for making contributions to the resource Harrington, Gwenyth Source A related resource from which the described resource is derived New Deal Museum, Mt. Morris NY Object #FA 48 Format The file format, physical medium, or dimensions of the resource jpeg, 693 KB Type The nature or genre of the resource Still image Federal Art Project lithograph Mabel Wellington Jack New Deal New Deal Museum https://openvalley.org/files/original/4c710d4c58c5b25eccfa15f1831aa9b9.pdf 60b1b40ceaeef1987ad0993c00bf8ab5 https://openvalley.org/files/original/f90d3c0a880accab13f9164fde69914f.jpg 77b4713489a39081caf473fa522ad945 https://openvalley.org/files/original/785f5fd57e45fe14be15915d2355757a.png e676a447eba35449fa8700d63be08e44 https://openvalley.org/files/original/f1fb8c660f66ededacbe43b15e70c779.png 248c9c9695ae9b156c4b41877d616249 https://openvalley.org/files/original/b8165a2131f4ce02f2d5003ae4e0101e.png ce9108f94bdc9ca15b53ffa9ea806714 https://openvalley.org/files/original/00f820865d9417f64e25e97759ed5b7e.png e0872f4619bcf76de8681b4916f9cbd1 https://openvalley.org/files/original/64d26ab03d4bc4e08ea066368076ff00.png 3891cd27351c5ca0cd515f20dbd9a7cd https://openvalley.org/files/original/935710f8d627dcb1d56cdd029f166dba.png 90c6f5fffc4bba18ba6dc7b50ae1368d 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 Booklet of poetry on paper (typed) as well as photograph glued onto 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 Following A Dream Galleys and Selected Poems Description An account of the resource This series of poems was created by various migrant workers on farms across New York that worked together with the Geneseo Migrant Center. The poems were organized in this collection by Sylvia Kelly, the director of the Creative Artists Migrant Program Services (CAMPS) of the BOCES-Geneseo Migrant Center. Several artists, teachers, and volunteers worked together to work, edit, and collect poems written during the 1980 migrant season. The collection was poetry was funded by Poets and Writer Inc. as well as assisted by other various companies around New York. The poems are a depiction of the experiences of migrant farmworkers, their dreams, aspirations, everyday thoughts, and overall view of the world. Poetry was a form of therapy for these workers to release their feelings and emotions surrounding their job system. Overall, "Following A Dream" showcases the hard work of the Geneseo Migrant Center C.A.M.P.S. and the talent of a multitude of migrant farmworkers. Creator An entity primarily responsible for making the resource Kelly, Sylvia Dailey, Joel Martin, Richard Boettger, Elizabeth Mattera, Gloria 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 1980 Contributor An entity responsible for making contributions to the resource Kershner, Natalie Format The file format, physical medium, or dimensions of the resource png C.A.M.P.S. CAMPS Geneseo Geneseo Migrant Center Gloria Mattera Migrant Camps Migrant Children Migrant Farmer Migrant Labor migrant workers Migrants Poems Poetry Sylvia Kelly https://openvalley.org/files/original/d49baf1589879b9366362ddfdbbfad7e.jpg 189045f80d6b8b5bcdf1496bcd117078 https://openvalley.org/files/original/c35693978c9f42b23c9c46b3116cd38b.JPG 2d52e298fef1bdc8622d34f3f2f23aca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas Physical Dimensions The actual physical size of the original image 23.5 X 29.5 in. Condition: peeling, punctures Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 10 and Out Description An account of the resource This painting depicts a boxing match, in which one of the boxers successfully knocks out his opponent. The victor, standing upright on the right side sporting turquoise shorts, looks confident and strong as he watches his opponent on the ground along with the referee. His opponent is curled up on the floor of the ring, his face downturned and covered by his arms. The colors are vibrant, and the work’s shadows create a realistic effect. Braverman's painting takes on new significance when considered in relation to economic conditions during the 1930s. About the Artist: Born in New York City, Braverman’s subsequent life tracks alongside the changing fortunes of radical politics in America. He appears to have lived in Chicago, studying in Paris with<a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Lhote" target="_blank" rel="noopener"> André L’hote</a>, but he also was listed as Chairman of the People’s Institute in Toledo, OH during 1911. Perhaps his debut as an artist began in 1907, at age 19, with political cartoons published in To-Morrow Magazine: on subjects like<a href="https://books.google.com/books/content?id=xbQRAAAAYAAJ&pg=RA2-PA125&img=1&zoom=3&hl=en&sig=ACfU3U0dyxIxH28CdN4Y610NeODPEO1arg&ci=3%2C116%2C988%2C1597&edge=0" target="_blank" rel="noopener"> plutocracy</a> and class-based<a href="https://books.google.com/books/content?id=xbQRAAAAYAAJ&pg=RA1-PA227&img=1&zoom=3&hl=en&sig=ACfU3U2oi9aYqcwYxsP9E4ouX6zImpxyxQ&ci=125%2C680%2C770%2C960&edge=0" target="_blank" rel="noopener"> sexual politics</a>. During the 1910s “Barney” was Associate Editor and Circulation Manager for The Progressive Woman in Chicago. It was founded as The Socialist Woman in 1907 by Josephine Conger-Kaneko and in 1913 would become The Coming Nation before folding in 1914. He produced the magazine’s<a href="https://openvalley.org/items/show/920" target="_blank" rel="noopener"> masthead</a> much of its political art: on<a href="https://openvalley.org/items/show/918" target="_blank" rel="noopener"> child labor</a>,<a href="https://openvalley.org/items/show/919" target="_blank" rel="noopener"> domestic work</a>, and<a href="https://openvalley.org/items/show/922" target="_blank" rel="noopener"> women in trade unions</a>. Meanwhile, Braverman also was drawing political cartoons for<a href="http://dlib.nyu.edu/themasses/images/the_masses_index.pdf" target="_blank" rel="noopener"> The Masses</a> (1912) and publishing pamphlets like “Suffragists, Watch Out for the Wolf!” (1913). After passage of the Nineteenth Amendment in 1920, and as socialist unity fragmented under the duress of Palmer Raids and systematic anti-red legislation, Braverman became disillusioned and moved into poster art and advertising. By the 1920s he worked for the Curtis Company agency in Detroit, MI and then in 1926 the Hamman group in Oakland, CA.  During his time in Detroit, Braverman played an important role in smuggling copies of James Joyce’s banned novel Ulysses. In 1922, the novelist Ernest Hemingway—who knew Braverman—suggested an arrangement with publisher Sylvia Beach: she would ship 300 books to Windsor, Ontario, where Braverman had rented a room; he would smuggle them across the US border individually, then re-bundle them and ship via a private express company. He asked only to be reimbursed for his expenses (no fee charged) at a time of heavy border patrols during Prohibition. Historian Kevin Birmingham writes that “it required him to break the law every time he crossed the border with a copy of Ulysses, possessed a copy for distribution in Michigan and shipped the book across state lines. He risked a five-thousand-dollar fine and five years in prison, but he would do it anyway” (The Most Dangerous Book: The Battle for James Joyce’s Ulysses 236-237). Later Braverman created works for the Federal Art Project, including “Down and Out” (1937)—perhaps modeled on the boxing paintings of George Bellows, like<a href="https://commons.wikimedia.org/wiki/File:Bellows_George_Dempsey_and_Firpo_1924.jpg" target="_blank" rel="noopener"> “Dempsey and Firpo”</a> (1924). One critic reviewing a 1936 group show complained that Braverman’s “static figures against his dynamic backgrounds drop his picture to a poster level...he suffers from commercial art influence, with its false emphasis on showiness” (Brooklyn Daily Eagle 9 Feb. 1936: 40). But Braverman’s work always had been grounded in the striking image, and postwar Pop Art soon would incorporate both political and commercial iconography. Braverman always had a great interest in films, during the 1940s working upon an authorized biography of the director D.W. Griffith that never was published. He lived the last years of his life in St. Paul, MN. Creator An entity primarily responsible for making the resource Braverman, Barnet, b. 1888 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Sheedy, Marianna (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18124 Format The file format, physical medium, or dimensions of the resource jpeg, 980 KB jpeg, 12.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 034 Barnet Braverman boxing Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/bd6040f043c4174a83fbedd7e521fae4.jpg 5db0dc529ac475c453367c892404bc08 https://openvalley.org/files/original/3bab745194936e94890314af79cb9289.JPG f472688e0e62499d4994e86b71b995cb https://openvalley.org/files/original/a8a53d3234c33cfebcf62829714e9894.jpg 267b190707bb34cec96ea7af2c828a50 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 12 x 15.5 in. Condition: paper rippled 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 100 Years Pass Creator An entity primarily responsible for making the resource Guy, James Meikle, 1909-1983 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18167 Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 9.6 MB jpeg, 1.2 MB Description An account of the resource A neoclassical mansion, accessorized by ancestral family tree, looms over a woman wearing a long dress at lower left. Upon closer viewing the coherence of this scene breaks down; she's carrying an axe in her left hand, a la Lizzie Borden, along with something in her right hand we cannot see. Moreover, any attempt to inhabit a romantic tableau of the past is undermined by an historical marker on the front lawn--or is it a 1930s highway sign?--along with an airplane flying overhead. About the Artist: Born in Middletown, CT and trained at the Hartford Art School, Guy was among the earliest Americans to see European surrealism via a 1931 show at the Wadsworth Atheneum on the <a href="https://youtu.be/1UNpfGZ3wy4" target="_blank" rel="noopener">“Newer Super-Realism.”</a> Thereafter he was strongly influenced by painters like <a href="https://en.wikipedia.org/wiki/Salvador_Dal%C3%AD" target="_blank" rel="noopener">Salvador Dali</a>, <a href="https://en.wikipedia.org/wiki/Giorgio_de_Chirico" target="_blank" rel="noopener">Giorgio de Chirico</a>, and <a href="https://en.wikipedia.org/wiki/Jos%C3%A9_Clemente_Orozco" target="_blank" rel="noopener">José Clemente Orozco</a>. At the same time, Guy’s work was characterized by a sharp satirical edge that may have owed something to his own work experience—after high school he had tried selling rugs and typewriters; was a sailor and census-taker—and to his political activities, including membership in the radical John Reed Club. In 1930 he helped stage a 1930 labor play entitled Strike; amid unsuccessful attempts to stage it in New York, Guy remained in the city. During the Great Depression Guy was among the leaders of the Unemployed Artists Group (later renamed the Artists Union), which advocated government support for the arts and later resisted proposed cuts to the Federal Arts Program. Guy’s paintings were exhibited at the Wadsworth Atheneum Annex (1931), the ACA Gallery (1937), American Artists’ Congress (1937), a “Fight War and Fascism” show at the La Salle Gallery (1937), Federal Art Gallery (1938), Boyer Gallery (1939), and Ferargil Galleries (1941). In 1936 he married the respected woodblock artist Clara Skinner, and they co-exhibited at several shows. Guy also undertook public mural projects, referenced only as located in Mexico and “New York churches” (Older). One that is known was a 1934 three-panel project for the Hartford Public High School’s cafeteria on the production of food: “The New England fishing industry is at its center—the port of Gloucester, Mass.—is brought to life in the first panel. The second reveals the story of the wheat belt; fields of grain, elevators, transportation on the Great Lakes. From pastures to stockyard, the cattle industry is recorded in the third” (Older). Perhaps the peak of Guy’s popular recognition, by that time including the epithet of “Yankee Surrealist,” involved a 1941 portfolio of paintings published in Esquire magazine as <a href="https://classic.esquire.com/issue/19410801/print" target="_blank" rel="noopener">“Fun in Ghost Town.”</a> “Today he is more or less established,” the profile stated, “if somewhat precariously....James Guy may be called a depression period radical, for there is nothing in his background or conditioning which would make inevitable the questioning of social values that has been going on in his picture making” (Saltpeter). During World War II Guy worked at the Pratt Read glider factory in Deep River, CT where his visual style changed markedly into a futurism he called “industrial symphonies” (Dickinson). After the war he taught art at Bennington College, MacMurray College, and Weslyan University—with a sabbatical of several years during which he wrote and photographed articles on fishing for outdoor magazines (Stedman). 2 works at the <a href="https://www.nga.gov/collection-search-result.html?artist=Guy%2C%20James%20Miekle" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-47" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Ernest Dickinson, “Paints ‘Symphonies of Industry’”, Hartford Courant 15 Oct. 1944: 67; Ilene Susan Fort, “Social Surrealism,” Archives of American Art Journal 22.3 (1982): 8-20; Gerald M. Monroe, “Artists as Militant Trade Union Workers During the Great Depression,” Archives of American Art Journal 14.1 (1974): 7-10; Cy Stedman, “Return of an Artist,” Hartford Courant 19 Jan. 1958: 114-115; Harry Saltpeter, “Guy: Ghoul of the Ghostly West,” Esquire 16.2 (Aug. 1941): 86-87; Julia Older, “Hartford Public Buildings Richly and Lastingly Adorned as Uncle Sam Becomes Nation’s Most Lavish Art Patron,” Hartford Courant 1 Jul. 1934: 59. Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 077 Federal Art Project James Guy New Deal Gallery Social Surrealism Watercolor