21 10 1402 https://openvalley.org/files/original/23099ac04ff292cb18cfe1aa1147d301.jpg 1dd56b06bd6313635277e7face6d3548 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Printed handbill 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 CIO Broadside Description An account of the resource Probably circulated during an unsuccessful unionizing drive at the Perry Knitting Co. in 1937, this flyer is addressed not only to employees but the larger Perry community. The Textile Workers Organizing Committee ask, rhetorically, why the Perry Chamber of Commerce suddenly has the workers' welfare in mind. It reminds its reader that labor organization is a right, that others will benefit from better working standards, and that the CIO will help protect workers' jobs. This last point was an especially charged issue, for employees sometimes were laid off without notice when business was slow, and management warned that unionization might lead to the company closing its doors. Creator An entity primarily responsible for making the resource Textile Workers Organizing Committee of the C.I.O. Publisher An entity responsible for making the resource available Perry, NY Public Library 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 Cooper, Ken Source A related resource from which the described resource is derived Henry Page Historical Documents Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Type The nature or genre of the resource Still image CIO Congress of Industrial Organizations Henry Page Historical Documents Perry Knitting Co. Perry, NY https://openvalley.org/files/original/1554152f37d2cb9a7ab80d10692edc64.jpg b5d316c315ba49d56e03b0423229aa8a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Printed handbill 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 CIO Handbill Description An account of the resource This single-side document probably dates to a 1937 effort to unionize the Perry Knitting Co. employees. The Textile Workers Organizing Committee met considerable resistance from company management and some employees, who staged a "Loyalty Parade" against unionization. The text of this flyer reminds the company that "interference with union organization is illegal under U.S. code," going on to cite the relevant statute under the Nation Labor Relations Act. Even during the comparatively progressive 1930s, however, enforcing the law proved difficult and ultimately the PKC employees voted against organizing. Creator An entity primarily responsible for making the resource Textile Workers Organizing Committee of the C.I.O. Publisher An entity responsible for making the resource available Perry, NY Public Library 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 Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 939 KB Source A related resource from which the described resource is derived Henry Page Historical Documents Type The nature or genre of the resource Still image CIO Congress of Industrial Organizations Henry Page Historical Documents Labor Perry Knitting Co. Perry, NY https://openvalley.org/files/original/31f5c071e60f260db22597c2a1023bbe.jpg d794213ac0615eec89f4fa8b7f9823df https://openvalley.org/files/original/24a79c6d2baf83b73c7d219b5f66a057.jpg a3a01b5268880128ee246f1370f2f077 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 30 x 24 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/. Description An account of the resource “City Landscape” uses a beautiful palette of earth tones set against concrete infrastructure, especially an overpass that curves across the sky. Beneath that new automotive world, a jumbled cluster of buildings appears at left. It's difficult to tell whether the road in the foreground--which takes up a large portion of the painting, almost like a river--is concrete or dirt. Regardless, no automobiles appear in the painting and the sidewalk edges flow organically. Perhaps this absence of movement and human actions is what led Sievan to envision the scene as a landscape. On the right side of the street, we see two people standing who match the painting's color scheme; however, on the opposite side of the street, two people wear white coats--maybe indicating a wealth gap. Faint lines across the center could be a train track, still carrying this variety of people who are traveling separately. Title A name given to the resource City Landscape 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. 1935 Contributor An entity responsible for making contributions to the resource Drexler, Nora (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 822 Format The file format, physical medium, or dimensions of the resource jpeg, 2.6 MB jpeg, 1.2 MB Type The nature or genre of the resource Still image Creator An entity primarily responsible for making the resource Sievan, Maurice (1898 - 1981) City Federal Art Project Maurice Sievan New Deal Museum painting https://openvalley.org/files/original/5559f06ffe501f669c4589dea2857f25.jpg 0ea93acdc96a1249711a9106af00275c https://openvalley.org/files/original/ebf1c36229fba985086ea98664eeac09.jpg b13a4156330c6133d73bb2952a7bb7c2 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: 10.5 x 12.5 in Framed: 15 x 18 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 City Playground Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) 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 c. 1935 Contributor An entity responsible for making contributions to the resource Harris, Ariana (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived Federal Art Project Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 628 KB Type The nature or genre of the resource Still image Description An account of the resource Anchel’s lithograph is a perceptive depiction of an urban recreational space, which has numerous activities occurring around its focal point that create a dynamic of movement and energy. In the distance, tall buildings provide the backdrop for a playground constructed under elevated train tracks; a similarly curving fence encloses it. In the foreground, metal supports of a swing set contain most of the figures within a triangular frame, except for a girl in another triangle. The three closest children are in the midst of physical actions; two others observe them from the shadowy background. At first it might look like “playing games,” except that the larger boy running toward the swing seems to alarm the younger children—perhaps he means to take it for himself. Anchel’s print creates a momentary stage that organizes its meaning based on where individuals are located: in a city, there are almost always spectators and small dramas, even among children. 12 images at <a href="https://art.gsa.gov/people/824/harold-anchel/objects" target="_blank" rel="noopener">GSA</a>. children Federal Art Project Harold Anchel lithograph New Deal Museum new york city https://openvalley.org/files/original/bb728f8d08bd2578dd7e119c974d39b8.jpg 2c6fd12ff3e6c0c8e7710310a655f93b 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 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 City Tunnel No. 2, New York Publisher An entity responsible for making the resource available New York Department of Water Supply, Gas and Electricity Date A point or period of time associated with an event in the lifecycle of the resource 1929-1936 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Water Supply of the City of New York (New York Department of Water Supply, Gas and Electricity, 1952): 40. <a href="https://archive.org/details/watersupplyofcit00newy/page/n41?q=%22Pepacton+reservoir%22" target="_blank" rel="noopener">Courtesy Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Type The nature or genre of the resource Still image Description An account of the resource Photograph shows workers constructing New York City's second major water tunnel, which originates at the Hillview Reservoir in Yonkers, passes under the East River to Astoria, Queens, then continues south through Brookyn--a distance of 20 miles. The original caption to this photograph reads: "City Tunnel No. 2, 17 feet in diameter, during construction, showing the concrete lining, with the arch still to be placed in the foreground." Delaware Aquaduct new york city water Watersheds https://openvalley.org/files/original/611f0d05f6832e053e6f3aee6b121adc.jpg 72e4c2738dba8911b3b3a8f7dc48d12b 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 Magazine cartoon Physical Dimensions The actual physical size of the original image 8.5 x 5.75 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 Civil Service Wonderland Description An account of the resource By 1943, "stateside" civilian life in the US had been transformed by WWII. The War Production Board had been granted authority to conserve strategic resources, prioritize essential industrial work, and redistribute labor to support the war effort. Created in 1942, it was generally successful in its goals but the massive scope of its mandates also led to mis-allocations and frustrations. Congressman Robert Ramspeck (D-GA) was Chair of the House Civil Service Committee, and dedicated himself to locating inefficiences and wastes of taxpayer money. If it gained publicity, so much the better. "Civil Service Wonderland" was an occassional feature in Collier's that gathered stories of absurd government waste that are a staple of American life. Stephen Ronay's satirical cartoon illustrates a real-life complaint by one civil servant: "I was just one of more than 100 employees in that office, some of them being paid $6,000 and $8,000 a year, all sitting idle, as I was. Yet the walls were covered with pep slogans" (26). Along with many other examples, Ramspeck concluded that a drastic overhaul of the civil service system was necessary. Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert] , 1900-1983 Publisher An entity responsible for making the resource available Crowell-Collier Publishing Date A point or period of time associated with an event in the lifecycle of the resource 1943-05-15 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Collier's 111.20 (15 May 1943): 26 <a href="https://archive.org/details/colliers111aprspri/page/n519/mode/1up" target="_blank" rel="noopener">Courtesy Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 970 KB Type The nature or genre of the resource Still image Cartoon Collier's Stephen Ronay War Production Board World War II https://openvalley.org/files/original/06d0b5b794d6e608f8e0a1b1a17b8f66.jpg 5043a8a79e61ed0a0ad6efc40a15c50f https://openvalley.org/files/original/9763db64a1c1c788b71115008d02229d.jpg 362ee2ddb27b89b64a7458c0824a2feb 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: 12.5 x 9.75 in. Sheet: 16 x 11.5 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 Cliffs by the Sea Format The file format, physical medium, or dimensions of the resource jpeg, 2.2 MB jpeg, 2.1 MB Description An account of the resource About the Artist Born Mabel Jacque Williamson in Cincinnati, OH, Dwight was one of the more controversial and prolific lithographers of her time. She studied painting at the Hopkins School of Art in San Francisco, CA in her twenties, travelling to Paris, Egypt, India, and other destinations after her studies. She married Eugene Higgins in 1906 before divorcing in 1921, when she changed her last name to Dwight (for reasons unknown). Even before making art full time, she had become a champion of socialist art and ideals, inspired by her time in college. “I was born with a hatred for the duality of poverty and riches,” she recalled. In 1926, at the age of fifty, Dwight began making her first lithographs and by 1928 her work was displayed at the Weyhe Gallery in New York City. Dwight’s main subjects were the ordinary residents of New York City, depicting their lives during 1920s opulence and then the Great Depression. Dwight’s lithographs offered an unflinching, documentary view that was suffused with social commentary. As she later explained, “There are always artists who cannot be satisfied with the credo of art for art’s sake. They must tell stories, express opinions, and ‘take sides’” (“Satire in Art” 151). Dwight observed, however, that the great satirists like William Hogarth rarely made use of “arbitrary distortion,” and her lithographs usually had realistic and inclusive features—such as rounded forms and subtle lighting—that create unity among its subjects. Dwight brought complex social issues to an accessible medium with subtlety and artistic integrity. Dwight was employed by the Federal Art Project (1935-1939) and was a member of the American Artists’ Congress, which championed socialist policies and promoted artists’ rights. By the end of her career in 1941, she had created more than a hundred lithographs collected at a variety of museums and universities. 27 works at <a href="https://whitney.org/artists/388" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 19 works at <a href="https://www.metmuseum.org/art/collection/search?q=%22mabel+dwight%22&offset=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 20 works at <a href="https://americanart.si.edu/search/artworks?content_type=artwork&persons%5b%5d=2611" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 23 works at <a href="https://www.cartermuseum.org/artists/mabel-dwight" target="_blank" rel="noopener">Amon Carter Museum</a>. 20 works at <a href="https://www.nga.gov/artists/6498-mabel-dwight/artworks" target="_blank" rel="noopener">National Gallery of Art</a>. 10 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-37" target="_blank" rel="noopener">FAP</a>. 34 images at <a href="https://art.gsa.gov/people/47/mabel-dwight/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted:Mabel Dwight, “Satire in Art," in Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project, ed. Francis V. O'Connor (1973) <a href="https://archive.org/details/artformillionses00ocon/page/151/mode/1up" target="_blank" rel="noopener">Link</a>; David Herman. “Mabel Dwight: Art as a Living Influence on the World,” Greenwich Village Society for Historic Preservation (2026) <a href="https://www.villagepreservation.org/2026/03/18/mabel-dwight-art-as-a-living-influence-on-the-world/" target="_blank" rel="noopener">Link</a>; Library of Congress, Life of the People: Realist Prints and Drawings from the Ben and Beatrice Goldstein collection, 1912-1948 (1999) <a href="https://archive.org/details/lifeofpeoplereal0000unse/mode/2up?q=%22mabel+dwight%22" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Dwight, Mabel (1876-1955) 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. 1935 Contributor An entity responsible for making contributions to the resource Scamardo, Sam (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1195 Type The nature or genre of the resource Still image Federal Art Project lithograph Mabel Dwight New Deal Museum Nude https://openvalley.org/files/original/ae92b9bfd35e1b4712302daa42d7545e.jpeg 63c9316ed558a500aea1ed45c7141f68 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Bird's eye view Physical Dimensions The actual physical size of the original image 37 x 71 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clifton Springs, NY, 1892 Description An account of the resource Best known for its sulphur springs, this legacy still is seen in the large Sanitarium located near the center of panorama. Patients would have traveled there via the New York Central RR or the Lehigh Valley RR. At the time of this lithograph, the town had a population of around 1,300 residents. Creator An entity primarily responsible for making the resource Burleigh Litho Date A point or period of time associated with an event in the lifecycle of the resource 1892 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress Geography and Map Division <a href="http://hdl.loc.gov/loc.gmd/g3804c.pm005511">http://hdl.loc.gov/loc.gmd/g3804c.pm005511</a> Format The file format, physical medium, or dimensions of the resource jpeg, 758 KB bird's eye view Clifton Springs, NY https://openvalley.org/files/original/7f241db0a983745f6f29a8b4ba938aa6.jpg d14a20f7a51b593b04b4aac21de419b5 https://openvalley.org/files/original/14cc3321d17294b996726351cceca62b.jpg cbe34ce43c288f2611ecc48cd46faf9d https://openvalley.org/files/original/c99a5934f60439c5c817b40cec713572.jpg 39c11f72eda805fa6a110c5f891607d5 https://openvalley.org/files/original/797ca8d2a992ac3753e5a2f3f085c6e7.jpg 815408c0f891eed4b1cdf2bf7b8d7857 https://openvalley.org/files/original/71fe0642bc010743432838458875dfb4.jpg ad4ac05ab3be43755180e5c1103ecd8f 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 copies of poems 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 Climate Change Poems by Migrants Description An account of the resource This collection of poems were written during the early 2000s by migrant farmworkers participating in the Geneseo Migrant Center's Creative Artists Migrant Programs Services (CAMPS). The writings were facilitated and translated by poet Janine Pommey Vega. They describe the effects of pesticides, desert crossings into America, and broader ecological warnings. The five poems were collected for a StoryMap entitled <a href="https://storymaps.arcgis.com/stories/9f892f35bee24c17b2a65316116cee13" target="_blank" rel="noopener">Scorching Existence</a>, and likewise are printed here for an exhibit page of the same name. Creator An entity primarily responsible for making the resource Cervantes, Pedro. "My Sickness." Padilla, Jorge. "From Mexico to the United States." Lucas, Valentin. "A Dreadful Journey." Pérez, Jose Coyote. "I am Nature." Paniagua, Rafael. "An American Dream." 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 2002 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, 138 KB jpeg, 339 KB jpeg, 242 KB jpeg, 290 KB jpeg, 346 KB Type The nature or genre of the resource Still images Climate Change Creative Artists Migrant Program Services Geneseo Migrant Center Janine Pommy Vega Poems https://openvalley.org/files/original/8fde679cbe1747d9bbc0405c1191d5f0.JPG 5d0330ebcadad448ba96b0ff48d9a545 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: stained, 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 Close Relations Description An account of the resource A table, draped in eggshell cloth and situated in front of a curtain of the same color, holds a vase containing cherry blossoms, a tea cup, a decorated box—perhaps a tea chest?—and a small statue of a frog. Each of the items seems to evoke East Asian influences, such as the woman on the vase wearing a Japanese kimono, and the frog, a traditional symbol of good luck in Japan. The painting’s title alludes to myriad connections in the world, an encompassing family including but not limited to humans. A few blossoms on the table subtly remind us of temporal change. About the Artist: Born in Baltimore, MD, Theobald was the eldest child of <a href="https://en.wikipedia.org/wiki/Samuel_Theobald" target="_blank" rel="noopener">a famous eye surgeon</a> at the Johns Hopkins University Medical School. After attending college at that institution, where he was an artist for the school annual, he worked briefly as a caricaturist for the Baltimore Afternoon News (“Art News”). Early in Theobald’s career, he studied with <a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Castaigne" target="_blank" rel="noopener">André Castaigne</a>, the popular French illustrator and painter. He was present to witness the <a href="https://en.wikipedia.org/wiki/Great_Baltimore_Fire" target="_blank" rel="noopener">Great Baltimore Fire of 1904</a>, sketching from Federal Hill and creating a lurid painting of fire and smoke that was described as “very appalling” in its sublime effect (“Picture”). Theobald began dividing his time betwen Baltimore and New York around 1900, his main interests to that point focused upon sporting art. In 1915, he married Elizabeth Sturtevant, a sculptor, and exhibited his work in venues like the Corcoran Gallery, the Beginning in the mid-1920s, the divided their time between Staten Island and Orlando, FL. They received permission from the Ringling Brothers to spend several months at the circus’s winter home in Sarasota, resulting in distinctive works like sculptural castings of “Miss Congo” the gorilla, and paintings of bareback riders, clowns on stilts, and “Elephant Being Manicured” (“Theobald Art”). 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-22-folder-42" target="_blank" rel="noopener">FAP.</a> Sources Consulted: “Picture of the Great Fire,” Baltimore Sun 12 Mar. 1904: 6; “Art News from Baltimore,” American Art News 3.71 (18 Mar. 1905): 5; “Theobald Art Exhibitions on Display In New Showing of Art Association,” Orlando Sentinel 17 Mar. 1929: 15. Creator An entity primarily responsible for making the resource Theobald, Samuel, Jr., 1872-1956 Date A point or period of time associated with an event in the lifecycle of the resource 1937-03-12 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Noel, Richard (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 #FA18280 Format The file format, physical medium, or dimensions of the resource jpeg, 988 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 187 Publisher An entity responsible for making the resource available Federal Art Project New Deal New Deal Gallery painting Samuel Theobald still life