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                <text>Composite Image of Sinclair Refining Company, Before and After Dereliction</text>
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                <text>Photograph of Wellsville, NY refinery combines an image of its Building 44 taken in 1955, an image of the 1938 fire, and an image of Building 44 today.</text>
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                <text>Cooper, Ken; Feeley, Kevin P.</text>
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                <text>1955, 1938, 2015</text>
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                <text>Buffalo Evening News (1938 photo)</text>
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                <text>1938 and 1955 imagery from the Wellsville Public Library; 2015 imagery from Kevin P. Feeley</text>
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                <text>Red-Headed Woodpecker</text>
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                <text>Cooper, Susan Fenimore, 1818-1894</text>
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                <text>G. P. Putnam, NY (publisher)&#13;
&#13;
Endicott's Lithography, NY (lithography)</text>
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                <text>1851</text>
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                <text>Cooper, Ken</text>
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                <text>&lt;a href="https://archive.org/details/ruralhoursbylady00coop/page/n335" target="_blank" rel="noopener"&gt;Susan Fenimore Cooper, &lt;em&gt;Rural Hours, With Illustrations&lt;/em&gt;. Fourth Ed. (G. P. Putnam, 1851): following p. 300&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Courtesy Internet Archive</text>
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                  <text>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." &lt;br /&gt;&lt;br /&gt;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. &lt;a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener"&gt;Follow this hyperlink to a short introduction to the New Deal Gallery collection&lt;/a&gt;. 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.&lt;br /&gt;&lt;br /&gt;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.</text>
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                  <text>1935-1940</text>
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                  <text>Cooper, Ken (project director)&#13;
&#13;
Ritz, Abigail (photography and project assistant)&#13;
&#13;
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.&#13;
&#13;
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.</text>
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              <text>Oil painting</text>
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                <text> Fruit and Plant</text>
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;A half circular table is placed against the wall. On top of the table is a pile of fruits,pairs, apples and lemons, spilling out of a wooden basket that is sideways. To the left of the basket and behind the fruit is a potted plant that appears to be a cactus. There is a clear reflection in the table of the objects on the table creating a shine to the table. There are visible brush strokes on the canvas which indicates that the painter had impressionist influences. &lt;/span&gt;&lt;/p&gt;&#13;
&lt;br /&gt;&lt;span style="font-weight: 400;"&gt;&lt;span style="text-decoration: underline;"&gt;About the Artist&lt;/span&gt;: The son of Lithuanian immigrants, Copen grew up in Coney Island, NY and worked in the family business. He showed his art at a 1939 WPA show at Federal Extension Gallery, Long Beach, NY with a theme of farms and country life; his watercolor was entitled “Curb Market.” Along with NDG artists Fred Adler and Ben Delman, Copen was chosen for a 1941 exhibit at the USDA’s Surplus Marketing Department, in New York City called “Market Scenes”; his paintings were entitled “Street Scene” and “City Markets.” At his death in 2002, Copen donated 2,700 pieces of&lt;/span&gt;&lt;a href="http://museums.fivecolleges.edu/info.php?t=objects&amp;amp;type=ext&amp;amp;museum=all&amp;amp;id_number=&amp;amp;maker=&amp;amp;culture=&amp;amp;name_title=&amp;amp;object_type=&amp;amp;place_made=&amp;amp;materials=&amp;amp;option7=&amp;amp;description=&amp;amp;credit_line=Copen&amp;amp;option2=&amp;amp;date_made=&amp;amp;earliest_year=&amp;amp;latest_year=&amp;amp;op-earliest_year=%3E%3D&amp;amp;op-latest_year=%3C%3D" target="_blank" rel="noopener"&gt; &lt;span style="font-weight: 400;"&gt;African art&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; to Colgate University’s&lt;/span&gt;&lt;a href="http://users.telenet.be/african-shop/colgate_university.htm" target="_blank" rel="noopener"&gt; &lt;span style="font-weight: 400;"&gt;Longyear Museum of Anthropology&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; that he had collected during 1960s-90. 1 more image at&lt;/span&gt;&lt;a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-5-folder-6" target="_blank" rel="noopener"&gt; &lt;span style="font-weight: 400;"&gt;FAP&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;.&lt;/span&gt;</text>
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                <text>Copen, Herman, 1908-2002</text>
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                <text>1937-06</text>
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                <text>Ritz, Abigail (photography)&#13;
&#13;
Ramsay, Elizabeth (biography)&#13;
&#13;
Cooper, Ken (biography)</text>
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                <text>New Deal Gallery, Genesee Valley Council on the Arts&#13;
&#13;
Object #FA18140</text>
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              <text>Bird's eye view</text>
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                <text>Corning, N.Y. 1882 </text>
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                <text>Subtitle of this bird's eye view of southern tier town makes clear the importance of rail lines to its economic viability: "Junction of the New York, Lake Erie, and Western and the Syracuse, Geneva &amp; Corning R.R.'s." The yards of those railroads are depicted at the far left and right of the panorama; between them, the town of nearly 5,000 (in 1880) shows manufacturing along the river, retail and residential streets, then highest up the hill a few remaining farms and forest.&#13;
&#13;
Also typical of the genre are the sixteen individual portraits bordering the bird's eye view--probably drawn for an additional charge or the promise of buying copies of the lithograph in bulk. At upper left, the Corning Glass Works already occupies a prominent place in the town's identity.&#13;
&#13;
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                <text>Corbin, C. J. </text>
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                <text>Philadelphia Publishing House</text>
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                <text>1882</text>
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                <text>Cooper, Ken</text>
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                <text>Library of Congress Geography and Map Division &lt;a href="http://hdl.loc.gov/loc.gmd/g3804c.pm005542"&gt;http://hdl.loc.gov/loc.gmd/g3804c.pm005542&lt;/a&gt;</text>
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                <text>This item consists of seven photographs selected from an in-depth survey of New York's apple industry, specifically farms in Wayne County. The bulletin was published under the auspices of Cornell University's Department of Horticulture and as such the text and photographs contain mostly technical material. But the text also provides a documentary glimpse of apple growers and their laborers in the early 1900s. Captions to the photos are printed in order:&#13;
&#13;
1. An ideal Baldwin apple-tree for Western New York&#13;
&#13;
2. The usual method of sorting in Orleans county—directly from the table&#13;
&#13;
3. Picking from the table—a slower but more careful method of sorting&#13;
&#13;
4. The old "mother tree" from which all of Mr. Smith's trees were grafted. It bears excellent apples and good crops of them. About 500 trees have been grafted from this tree.&#13;
&#13;
5. A good harvest. Barreled and ready for storing.&#13;
&#13;
6. Hauling to the depot.&#13;
&#13;
7. Shore north of Ontario.</text>
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                <text>John Craig, with G. F. Warren and W. E. McCourt, &lt;em&gt;An Apple Orchard Survey of Wayne County, New York&lt;/em&gt; (Cornell University, 1905): 230, 288, 331, 352, 406. &lt;br /&gt;&lt;br /&gt;&lt;a href="https://archive.org/details/appleorchardsurv00crai" target="_blank" rel="noopener"&gt;Courtesy of Internet Archive&lt;/a&gt;</text>
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                <text>&lt;em&gt;Cram's Standard American Railway System Atlas of the World&lt;/em&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~352937~90120236:Composite-Map--New-York---Western-h?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No&amp;amp;qvq=w4s:/where%2FNew%2BYork;q:new%20york%20state%20counties;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&amp;amp;mi=0&amp;amp;trs=184#" target="_blank" rel="noopener"&gt;Courtesy of David Rumsey Historical Map Collection&lt;/a&gt;</text>
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                <text>Although appearing in an atlas focused upon railway systems, this composite image of Western and Eastern New York state also features political boundaries, counties, towns, railroads, steamship lines, topography, bodies of water, drainage, coastlines and islands.</text>
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                  <text>This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources.&lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or &lt;a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener"&gt;digitized articles from local newspapers&lt;/a&gt;. 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.</text>
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                  <text>Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell.&#13;
&#13;
Special thanks to Jessica Pacciotti at the Perry Public Library.</text>
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                <text>This photo is taken by M. M. Crocker of the village of Perry from up on a hill. The Rice Collection annotation dates it to about 1875, referring us to Crocker’s notation on back of print: "View of Perry from the hill South Eastern part of the village looking over the Free Methodist Church as it was years ago. By M.M. Crocker long years ago. M.M. Crocker, March 17, 1922."</text>
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jpeg, 450 KB</text>
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                <text>Dr. Gloria Mattera Delivers Slide Presentation</text>
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            <description>An account of the resource</description>
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                <text>Professor in SUNY Geneseo's School of Education was the first director of the Geneseo Migrant Center, an innovative and multifaceted project to "start where the child is," as she later recalled. Eventually this entailed curricular, child care, and in-camp artist programs. Here we see Dr. Mattera delivering a slideshow talk--an important part of her public-facing role. Note her tag showing photo of a "Project Child" to remind participants what is at stake.</text>
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                <text>Cronin,  Bill</text>
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                <text>Geneseo Migrant Center</text>
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            <name>Date</name>
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                <text>1965-1975</text>
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                <text>Cooper, Ken</text>
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                <text>Dr. Gloria Mattera speaking at a staff development event for the Migrant Center at The State University College at Geneseo. Dr. Mattera is credited for being the first director of this establishment, which was dedicated to educating, providing support and resources, and representing migrant workers in the Western New York region.</text>
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