25 10 1402 https://openvalley.org/files/original/f3a0067e0e35f0d4148b19b36f36d8b5.jpg d30c7c69847b682ed8c2ccea4998ebda https://openvalley.org/files/original/41a5350197314531315fb9d092fa7095.jpg 855d3ff7d86a273e784feb70605e3f31 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. 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 Cutting Room at Perry Knitting Co. Description An account of the resource Roughly thirty people, men and women, pictured by machinery in the cutting room. There are piles of white fabric and some sort of pulley apparatus on the ceiling. Storage shelves in the back of the picture are also filled with bolts of fabric. 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 1910 Contributor An entity responsible for making contributions to the resource Raupp, Emma Source A related resource from which the described resource is derived Clark Rice Photography Collection Format The file format, physical medium, or dimensions of the resource jpeg, 797 KB, 2.2 MB Identifier An unambiguous reference to the resource within a given context 5282.1, 5282.2 Type The nature or genre of the resource Still image Clark Rice Photography Collection Cutting Room Perry Knitting Co. Workers https://openvalley.org/files/original/1d68a8f2f3d1029866290e6a65113b83.jpg 0b8c9371bb106c072d95e6639d00978e https://openvalley.org/files/original/2ec87308ca1a7c4e4fdd5f315c8777f8.jpg d364021c76e3591f6dd9941918f6143f 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 Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History 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 Newspaper advertisements 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 D.B. McNaughton, Furniture & Undertaking Description An account of the resource Number 30 on the Burleigh map, the McNaughton funeral home had been in the family for many years--as this 1902 advertisement proudly affirms. By the next year Duncan had passed away and his son taken over the business. Publisher An entity responsible for making the resource available 1. Caledonia Era 2. Caledonia Advertiser Date A point or period of time associated with an event in the lifecycle of the resource 1902-07-09 1892-08-11 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource 1. jpeg, 212 KB 2.jpeg, 256 KB Source A related resource from which the described resource is derived 1. Caledonia Era 9 July 1902 2. Caledonia Advertiser 11 Aug. 1892 Courtesy of Tom Tryniski / Fulton History. Burleigh Litho Co Caledonia, NY D. B. McNaughton Funeral Home https://openvalley.org/files/original/40753efdb7caacca28071577ff56fd08.jpg e59e5ef16670c244b92548356bfe23ab 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: tack marks, 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 Dahlias Description An account of the resource Alger's painting here depicts a lovely still life of a flowery plant which gives off a warm vibe with with its relatively light colors. Green and light red are the prominent colors in this illustration of a species closely related to sunflowers. Circling around the pinkish flower are green leaves, painted with in a realistic style. About the Artist: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (New York Tribune 18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (Brooklyn Daily Eagle 7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Alger, John [Herbert], 1879-1967 Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Bang, Jay (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 #FA18108 Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 1937-03-09 Format The file format, physical medium, or dimensions of the resource jpeg, 797 KB Identifier An unambiguous reference to the resource within a given context 018 Federal Art Project John Alger New Deal Gallery painting still life https://openvalley.org/files/original/f0ff90bca79f5909d9695c06c728cac2.jpg f7e8a8b91337f3d0658400dac4ea517d https://openvalley.org/files/original/f029794528bd76fb5a84bed22dbdc29f.jpg 649d062d875c011a8fd75440cc86650f 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 Mills of Genesee Valley Description An account of the resource Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (lumber mill); grinding corn into animal feed or for distilling alcohol (grist mill); grinding wheat or other grains (flour mill); creating boxes and other products from wood pulp (paper mill); fabricating metals (triphammer mill); powering industrial equipment (textile mill); and by the 1880s creating electricity via turbines. This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century. 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 Photographs 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 Dam Construction at Ashantee Description An account of the resource Two photographs taken by Martha Blow Wadsworth (wife of Herbert Wadsworth) show the building of a dam to power a mill at Ashantee, roughly where Littleville Road crosses Conesus Creek. The captions read: "Upper side of dam at Ashantee in process of building 1904," and "Lower side of dam--unfinished." Publisher An entity responsible for making the resource available Wadsworth, Martha Blow (1864-1934) Date A point or period of time associated with an event in the lifecycle of the resource 1904 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Martha Blow Wadsworth Image Collection Milne Library Special Collections, SUNY Geneseo Format The file format, physical medium, or dimensions of the resource jpeg, 486 KB jpeg, 652 KB Ashantee Conesus Creek mills Wadsworth, Herbert Wadsworth, Martha Blow https://openvalley.org/files/original/3ef9af4305c5d0cdc6ebf39e17d223ed.jpg 783edc212fc58bca09124501385bdb41 https://openvalley.org/files/original/58a44db4d64afb64c547525fe5fa07b6.jpg 4e1e835f7611a5bc883a7bc9f6fa92cf 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 Woodcut on paper Physical Dimensions The actual physical size of the original image Image 6 1/2 x 8 1/2 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 Dangerous Crossing Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 644 KB Description An account of the resource Abramovitz's woodcut print creates a heavy contrast thanks to it monochrome color scheme. Every etch in this engraving appears to be done with the same tool: fine, intricate lines create every form, figure, and detail in the piece. This approach to engraving gives the print a sketch-like appearance. The background confirms that the setting of this work is placed in a city, with tall buildings and shops taking up the middle ground and background. The focal point of the work is a woman who is crossing the city street--she is walking away from the viewer while simultaneously looking back at us, her head turned and face bearing an expression of wariness. The woman has two children with her, both of whom also look at the viewer: one older child who is holding her hand, and an infant who she is carrying under her arm. Behind them, there is another female figure, but the etching done on her is less intricate than the figures in the foreground, and thus her facial features are impossible to make out. The image feels tense, and for good reason: This image portrays the uncertainty and stress of raising children during the Great Depression, not simply crossing a street. It is a mother’s duty to protect her children, and the woman we see in this painting is doing just that. She appears on edge, with her body language positioned to seem as if she is protecting her children. The scene shows that mothers, even in the face of economic collapse, had the responsibility of both caring for and protecting their children from the adversity of the time. About the Artist Albert Abramovitz was an American painter and printmaker known for his expressive woodcuts and socially conscious imagery. He was born in Riga, Latvia, to a Jewish family. Abramovitz received early artistic training in Odessa before continuing his studies in Paris at the Académie de la Grande Chaumière. During his time in Europe, he gained recognition by exhibiting at major salons, and he would win the Grand Prize at the 1911 Universal Exposition. He later joined the jury of the Salon d’Automne in 1913. In 1916, Abramovitz immigrated to the United States, where he spent the remainder of his career. He held his first solo exhibition in Manhattan, in 1921, and later lived in Los Angeles before returning to Brooklyn. He produced prints that reflected political and social realities that were topical. An early reviewer wrote of his painting that, “though varied in subject, it is animated by a single high ideal—the earnest search for a higher truth than dwells on the surface of things” (Anderson). His work became more closely associated with the social and economic struggles of the early 20th century, particularly during the Great Depression. Abramovitz worked for the Federal Art Project during this time, specifically under the Graphic Arts Division, creating prints that were social commentaries on the state of the world. Through wood engravings and linocuts, he depicted unemployment, urban hardship, and everyday life, often emphasizing themes of poverty and resilience. His works were often praised for their subtle theming, and at the time, he was considered a master at his craft due to this, as well as for his skill in creating engravings with such fine detailing. His art frequently carried strong emotional and symbolic elements, sometimes addressing disaster, human suffering, and adversity. Abramovitz died in 1963 in New York. Today, he is remembered as an important figure in American printmaking, particularly for his ability to combine technical precision with powerful social commentary. 65 works at <a href="https://art.gsa.gov/artists/794/albert-abramovitz/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 23 works at <a href="https://brierhillgallery.com/albert-abramovitz-" target="_blank" rel="noopener">Brier Hill Gallery</a>. 21 works at <a href="https://www.metmuseum.org/art/collection/search?q=Albert+Abramovitz" target="_blank" rel="noopener">The Metropolitan Museum of Art</a>. 10 works at <a href="https://collections.vam.ac.uk/search/?page=1&page_size=15&q=Albert+Abramovitz" target="_blank" rel="noopener">Victoria and Albert Museum</a>. 8 works at the <a href="https://www.nga.gov/artists/33107-albert-abramovitz" target="_blank" rel="noopener">National Gallery of Art</a>.6 works at <a href="https://www.annexgalleries.com/artists/biography/2641/Abramovitz/Albert" target="_blank" rel="noopener">The Annex Galleries</a>. 2 works at <a href="https://americanart.si.edu/artist/albert-abramovitz-11" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="https://spencerart.ku.edu/art/collections-online/artist/15400" target="_blank" rel="noopener">Spencer Museum of Art</a>. 1 work at <a href="https://benuri.org/artists/38-albert-abramovitz/works/" target="_blank" rel="noopener">Ben Uri Gallery and Museum</a>. 4 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-5" target="_blank" rel="noopener">FAP</a>. 6 images at <a href="https://art.gsa.gov/people/794/albert-abramovitz/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: Who Was Who in American Art, ed. Peter Falk (1985) <a href="https://archive.org/details/sim_los-angeles-times_the-los-angeles-times_1925-12-06/page/43/mode/1up?q=%22albert+abramovitz%22" target="_blank" rel="noopener">Link</a>; Annex Galleries, “Albert Abramovitz” <a href="https://www.annexgalleries.com/artists/biography/2641/Abramovitz/Albert" target="_blank" rel="noopener">Link</a>; Antony Anderson, “Albert Abramovitz in Varied Exhibit” (Los Angeles Times 6 Dec. 1925: 43) <a href="https://archive.org/details/sim_los-angeles-times_the-los-angeles-times_1925-12-06/page/43/mode/1up?q=%22albert+abramovitz%22" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Abramovitz, Albert (1879 - 1963) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935 Contributor An entity responsible for making contributions to the resource Papapietro, Isabella (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Object #FA 1066 Type The nature or genre of the resource Still image Albert Abramovitz Federal Art Project New Deal Gallery woodcut https://openvalley.org/files/original/52df2d5f887edf6653783e7c4874fcf6.jpg b9b0f872f30bdfbf65ecef3dd42b3efe https://openvalley.org/files/original/b6a470e143f1a975de35d1f23ddd8a21.jpg 02585418f3f76d3b4acdab7d2e5cf9ed 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 Map in brochure Physical Dimensions The actual physical size of the original image 8 x 12 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 Dansville and Mount Morris Railroad, and Connecting Systems Description An account of the resource Two maps from a railroad promoting local industry makes the case that its short line links to many distant markets. Creator An entity primarily responsible for making the resource Industrial Department, Dansville and Mount Morris R.R. Company Date A point or period of time associated with an event in the lifecycle of the resource 1924 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Dansville and Mount Morris Railroad Company, "Industrial Possibilities of Dansville (Dansville, NY, 1924)j Format The file format, physical medium, or dimensions of the resource jpeg, 2.9 MB Dansville and Mount Morris RR Dansville, NY Mount Morris, NY Railroads https://openvalley.org/files/original/9f03e53d4650a716867cce6aac63819f.jpg ec94007309db2e8c9f4963cf539bbf39 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 Brochure illustration Physical Dimensions The actual physical size of the original image 5.75 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 Dansville is Within 500 Miles Description An account of the resource Bullseye map for a railroad promotional brochure reads; "Dansville is within 500 miles of 3/4 the population of Canada and 1/2 the population of the United States" Creator An entity primarily responsible for making the resource Industrial Department, Dansville and Mount Morris R.R. Date A point or period of time associated with an event in the lifecycle of the resource 1924 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Dansville and Mount Morris Railroad Company, "Industrial Possibilities of Dansville," (Dansville, NY: 1924) Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB Dansville and Mount Morris RR Dansville, NY Map https://openvalley.org/files/original/70be43c099508d767688fbc8ab0c0b11.jpeg 50fe14e989c945344af3a3032efec5c7 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 metal tray Physical Dimensions The actual physical size of the original image 11.75 x 17.75 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 Dead End Description An account of the resource A piece of art by James Guy, known social surrealist, of a few figures and images clashing with each other. Creator An entity primarily responsible for making the resource James Guy (1909-1983) Publisher An entity responsible for making the resource available Hirshl & Adler Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource Michalak, Benjamin Source A related resource from which the described resource is derived Hirshl & Adler Format The file format, physical medium, or dimensions of the resource jpeg, 729 KB James Guy Social Surrealism https://openvalley.org/files/original/72d299548dc110f9a1b3da066064e54c.jpg 9baf94d5b1d41bd825b35830a0dfd841 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 Photograph Physical Dimensions The actual physical size of the original image Oil painting: 30 x 24 in. Photograph: 6 x 4 in. Condition: stolen 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 December in Venice Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Description An account of the resource In 2008 this painting, loaned for exhibition at the Mills Mansion, Mt. Morris, <a href="https://www.nbcwashington.com/investigations/Depression-Treasures-Hunting-for-WPA-Paintings-275523541.html" target="_blank" rel="noopener">was stolen</a> and has yet to be recovered. The digital image shown here has been scanned from a photographic print. Although the location of this bridge is not known—there are some 400 in Venice—it evokes a pleasing range of saturated and pale colors, sunlit highlights and shadowy walkways. On the canal we see a gondolier and three red and white pali da casada (“poles of the family”) marking a distinct location. Everything a view might want of Venice is here in Polowetski’s painting. About the Artist: Born in Bielsk, Poland, Polowetski immigrated to the US in 1892. He grew up in New York city amidst harrowing conditions; when ten years old and a ward of the Deborah Nursery and Child’s Protectory—which provided day care for poor working parents—Polowetski and two other boys were “locked in the cellar of the institution and after being flogged tied to gas pipes and left prisoners in the dark hole” (“He Flogged the Children”). Given this childhood his subsequent career is remarkable: at age sixteen he studied with <a href="https://en.wikipedia.org/wiki/Robert_Frederick_Blum" target="_blank" rel="noopener">Robert Frederick Blum</a> at the National Academy of Design, then in 1903 after receiving a scholarship with <a href="https://en.wikipedia.org/wiki/L%C3%A9on_Bonnat" target="_blank" rel="noopener">Léon Bonnat</a> at the École nationale supérieure des Beaux-Arts. In Paris <a href="https://www.tate.org.uk/art/research-publications/camden-town-group/chronology-r1107098" target="_blank" rel="noopener">he became friends</a> with painters like Bernard Gussow and Samuel Halpert, exhibited at the Salon d’Automne, and eventually maintained a studio up to and during the Great War before fleeing in 1915. Plowetski’s efforts at returning to France in 1919 reveal efforts on his behalf by fellow painters <a href="https://en.wikipedia.org/wiki/George_Elmer_Browne" target="_blank" rel="noopener">George Elmer Browne</a> and <a href="https://portsmouthhistorynotes.com/2017/04/07/oscar-miller-bristol-ferry-artist/" target="_blank" rel="noopener">Oscar Miller</a>. Polowetski was a member of the Salmagundi Club and, while in Paris, of the American Art Association. His vivid landscapes and portraits were exhibited in American venues like the Corcoran Gallery, the Salons of America, and the Pennsylvania Academy of the Fine Arts. In all likelihood he made his living as a portraitist, receiving commissions by bank officers, industrialists, university presidents, governors, and the like; among his FAP works is one of the pilot and explorer Floyd Bennett, for whom a New York airport was named. In 2008 Polowetski’s NDG painting “December in Venice,” loaned for exhibition at the Mills Mansion, Mt. Morris, <a href="https://www.nbcwashington.com/investigations/Depression-Treasures-Hunting-for-WPA-Paintings-275523541.html" target="_blank" rel="noopener">was stolen</a> and has yet to be recovered. After World War II Polowetski moved to Santa Fe and began painting in the American southwest, then lived the final years of his life in California. 1 work at the <a href="https://www.npg.org.uk/collections/search/person/mp07441/charles-ezekiel-polowetski?role=art" target="_blank" rel="noopener">National Portrait Gallery, UK</a>. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-30" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Polowetski, Charles Ezekiel, 1884-1955 Publisher An entity responsible for making the resource available Federal Art Gallery 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) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18242 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 149 Charles Polowetski Federal Art Project New Deal Gallery painting Venice, Italy https://openvalley.org/files/original/43328f60203618f2de7a831192e60c40.JPG 19e2fec5270bb7c09668f7075ed8be7f 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 25 x 20 in. Condition: surface dirt, slight chipping and pitted 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 Deserted House Description An account of the resource An off-white house, set behind a tree with branches reaching over the roof, sits in an opulent environment of greens, browns, and yellows. Visible brush strokes in the siding of the house show shadows and rotting wood; in the tree, they texture the roundness of the trunk and the wispiness of the uppermost limbs, seeming to stretch as far as they can until they taper off. A thin, copper ladder rests against the porch, while further in the distance sits an indistinct red building.  About the Artist: Born in New York, New York, Varian studied at Cooper Union after dropping out of high school at age 15. Graduating with honors, she went on to study under <a href="https://en.wikipedia.org/wiki/John_French_Sloan" target="_blank" rel="noopener">John Sloan</a> at the Art Students League. During her time there, she met <a href="https://en.wikipedia.org/wiki/Gertrude_Vanderbilt_Whitney" target="_blank" rel="noopener">Gertrude Vanderbilt Whitney</a> and the two formed a professional relationship, opening the Studio Club with fifteen other prominent New York artists in 1918. Varian developed her skills as a Colorist in Paris, where she studied from 1920 to 1922. While there, she held her first one-woman show at the <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=2ahUKEwjv15vjrtrgAhVFNd8KHdW1CfoQFjAAegQIDBAB&url=http%3A%2F%2Fwww.durand-ruel.fr%2Fen&usg=AOvVaw3DWShfJGdx5P5eXy9AEA6W" target="_blank" rel="noopener">Durand-Ruel Galleries</a>. Choosing to move to Woodstock, New York after Paris was a social choice for Varian; many of her colleagues from the Studio Club and Art Students League had settled there to serve in teaching roles at the Woodstock School of Art, where she exhibited on numerous occasions. Varian also showed at the Brooklyn Museum, Carnegie International, Corcoran Galleries, Downtown Galleries, <a href="https://www.moma.org/calendar/exhibitions/2942?locale=en" target="_blank" rel="noopener">Museum of Modern Art</a> (1936), Smithsonian American Art Museum, Whitney Museum of American Art, and Yale University. Critics and viewers alike commented on her use of color as a focal point of her pieces; one noted her “luminous values and clarity of line”, while highlighting the “refreshing simplicity” of her brush strokes (“Varian”). Another praised how each of her paintings “demonstrate her concern with beauty”, and likewise her perfection of “depth, space, and light” perception (“Woodstock”). With her upbringing in the Arts Students League, she was “among the progressive artists challenging the strictures” of traditional art (Kiehl). Many of Varian’s contemporaries worked with Cubism, Precisionism, and Surrealism; the perspective she applied to her work is uncanny in nature, with attention paid to the accentuation of brush strokes and distorted dimensions. In offering lush color contrast and variety, however, Varian displays an emotional complexity rooted in natural environments. 6 works at the <a href="https://whitney.org/artists/1366" target="_blank" rel="noopener">Whitney Museum of Art</a>. 5 works at <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/Varian%2C%20Dorothy/field/creatb/mode/exact/conn/and" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. 1 work at the <a href="https://woodstockschoolofart.org/the-woodstock-landscape/dorothy-varian-untitled-oil-15-x-26/" target="_blank" rel="noopener">Woodstock School of Art</a>. 1 work at <a href="https://americanart.si.edu/artwork/summer-pastures-25599" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-23-folder-27" target="_blank" rel="noopener">FAP</a>. Papers can be found at <a href="https://www.aaa.si.edu/collections/dorothy-varian-papers-9258/series-3" target="_blank" rel="noopener">Archives of American Art</a>. Sources Consulted: “Varian Exhibition Open at Parnassus to Sept. 10,” Kingston Daily Freeman 25 Aug. 1953: 9; “Woodstock Artist Has Showing in L.I. University,” Kingston Daily Freeman 6 Nov. 1961: 24; David W. Kiehl, Between the Wars: Women Artists of the Whitney Studio Club and Museum (Whitney Museum of Art, 1997). Creator An entity primarily responsible for making the resource Varian, Dorothy (1895-1985) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-08-24 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Michalak, Benjamin (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18282 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 Identifier An unambiguous reference to the resource within a given context 189 Dorothy Varian Federal Art Project New Deal Gallery Oil on Canvas