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                <text>Photograph from a now-defunct news service company shows the High Falls area of Genesee River. At right we see the Gorsline Building that housed three main manufacturing operations at this time: Williams, Hoyt &amp; Co. (a maker of shoes); the Rochester Folding Box Company; and Genesee Lithographic. Previously at this location had been the Steam Gauge and Lantern Works factory. In 1888 a major fire destroyed the building and killed an estimated 34 men and boys. Note: there are two images here, a slightly cropped image of a smaller file size, and a larger file of the original image.</text>
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                <text>Retrieved from the Library of Congress, &lt;a href="https://lccn.loc.gov/2016805433" target="_blank" rel="noopener"&gt;&amp;lt;www.loc.gov/item/2016805433/&amp;gt;&lt;/a&gt;</text>
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                <text>Hotel Washington opened in 1918 and remains standing today, listed on the National Register of Historic Places. Due to its location across the street from the Treasury Department and proximity to the White House, the hotel has remained relevant to the city's so-called Financial District. &lt;br /&gt;&lt;br /&gt;Its interest to OpenValley concerns a 1931 conference held there by the Conference on the Cause and Cure of War. The pacifist organization, led by Carrie Chapman Catt, was attended by Caledonia resident Isabel Fraser Harmon due to her affiliation with the Young Women's Christian Association. The YWCA was one of eleven women's organizations supporting the conference--including the American Association of University Women, Woman's Christian Temperance Union, National League of Women Voters, and more.&lt;br /&gt;&lt;br /&gt;&lt;em&gt;Note: the original digital image, in color, has been modified to black &amp;amp; white to better match other documentary materials from this period&lt;/em&gt;</text>
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                <text>&lt;a href="https://commons.wikimedia.org/wiki/File:Washington_Hotel_HDR.jpg" target="_blank" rel="noopener"&gt;Wikimedia Commons&lt;/a&gt;</text>
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                <text>lone tree</text>
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                <text>A view of the Great Plains in Nebraska.</text>
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                <text>This small watercolor uses a technique Dove called "extraction": abstracting from some landscape only those elements necessary to render it. Here we see a few lines of ink used to trees, clouds, and a power line; watercolor and gouache then complete the forms. Horizontal layers effectively capture the distinctive long shapes and surrounding hills of New York's Finger Lakes region.&lt;br /&gt;&lt;br /&gt;Dove was born in Canandaigua to a wealthy family, graduating from Cornell University and expected to follow a career appropriate to that education. Instead, he worked in commercial illustration and traveled to Europe; eventually upon returning to America he became friends with photographer and gallery owner Arthur Stieglitz, who encouraged his experiments with abstraction.</text>
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                <text>This letter, written by Dow to Letchworth, describes the initial reaction Dow and others had to a proposed reforestation project in partnership with Letchworth. Dow discusses his efforts to get in touch with people to begin making the project a reality. </text>
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                <text>Courtesy of Letchworth State Park, Visitors Center, accession number LE.2012.93</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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      <description>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.</description>
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              <text>Oil Painting</text>
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              <text>30 x 24 in.</text>
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                <text>Bridlepath, Central Park </text>
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                <text>Three women and one man are seen riding horses along a muddy trail; a younger rider with two braided pigtails leading them. A faded building is seen in the background--and we remind ourselves that this is New York City. There seem to be three distinct parts of this painting: the upper includes the building and the top parts of the trees; the middle includes the horses and the people. The bottom part of the painting is separated distinctly where the grass meets the trail, including the horses' feet and the muddy trail. &lt;br /&gt;&lt;br /&gt;About the Artist: We haven’t located much reliable information about this artist. As his NDG painting suggests, Dowling appears to have specialized in sporting art. He created an historical painting, “Saratoga, 1917” that showed Racing Association members living and deceased (&lt;em&gt;New York&lt;/em&gt; &lt;em&gt;Herald &lt;/em&gt;6 Aug. 1918: 3). Nine years later Dowling was asked to add 13 additional figures on the strength of his reputation in England and the US, which had included a portrait of Theodore Roosevelt. He also ran a series of portraits in &lt;em&gt;Town and Country&lt;/em&gt; depicting the opera singer Enrico Caruso, lawyer Paul D. Cravath, financier Otto H. Kahn, and broker Henry Rogers Winthrop (&lt;em&gt;The Saratogian &lt;/em&gt;15 Aug. 1927: 5).</text>
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                <text>Dowling, William, 1907-1980</text>
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                <text>Federal Art Project</text>
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                <text>1935-1940</text>
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                <text>Ritz, Abigail (photography) &lt;br /&gt;&lt;br /&gt;Apthorpe, Jessica (biography) &lt;br /&gt;&lt;br /&gt;Cooper, Ken (biography)</text>
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                <text>New Deal Gallery, Genesee Valley Council on the Arts &lt;br /&gt;&lt;br /&gt;Object #FA18145</text>
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                <text>jpeg, 1.1 MB &lt;br /&gt;jpeg, 13.4 MB</text>
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            <name>Identifier</name>
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        <name>painting</name>
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        <name>William Dowling</name>
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                <text>Underground Railroad "tunnel," Geneseo</text>
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                <text>2015 street excavation project unearthed a tunnel at 5 Main Street that evoked fugitive slaves, but may simply have been an old sewer line</text>
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                <text>Druse, Kristen</text>
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                <text>Druse, Kristen</text>
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              <text>“What really bothers me about the tunnel incident is the assumption that always exists in terms of history with people forgetting that it’s romanticized. That particular location is especially odd because that particular building on Main Street was a factory (machine shop and lumber business). Believes that the tunnel was a waste tunnel because the factory would have needed this (1858 map- machine shop). &#13;
&#13;
If you were risking life and limb to get to freedom, why would you come to the center of commerce in Livingston County? The village of Geneseo is way up on a hill, the train line was down by Riverside Drive. The river was very treacherous to travel on and was very winding, so it wouldn’t have been the ideal way to move quickly. The canal built connecting the Erie Canal to Olean would have actually been the ideal way to travel as it was far more direct. &#13;
&#13;
Most of the tracks and routes in New York were headed towards Buffalo, as this was easiest and shortest way to get to Buffalo.”</text>
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          <element elementId="50">
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                <text>Amie Alden Tunnel Interview</text>
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                <text>Interview with the Livingston County Historian concerning her opinion on the actual purpose of the rumored Underground Railroad tunnel on Geneseo's Main Street. </text>
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                <text>Frederick Douglass Rochester statue</text>
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                <text>The Frederick Douglass statue in Rochester, NY was originally displayed in a high-traffic area in front of a railroad station. The statue was later transported to Highland Park. </text>
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                <text>The construction of the New York Central Railroad station in Rochester was indicative of a rise in industrialist development in the city in the mid-1800s. </text>
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