3 10 1402 https://openvalley.org/files/original/8a362dd87d24b025d47c187d7c950608.jpg 8aa90c4e40acea10baa611da6b001b5c https://openvalley.org/files/original/72fe846c9e00f66b65417619956f004a.jpg 456bf9a5e313446c3bcc9a5d30d108c0 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 of oil painting Physical Dimensions The actual physical size of the original image 8 x 10 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 Orchard Format The file format, physical medium, or dimensions of the resource jpeg, 640 KB Description An account of the resource The title of this painting is paradoxical, since none of the trees depicted appear to be the fruiting varieties usually associated with commercial orchards. Nor is it entitled "Arboretum," a collection of species under a landscaping rubric. Instead, Aberathy asks us to think about the relation between humans—represented in the two figures at lower right—and the fecundity of nature beyond our own definitions. About the Artist: Abernathy, Inez. (1873-1956) Born in Summerville, AR, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and the<a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener"> Florida Female College</a>. At this last institution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (The Weekly True Democrat 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (San Francisco Chronicle 26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more digital images from<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Abernathy, Inez, 1873-1956 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 1939-06-12 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 1, Folder 4.</a> Federal Art Project Green New Deal Inez Abernathy 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/c0f5dd4dc33e3dcfbd12e5abb5d6d18f.jpg 340852ca9a083215b0a51d3fee964bce https://openvalley.org/files/original/78d4812edb59313ba08a96fb56da3a30.JPG 69928ff679de7000c26f74b1156750bb 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 24 X 30 in. Condition: surface dirt, marked with pen, unframed 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 Still Life on a Table Description An account of the resource A table supports a toppled paper bag of fruit, strewn directly on the table or on a white cloth. In the background is an empty vase. The wooden furniture is so shiny that fruit reflects off of its surfaces The light source is unclear, but a curtain in the background suggests there is probably a window which could be partially unshaded, thus providing the scene with light. About The Artist: Born in Frostburg, MD, Abramson (whose first name sometimes is spelled Hirshel) studied at the Maryland Institute of Fine Arts and later in Paris with<a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Lhote" target="_blank" rel="noopener"> André L’hote</a>. He painted in a Cumberland, MD studio before moving to New York City in 1931 where he showed at the Ainslee Galleries. A critic for the New York Times admired his work for incorporating “the best qualities of the L’hote Academy—architectonic composition and integrated color—into really fine canvases. His still-lifes, too, with the shimmering tones of cloth and fruit woven with contrapuntal into rich color fugues, justify the discipline of cubism” (New York Times 19 June 1932: 25). 7 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-6" target="_blank" rel="noopener"> FAP</a> Creator An entity primarily responsible for making the resource Abramson, Hershel, d. 1969 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 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Stern, Alison (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 # FA18097 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 12.4 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 007 Federal Art Project hershel abramson New Deal Gallery painting https://openvalley.org/files/original/d926a891486b1cbaa0f1c76e470e831a.jpg 5a2c57ced54c2a041ba3c01fb57cb890 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 Digital 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 East Delaware Aqueduct Building, Pepacton Reservoir Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 281 KB Description An account of the resource Entrance chamber building for the Delaware Aqueduct, a system that provides over half of New York City with its water. Creator An entity primarily responsible for making the resource Acroterion Publisher An entity responsible for making the resource available <a href="https://commons.wikimedia.org/wiki/File:East_Delaware_Aqueduct_building_Pepackton_Reservoir_NY1.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource 2015-10-20 Delaware River Deleware Aqueduct Pepacton Reservoir Watersheds https://openvalley.org/files/original/6c32b83d659f45b0cc10c8d1e313dfdb.jpg a8c949914e6e4eeaed3a24e01f822e3c 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 30 x 24 in. Condition: small tear, 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 Apples Description An account of the resource We look upon a remarkably minimalist still life--sixteen apples upon a wooden board or table--but by the time of Adler's painting they were highly charged objects due to the thousands of minimally employed apple vendors on New York streets during the Great Depression. Keeping this in mind, we see an insistence upon each apple being represented individually, and for that matter each row of wood laminated into the wooden board. Adler's light and colors are direct, with very little shadow. About the Artist: Born in New York, Adler was the son of Russian immigrants—his father a dressmaker and eventual NDG artist Joseph Adler. Fred studied two years at National Academy of Design, then two more at the Art Students League with <a href="https://en.wikipedia.org/wiki/Raphael_Soyer" target="_blank" rel="noopener">Raphael Soyer</a>. At age twenty he was employed by the Federal Art Project and assigned to a Civilian Conservation Corps project in Milford, IA where he “sketch[ed] characteristic moments in camp life” (Milford Mail 6 Sept 1934: 2). In 1940 his “Still Life With Herring” was selected for a Musuem of Modern Art traveling exhibition called <a href="https://www.moma.org/calendar/exhibitions/2979?locale=en" target="_blank" rel="noopener">“35 Under 35.”</a> Along with NDG artists Herman Copen and Ben Delman, Adler’s painting “Avenue C market” was included in a 1941 show focused upon “Market Scenes,” and held at the USDA’s Surplus Marketing Department in New York. 1 painting at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-8" target="_blank" rel="noopener">Smithsonian Museum of American Art</a>. 8 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-30" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Adler, Fred[erick M], 1914-2012 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-10-20 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 #FA18099 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 Identifier An unambiguous reference to the resource within a given context 009 Civilian Conservation Corps Federal Art Project Fred Adler Joseph Adler New Deal Gallery painting still life https://openvalley.org/files/original/9c23757b8e10322f4c8abb74ea9564d2.jpg c02b1809681c2276f170d27b25b8e9ee 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 16 x 20 in. Condition: cracking paint, crayon marks 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 Still Life in Red and Blue Creator An entity primarily responsible for making the resource Adler, Joseph Louis, 1895-1975 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-04-27 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 #FA18100 Format The file format, physical medium, or dimensions of the resource jpeg, 795 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 010 Description An account of the resource A simple grouping of teapot, cup and spoon, cherries and an orange becomes an exploration of color and form thanks to Adler's gauzy rendering. Neutral backgrounds of brown and tan set apart small placements of red and blue; a painting upon the wall echoes those two colors in more explicitly geometric forms. About the Artist: We haven’t located much reliable information about this artist. Born in Poltava, Russia (modern-day Ukraine) as Joseph Zaganchinsky, Adler immigrated to the US in 1907. Census records show him to have been a dressmaker, but obviously he seems to have painted as well. He was the father of NDG artist Fred Adler. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-9" target="_blank" rel="noopener">FAP</a>. Federal Art Project Fred Adler Joseph Adler New Deal Gallery painting still life https://openvalley.org/files/original/7178a07c64a294edf50b33f0d780be5d.jpg a48fc481289ca914328b04c5dcc0614d https://openvalley.org/files/original/fb91a48d2b882c5051809388f3f3bce3.jpg 0c00e01befd8428d351e55b2d22e2918 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 Digital 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 Cathedral Termite Mounds Description An account of the resource These striking natural structures are created by the cathedral termite (Nasutitermes triodiae) of Northern Australia. The tallest mounds can exceed ten feet in height. They appear in OpenValley as part of the <a href="https://openvalley.org/exhibits/show/green-new-deal--letchworth-ear/5-" target="_blank" rel="noopener">"Open World"</a> exhibit exploring the confluence of natural and human-made art. Creator An entity primarily responsible for making the resource Alan (Flickr user name) Publisher An entity responsible for making the resource available Flickr Date A point or period of time associated with an event in the lifecycle of the resource 2005-07-28 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Used by permission of a Creative Commons 2.0 license. <a href="https://www.flickr.com/photos/kaptainkobold/33624228" target="_blank" rel="noopener">Link here to the original image.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 358 KB Earth Art Green New Deal Letchworth State Park https://openvalley.org/files/original/9c8c581ded69c3618cd418d7b610afaa.jpg 6097249d267ad578221fd51d22eebff4 https://openvalley.org/files/original/4903fc60d514100697bc5a9f0786dbce.jpg bc7899e1ea4104cbb02ff1d0914e9b84 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 Postcard Physical Dimensions The actual physical size of the original image 3.5 x 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 Portage Bridge from Inspiration Point, Letchworth State Park, N.Y. Description An account of the resource Hand-colored postcard shows Genesee River Gorge from Inspiration Point, also featuring at left the Genesee Valley Canal and in the distance the Erie Railroad's Portage viaduct. Genesee Gorge Series No. 19 Publisher An entity responsible for making the resource available J. Lee Folts, Jeweler, Mt. Morris NY Date A point or period of time associated with an event in the lifecycle of the resource 1905-1920 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 652 KB jpeg, 309 KB Creator An entity primarily responsible for making the resource Albertype Co., Brooklyn NY Type The nature or genre of the resource Postcard Erie Railroad Genesee Gorge Series Genesee River Genesee Valley Canal Inspiration Point Letchworth State Park Portageville, NY https://openvalley.org/files/original/9249517026b00869a97cdcd9ae8502cc.jpg bd76f5e12d7d4a5c28d5ba7a249c85d1 https://openvalley.org/files/original/5241227c9bc58e3e66ff7c23f3d858ec.jpg c8425fac409fdc666846f7d02aa21aa2 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 Postcard Physical Dimensions The actual physical size of the original image 3.5 x 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 Middle Falls, Letchworth State Park, N.Y. Description An account of the resource Focal point of Glen Iris area features Erie Canal viaduct in background. Photograph is notable for the Middle Falls Overlook, visible at the right side of falls, indicating a date prior to 1915. Genesee Gorge Series: No. 11 Creator An entity primarily responsible for making the resource Albertype Co., Brooklyn NY Publisher An entity responsible for making the resource available J. Lee Folts Date A point or period of time associated with an event in the lifecycle of the resource 1910-1914 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 623 KB jpeg, 319 KB Type The nature or genre of the resource Postcard Erie Railroad Genesee Gorge Series Genesee River Letchworth State Park Middle Falls https://openvalley.org/files/original/2307c2a4087a5a4bd17e74f6c4af9a79.jpg 20575369105dc7eaec9b5f0242df77e5 https://openvalley.org/files/original/5c35a0e2d392848e09d19c7194093e11.jpg 7d8387c210acb8651a869470eafb360b 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 Postcard Physical Dimensions The actual physical size of the original image 3.5 x 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 Upper Falls, Letchworth State Park, N.Y. Description An account of the resource Hand-colored postcard depicts the Upper Falls of Genese River near Portage. Usually shown with the Erie Railroad bridge, this view focuses upon the falls themselves, looking downstream. Genesee Gorge Series: No. 22 Creator An entity primarily responsible for making the resource Albertype Co., Brooklyn NY Publisher An entity responsible for making the resource available J. Lee Folts Date A point or period of time associated with an event in the lifecycle of the resource 1905-1915 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 657 KB jpeg, 370 Kb Type The nature or genre of the resource Postcard Genesee Gorge Series Genesee River Letchworth State Park Upper Falls