30 10 1402 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/84c47327ec9acb0fe9614cd53db759ac.jpg 9ec0911de8102011b5cad3257d2951a4 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource East Esplanade Bandstand, Pan-American Exposition of 1901 Description An account of the resource Held in Buffalo, NY, the wonders of Niagara Falls electricity were shown via 240,000 lightbulbs Creator An entity primarily responsible for making the resource Unidentified (C. D. Arnold?) Date A point or period of time associated with an event in the lifecycle of the resource 1901 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Collection of the Buffalo History Museum. Used by permission. Format The file format, physical medium, or dimensions of the resource jpeg, 865 KB Type The nature or genre of the resource Photograph Buffalo, NY electricity Pan-American Exposition Sheffield Peabody https://openvalley.org/files/original/9eac4dff026112f777a550a06338b390.jpg aae119ba13c0f4e2e1801ad04299351b https://openvalley.org/files/original/ae4d80b7f4e13e4d30e049e9f2be1c9a.jpg f6c310bf5ce73f9f159bcc6f050d433a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas painting Physical Dimensions The actual physical size of the original image Canvas: 35 x 28 3/4 in. Frame: 40 7/8 x 34 7/8 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 East River Landscape Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 1.1 MB Creator An entity primarily responsible for making the resource Oley, Moses (Mieczyslaw Oley), 1898 - 1978 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 1935-1942 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 126 Type The nature or genre of the resource Still image Description An account of the resource 7 images at <a href="https://art.gsa.gov/people/2156/moses-oley/objects" target="_blank" rel="noopener">GSA</a>. East River, NY Federal Art Project industrialization Moses Oley New Deal Museum New York, NY painting https://openvalley.org/files/original/9d5b61a91a63f9ae2928a2cc8f462af6.jpg d860eecb1fd1660c76f2d30176d7e54c https://openvalley.org/files/original/bb5192fe8499642bf14da3f560a51275.jpg f58ffaa4ed881a95005d94aa8786b929 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 Physical Dimensions The actual physical size of the original image 12 x 15 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 East Springwater Contributor An entity responsible for making contributions to the resource Hong, Nicky Source A related resource from which the described resource is derived "Atlas of Livingston Co., N.Y., from Actual Surveys Done by and Under the Direction of F. W. Beers." New York : F. W. Beers, 1872. Rochester Public Library Format The file format, physical medium, or dimensions of the resource jpeg, 463 KB jpeg, 1.8 MB Description An account of the resource Detail from an 1872 map shows the location of Sheffield Peabody's house, next to School #4 Creator An entity primarily responsible for making the resource Beers, F.W. Publisher An entity responsible for making the resource available F.W. Beers Date A point or period of time associated with an event in the lifecycle of the resource 1872 Type The nature or genre of the resource Map https://openvalley.org/files/original/a70ffbc86a3d93aad7f6331dde54599b.JPG 0f67b206c00cba435e9a7f177dc8793d 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: surface dirt, slightly 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 Easter Bouquet Description An account of the resource In this still life we see upon a sideboard a pot planted with large lillies, as well as smaller flowers growing around them. There is a book open, which looks to be a highly stylised Bible, propped up in its own rectangular vessel. Given the painting's title which one is the Easter Bouquet--the one including lillies (a traditional symbol of resurrection) or the Bible itself? Both are illuminated against a dark background that seems to encompass more than just shadows. About the Artist: About the Artist: Among the most accomplished and internationally known of the New Deal Gallery artists, Burliuk called himself “The Father of Russian Futurism” with good reason. He was an important figure in early 20th-century avant-garde circles, collaborating or exhibiting alongside painters like Kandinsky,  Picasso, and Rousseau;<a href="http://nationaltranslationmonth.tumblr.com/post/76356120439/david-burlyuk-translated-from-the-russian-by-alex" target="_blank" rel="noopener"> writing poetry</a> with Mayakovski, Yessenin, and Gorky; and counting as friends composers like Rachmaninoff, Scriabine, Gershwin, and Prokofiev. He painted a portrait of groundbreaking filmmaker Sergei Eisenstein. The multitalented artist—whose name sometimes is spelled Burlyuk—was born in Kharkov, Russia, attended various art schools in Europe, and became an energetic creator of multimedia happenings that anticipate performance art: drinking tea under a suspended piano; staging an exhibition of paintings in a coal mine. His constantly changing style has been characterized as Fauvist, Cubist, Futurist, Social Realist, and Neo-Primitivist. Burliuk lived through the Russian revolutions before relocating to Japan (1920-22) and then eventually to America (1922), claiming to have crossed into Alaska using as his passport a Vanity Fair article about him. He became a US citizen in 1930 and lived the rest of his life on Long Island. Between 1923-1940 he worked as art editor and proofreader for a communist newspaper published in New York called Russkiĭ golos (Russian Voice). Throughout his life Burliuk was a prolific painter (creating an estimated 18,000 pictures), self-published with his wife Marussia the art magazine Color and Rhyme (1931-1966), and wrote several important manifestoes—including<a href="http://391.org/manifestos/1912-slap-in-the-face-of-public-taste-burliuk-kruchenykh-mayakovsky-khlebnikov.html#.XCjJr6lRcWo" target="_blank" rel="noopener"> “Slap in the Face of Public Taste”</a> (1912). Of particular interest for his two works at the NDG and others from the 1930s is a 1926 manifesto entitled<a href="http://www.ubu.com/papers/burliuk_modernists.html" target="_blank" rel="noopener"> “Universal Camp of Radio Modernists”</a> and its vision of an animistic force in the world that infuses his paintings regardless of style: “Everything—from the tiny bug to a tea-spoon—has its specific soul. The whiskey bottle that was on the table is there still forever, but abstract. Consciousness is the possession not only of man, the insignificant particle of creation, but of Mother Nature as well.” 6 works at the<a href="http://collection.whitney.org/artist/201/DavidBurliuk" target="_blank" rel="noopener"> Whitney Museum of American Art</a>. 18 works at the<a href="https://www.moma.org/artists/877?locale=en" target="_blank" rel="noopener"> Museum of Modern Art</a>. 16 works at the<a href="http://ukrainianmuseum.org/burliuk/?q=node/4" target="_blank" rel="noopener"> Ukranian Museum</a>. 399 works at<a href="https://www.wikiart.org/en/david-burliuk" target="_blank" rel="noopener"> WikiArt</a>. 1 more image at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-53" target="_blank" rel="noopener"> FAP</a>. His papers are at<a href="https://library.syr.edu/digital/guides/b/burliuk_d.htm" target="_blank" rel="noopener"> Syracuse University</a>. Creator An entity primarily responsible for making the resource Burliuk, David, 1882-1967 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Domon, Victoria (biography) Cooper, Ken (biography) 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 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18125 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 035 Format The file format, physical medium, or dimensions of the resource jpeg, 914 KB 1930s David Burliuk Federal Art Project New Deal New Deal Gallery still life https://openvalley.org/files/original/ce3f159b180319e78b9549bd4a115a80.JPG a22fcbdd2514481c9b6cb45c252a9c24 https://openvalley.org/files/original/06ef8967425b13f9e69bdaf6450bbfc4.JPG 24c397abaed2020f2fb7de6e40e50dd4 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 Watercolor painting Physical Dimensions The actual physical size of the original image 15 x 21.75 in. Condition: paper buckling, 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 Easter Lilies Description An account of the resource We behold five white Easter lilies in a glass jug on a red tablecloth. The background is beige, but Spinchorn has dabbed in hints of red, purple, and orange. The lilies and their jug fully fill out the canvas, leaving little negative space. The background beige ends where the lilies begin; whites and highlights remain untouched to leave the white canvas shining through the watercolor. About the Artist: Born in Broby, Sweden, Sprinchorn traveled to the US in 1903 at age sixteen to study with <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the New York School of Art, continuing his study through 1907. An early exhibition at the Union League in 1908 made a deep impression upon one critic, who called “Winter Day” and its ferryboat on the East River an image “we shall never forget—the dreariest, wettest canvas we ever saw, and therein is its power...It is realism pushed to the eleventh degree” (“Around”). After a period managing the Henri Art School, Sprinchorn taught at the Art Students League in Los Angeles and then traveled to Paris before returning to the New York art scene. His work appeared in the famous <a href="https://openlibrary.org/books/OL22877785M/Catalogue_of_international_exhibition_of_modern_art" target="_blank" rel="noopener">Armory Show of 1913</a>, at the 1914 World’s Fair, and numerous group and solo shows. “But in 1919,” Sprinchorn later wrote, “chance brought me to the Maine woods,” and it is for his paintings of rural life there that he is perhaps best known, first during the 1920s and then periodically between 1937 and 1952. Against this desire to grow as an artist were what Sprinchorn termed “almost continuous economic sieges,” and Sprinchorn’s abilities as an administrator—which resulted in his working as director of the New Gallery for a period. His work was respected by contemporaries like Robert Henri, Marsden Hartley, and the avant-garde <a href="http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/stetthe1.html" target="_blank" rel="noopener">Stettheimer sisters</a>, and has grown in reputation since then. 11 works at the <a href="http://collections.portlandmuseum.org/4DACTION/HANDLECGI/CTN3" target="_blank" rel="noopener">Portland Museum of Art</a>. 4 works at the <a href="https://collection.farnsworthmuseum.org/objects?query=sprinchorn" target="_blank" rel="noopener">Farnsworth Museum of Art</a>. 8 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/1253/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 works at the <a href="http://magart.rochester.edu/4DACTION/HANDLECGI/CTN3?display=POR" target="_blank" rel="noopener">Memorial Art Gallery</a>. 1 work at the <a href="https://americanart.si.edu/artist/carl-sprinchorn-4583" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 16 works at the Metropolitan Museum of Art. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-38" target="_blank" rel="noopener">FAP</a>. Works Consulted: “Around the Galleries,” New York Sun 14 Jan. 1908: 6; Chris Huntington/Charlotte McGill, <a href="https://www.sprinchorn.com/index.html" target="_blank" rel="noopener">Carl Springchorn Admiration Society</a> Creator An entity primarily responsible for making the resource Sprinchorn, Carl, 1887-1971 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) Vanamee, Nicholas (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 #FA18273 Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 6.5 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 180 Carl Sprinchorn Depression-Era Art Easter Lilies Federal Art Project New Deal Gallery https://openvalley.org/files/original/e1afcf265b4d323253c9cacbfb3aa83e.JPG f9efac7ca8d99ffeb4da6ba42a8c204b https://openvalley.org/files/original/3f1d7a7dd465ce6f333cadf784199a25.JPG 1c2584ed582c0e9594007dd8169038b9 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 25 in. Condition: chipped paint, 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 Edge of the Garden Format The file format, physical medium, or dimensions of the resource jpeg, 885 KB jpeg, 10.3 MB Description An account of the resource At least two questions are implied by this painting’s title: which edge of the garden, and what is a garden? Due to a flattened plane and Sarkadi’s composition we see a row of hollyhocks and other tall flowers at the bottom of the canvas, with no indication of what lies between them and us; nor can we see what lies between them and houses further in the distance. A dense line of forest forms a backdrop to the homes, whose intriguing colors and patterns echo those of the flowers. Overhead, a tall tree on the forest’s “other” edge and a hint of blue sky. About the Artist: Born in Budapest, Hungary, Sarkadi relocated first to London and then, in 1914, to the US. His artistic life began as a dramatist, writing one-act plays that spanned his time in both countries: Within Four Walls (1900), Children at Play (1907), The Line of Life (1916), The Gusher (1928), Fourflusher (1928), and The Angel (1929). One <a href="https://archive.org/details/withinfourwallsa00schuiala/page/n7" target="_blank" rel="noopener">published collection</a> of these plays, however, features illustrations that may be Sarkadi’s and would indicate a longstanding interest in the visual arts, although his painting career dates to the early 1930s. He also exhibited sculptures on more than one occasion, showing himself to be a multitalented artist. Sarkadi’s paintings were shown at the Balzac Gallery, Ainslie Galleries, and the American Artists Congress. His friend Willy Pogany, a fellow artist from Hungary, wrote how “it is strange that a man so saturated with transcendental philosophy antagonistic to matter, should take up painting as a means of expresssion...But with Sarkadi the process is different....Color attracts him just as much as form is evaded, and here we find that his instinctive choice of vehicle for the mysticism and yearning for limitless space is more than justified by the result” (New York Sun 10 May 1924: 6). 3 works at the Brooklyn Museum. 12 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-21" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Sarkadi-Schuller, Leo, 1879-1947 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 1935-1940 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 #FA18262 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 169 Federal Art Project Leo Sarkadi-Schuller New Deal Gallery painting https://openvalley.org/files/original/6eb8c186db759e0a12dc59b978f948aa.jpg b04292ac5fd637123683600605f69f07 https://openvalley.org/files/original/f84252d7e9c0e7a174ddae9e1a6a6dcd.jpg 803ee0ac594070a187fffb84bd4219b1 https://openvalley.org/files/original/372dd269f04914b02f737cb488f98eaf.jpg 895a09083060abfd7c1a6f58fbfffc11 https://openvalley.org/files/original/3ddd5005b5c18c1a3b8dc7ca113032c5.jpg ef1369b0b1d7acdcb39f52edd1a48f9a 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 Film negative 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 Elba Farm Labor Camp Description An account of the resource In 1942, amid World War II labor shortages, the Farm Security Administration (FSA) constructed a labor camp located near the town of Elba, NY. It was one of many across the country whose purpose was to facilitate the harvest of valuable crops. These four images scanned from film negatives are characteristic of a group of more than 70 that document the often dire conditions that brought people to Western New York--starvation, forced removal from relief rolls--and that characterized life here. It's not uncommon to see children in photographs without shoes. <ol> <li> Migrants waiting for work in front of US Employment Service Office </li> <li> Migrants from New York City and West Virginia washing up after work </li> <li> West Virginia workers negotiating with two local tomato farmers </li> <li> Relief client from New York City talks with migrant laborers from West Virginia </li> </ol> A year after these photos were taken, the FSA had transported 255 laborers from Jamaica to work in the fields. They were charged $7/week for food consisting primarily of bread and protested that they were near to starvation, harvesting crops. The Elba site persisted into the 1970s as "Frank Weathers Labor Camp" and sometimes made it into police blotter reports for incidents of violence among its impoverished inhabitants. Creator An entity primarily responsible for making the resource Collier, John Jr. Publisher An entity responsible for making the resource available US Farm Security Administration Date A point or period of time associated with an event in the lifecycle of the resource 1942-09 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.loc.gov/item/2004673741/" target="_blank" rel="noopener">Courtesy Library of Congress</a> Format The file format, physical medium, or dimensions of the resource jpeg, 633 KB jpeg, 593 KB jpeg, 330 KB jpeg, 672 KB Type The nature or genre of the resource Still image Batavia, NY Elba, NY Farm Security Administration Migrant Camps https://openvalley.org/files/original/5db11223f03a1078622334da3f079004.jpg f07945937944241cf89098c6875d648e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 10 x 8 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 Elementary Teacher at Perry Knitting Co. Open House Description An account of the resource The Rice Collection annotation reads: "Mrs. Charles Torrey, a teacher at Perry Elementary School, looks over part of the process during the Perry Knitting Mill Open House in 1954." It appears that the machines are sanders of some kind. Mrs. Torrey was a first-grade teacher at the time; the event probably was held on March 22, 1954 under the auspices of the Perry Kiwanis Club. What was called "Business-Industry-Education Day" brought teachers into various factories to learn more about factory methods and conditions. 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 1954-03-22 Contributor An entity responsible for making contributions to the resource Cooper, Ken 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, 1.4 MB Identifier An unambiguous reference to the resource within a given context 6711 Type The nature or genre of the resource Still image Clark Rice Photography Collection Perry Knitting Co. Perry, NY https://openvalley.org/files/original/b45f4d29ec1dc69663302f7db9aa17c9.jpg 2150d22e4f802cb10283ac2ac0e2aa88 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph 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 Emblem of Strength and Courage Description An account of the resource An eagle sits atop a blasted tree, apparently screeching at four planes flying overhead. Nakamizo's print was selected for inclusion at a 1943 exhibition sponsored by Artists for Victory, and can be taken as an afirmation of American resistance to Axis militarism. The image is complicated, however, by Nakamizo's internment at the Topaz War Relocation Center in Utah at the time his lithograph was created. A small structure in the background and lines suggestive of rising smoke also suggest a broader critique of  war, which he was experiencing at first hand. Note: an image of Nakamizo's print, formerly viewable at the <a href="https://www.loc.gov/item/2003672396/">Library of Congress website,</a> has been removed. This low-resolution image comes from a 2011 traveling exhibit created by the Smithsonian American Art Musueum, The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942 – 1946 <a href="https://americanart.si.edu/exhibitions/gaman">Link</a>. It's included here as an important accompaniment to Nakamizo's other paintings and lithographs of birds. About the Artist: Born in Fukui Prefecture, Japan, Nakamizo—whose name sometimes was spelled “Fugi”—immigrated to the US in 1907, living in Grand Rapids, MI and working as a decorator. He later moved to New York and studied at the Art Students League with <a href="https://en.wikipedia.org/wiki/Frank_DuMond" target="_blank" rel="noopener">Frank DuMond</a> and <a href="https://en.wikipedia.org/wiki/Joseph_Pennell" target="_blank" rel="noopener">Joseph Pennell</a>. During the early 1920s, he appears to have created an etching of the medical researcher Dr. Hideyo Noguchi that hung in the Nippon Club, New York (Piper). By the 1930s he was fairly well known, especially for his etchings of birds, and exhibited at places like the League Gallery (1933), Montross Gallery (1934), the Brooklyn Museum (1935), the Art Institute of Chicago (1935); and the Carl Fischer Gallery (1936). In 1936 he contributed photographs and illustrations to feminist author Baroness Shidzue Ishimoto’s East Way, West Way: A Modern Japanese Girlhood. In 1943, Nakamizo’s etching “Emblem of Strength and Courage” was chosen for a national exhibition sponsored by the group Artists for Victory; this painting of <a href="https://www.loc.gov/item/2003672396/" target="_blank" rel="noopener">an American eagle</a> surrounded by warplanes may have been ironic, since <a href="https://2.americanart.si.edu/pr/library/2010/gaman/gaman_checklist.pdf" target="_blank" rel="noopener">some sources</a> place him at a Japanese internment camp during World War II. 2 works at <a href="https://americanart.si.edu/artist/fugi-nakamizo-3485" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 works at <a href="https://emuseum1.as.miami.edu/people/1489/fuji-nakamizo/objects" target="_blank" rel="noopener">Lowe Art Museum</a>. 6 works at <a href="http://digitalarchives.queenslibrary.org/search/browse/%2A?fq%5B0%5D=sm_relation%3AQueens%20Library%20New%20Deal%20Art%20Project%20Artwork&f%5B0%5D=sm_creator%3AFuji%20Nakamizo" target="_blank" rel="noopener">Queens Library</a>. 1 work at the <a href="https://www.nga.gov/collection/art-object-page.145773.html" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-5" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Jean Piper, “Scientist Acts Like Human Dynamo,” Brooklyn Daily Eagle 6 Mar. 1927: 85; Ellen G. Landau, <a href="https://archive.org/details/artistsforvictor00land/page/84?q=Nakamizo" target="_blank" rel="noopener">Artists for Victory: An Exhibition Catalog</a> (Library of Congress, 1983). Creator An entity primarily responsible for making the resource Nadamizo, Fugi, 1889-1950 Date A point or period of time associated with an event in the lifecycle of the resource 1942 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Beth Secor, " 'The Art of Gaman' at the Holocaust Museum Houston," Glasstire 28 July 2015 <a href="https://glasstire.com/2015/07/28/the-art-of-gaman-at-the-holocaust-museum-houston/">Link</a> Format The file format, physical medium, or dimensions of the resource jpeg, 267 KB Publisher An entity responsible for making the resource available US Library of Congress Type The nature or genre of the resource Still image Fuji Nakamizo Internment Camp lithograph World War II