32 10 1402 https://openvalley.org/files/original/b15d65cba3ded6f6451d14095703a73f.jpg 6f3ffc6c938311693abc47fd3258ffb2 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 Screencap of satellite imagery 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 Groveland Correctional Facility Description An account of the resource At this location near Sonyea, NY a community of Shakers settled in 1837 and grew to a size of perhaps 150. Later in the century, as their numbers declined, the 1,800-acre plot was purchased by the State Board of Charities and eventually named the Craig Colony for Epileptics. It was envisioned to be a self-supporting enterprise, making use of the Shakers' mills, blacksmith shops, farmland, and houses. It opened in 1896. The reality of life at the Craig Colony was very different, in part due to the warehousing of inmates with various psychiatric and developmental needs. At its peak in the 1930s, population at the overcrowded and underfunded facility approached 3,000 inmates; credible reports of neglect and abuse persisted throughout the decades. During the late 1970s a movement to de-institutionalize patients, combined with a drastic rise in prison populations, led Gov. Hugh Carey to propose a the repurposing of Craig Colony as a medium-security prison--a move opposed by local residents. Nevertheless Groveland Correctional Facility began operations in 1982 and has faced similar problems of overcrowding and inhumane conditions. The image here is drawn from a satellite view of the property, showing how the Colony's original footprint remains intact although virtually none of its buildings remain. Format The file format, physical medium, or dimensions of the resource jpeg, 642 KB Creator An entity primarily responsible for making the resource Esri Date A point or period of time associated with an event in the lifecycle of the resource 2025 Contributor An entity responsible for making contributions to the resource Cooper, Ken Type The nature or genre of the resource Still image Craig Colony Groveland Correctional Facility satellite imagery https://openvalley.org/files/original/5ce1e4696cc5cb705df1380c9c0e24e9.jpg 721fe78855d61a28f17791d1c47e251d https://openvalley.org/files/original/e1be519e9e1b412877608439735ba5c6.jpg 735b7e8157173f28c899f596a1016da4 https://openvalley.org/files/original/2c4fd06f746dc10ca39d5ecb5f06699b.jpg 3c0efa84e5d8ef84c7e381373945f26d https://openvalley.org/files/original/e055928068f711ddf9a1e800a63f2da0.jpg 0d71a4baa577780d036a94e429b6502c 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 Screenshots of satellite imagery 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 Aerial View of Intergrow Greenhouses Description An account of the resource As of 2021, Intergrow Greenhouses operated at three locations in Western New York: Fillmore, Albion, and Ontario. Together, they constitute nearly 105 acres of hydroponic production, or more than 4.5 million square feet. According to the trade publication Greenhouse Grower, this made them the fifth-largest US company in terms of total acreage (Wright). In May of 2023, the company was acquired by Canadian competitor Mastronardi Produce. To appreciate the scale of modern greenhouses, three satellite images survey Intergrow's operations. Source consulted: Janeen Wright, "The Top Fresh Produce Greenhouse Growers in the U.S." (7 July 2021) <a href="https://www.greenhousegrower.com/crops/the-top-fresh-produce-greenhouse-growers-in-the-u-s/" target="_blank" rel="noopener">Link here</a> Creator An entity primarily responsible for making the resource Esri / Earthstar Geographics Date A point or period of time associated with an event in the lifecycle of the resource 2023-11-11 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Esri ArcGIS "Imagery" basemap Format The file format, physical medium, or dimensions of the resource jpeg, 570 KB jpeg, 478 KB jpeg, 525 KB Type The nature or genre of the resource Still image Farm labor Greenhouse Hydroponics Intergrow https://openvalley.org/files/original/e0d6c87e24ffdd188258746e29485c99.jpg 1608807afa7f0957044dd9f104961591 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 of drawing Physical Dimensions The actual physical size of the original image 12 x 12 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unfolding Hands Mandala Description An account of the resource A vibrant visual representation of hands and fingers contained in a circle. The hands surround another circle and point upwards perhaps referencing spiritual dimensions. The cool-toned colors and petal-like bumps around the circle give this mandala a feeling of spring and bountiful flowers. It is a piece of artwork filled with life. This mandala by Nicolas Estrada, a migrant laborer at the Jenkins/Auckland Farm, was one one of hundreds of created in the Creative Artists Migrant Program Services (CAMPS). Each student's design meant something special to them, always on a black background and many filled with vibrant colors. Creator An entity primarily responsible for making the resource Estrada, Nicolas Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Dignan, Cecilia Source A related resource from which the described resource is derived Creative Artists Migrant Program Services, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 2.1 MB Type The nature or genre of the resource Still image art Creative Artists Migrant Program Services Geneseo Migrant Center Mandala migrant workers https://openvalley.org/files/original/9319ed266f24581feb35c80a72045eb2.jpg f0083ae02457103a8b5aaa7dcecba83d 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 Paper 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 Types of Water Mills Description An account of the resource In this plate from Oliver Evans' 1795 text "The Young Mill-wright and Miller's Guide," four different designs are illustrated: undershot, tub, breast shot, and overshot. Creator An entity primarily responsible for making the resource Evans, Oliver (1755-1819) Publisher An entity responsible for making the resource available U.S. reprint edition, Blanchard and Lea Date A point or period of time associated with an event in the lifecycle of the resource 1860 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Internet Archive, from the Harvard University collection Format The file format, physical medium, or dimensions of the resource jpeg, 3.4 MB Evans, Oliver mills https://openvalley.org/files/original/32c6b21404c00feb824871cfc8e673f7.JPG 22faa2c3281f63bceadeb8c684474f99 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 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 Sheffield Peabody's Travels to Oklahoma Description An account of the resource This map was made to show the approximate route that Sheffield Peabody traveled in 1889 to Oklahoma territory. Creator An entity primarily responsible for making the resource Faes, Jennifer Publisher An entity responsible for making the resource available Google Maps Date A point or period of time associated with an event in the lifecycle of the resource 2015-04-30 Contributor An entity responsible for making contributions to the resource Faes, Jennifer Format The file format, physical medium, or dimensions of the resource jpeg, 49 KB Type The nature or genre of the resource Map Guthrie, OK Oklahoma Sheffield Peabody https://openvalley.org/files/original/ba72811eb5e02782eda3ded7d5aa99d5.jpg 201c7a5f032366cfc6508394ce3c28dc https://openvalley.org/files/original/a6dcc0367482678705f265e2b0a1a226.jpg 4cd18eaa9527685ed05f718b3583c6c3 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 20 in. Condition: surface dirt, chipped, peeled 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 Autumn Creator An entity primarily responsible for making the resource Fastovsky, Isaac, 1889-1980 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 1937-03-09 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 #FA18149 Format The file format, physical medium, or dimensions of the resource jpeg, 724 KB jpeg, 9.2 MB Type The nature or genre of the resource Still image Description An account of the resource A deft hand with tonal color renders Fastovsky's autumnal landscape somewhat different from what we expect in paintings of that season. We look down upon a valley whose brightest colors are literally marginalized--as borders between agricultural fields--except for blazing oranges at middle right. Houses and roads leading down a precipitous hillside, along with a mountain rising on the valley's other side, allow for an unusually large area for such a compact composition. About the Artist: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (Arizona Daily Star 16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>. Federal Art Project Isaac Fastovsky New Deal Gallery painting https://openvalley.org/files/original/35048e48484731347cbdc07720bbc154.jpg 01876f315a5a663b8799b79db1432ad3 https://openvalley.org/files/original/1028d55300a53e7944a9a4582089dade.jpg ebd38d103ddc22ede8a09520a42b1c04 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 19.5 x 23.5 in. Condition: surface dirt, tack 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 Desuetude Creator An entity primarily responsible for making the resource Fastovsky, Isaac, 1889-1980 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 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 #FA18150 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 7.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 060 Description An account of the resource Loosely translating as a "state of disuse," Fastovsky's title certainly applies to this rural scene. We see what appears to be a boarded-up chicken coop and other farm outbuildings inside a walled enclosure--although the abandonment seems recent given visible footpaths and a lack of overgrowth. Relatively high-key colors sidestep the dark tragedy of family farmers no longer present. In trial law, "desuetude" refers to statutes so long unenforced that they have become obsolete; perhaps in this case the intent is to link a particular farm to longer-term, systemic neglect that has resulted in many other farm abandonments. About the Painter: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (Arizona Daily Star 16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>. Federal Art Project Isaac Fastovsky New Deal Gallery painting https://openvalley.org/files/original/5d6e8582e5e7447d74800b361d394eb9.jpg e61b479154278ac48a20d2a3c0000221 https://openvalley.org/files/original/a45346b6565b8274e8a889a123b099b3.jpg a506b383530508c52559f5fbbe62971d https://openvalley.org/files/original/669ef623896381bfa03a73493f479e47.JPG af0db33989ea792669eebe13f90b2212 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, slight chipping 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 Summer Afternoon Creator An entity primarily responsible for making the resource Fastovsky, Isaac, 1889-1980 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 1936 Source A related resource from which the described resource is derived Ritz, Abigail (photography) Cooper, Ken (biography) Format The file format, physical medium, or dimensions of the resource jpeg, 939 KB jpeg, 3.3 MB jpeg, 13.1 MB Type The nature or genre of the resource Still image Description An account of the resource Three boys are deeply absorbed in the work of childhood, in this case perhaps the aquatic life beneath a stream's shimmering surface. Fastovsky's composition encloses the boys, unaware, beneath the arch of a viaduct yet with rolling parkland and trees in the distance. The effect is arcadian; a lack of facial features and even clothing renders the scene a fragile space of timelessness amidst an industrial world. We're beholding not a particular summer afternoon but a mythical one. About the Artist: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (Arizona Daily Star 16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>. Identifier An unambiguous reference to the resource within a given context 061 Federal Art Project Isaac Fastovsky New Deal Gallery painting https://openvalley.org/files/original/9106a4238def5d93d0ae296133028215.JPG 398d5b9ae1dfb2b1753b5fa015bd747a https://openvalley.org/files/original/7b4c0dfef73462de8a63de7362632284.JPG 586c89731f0df85ba4705b91b0913cfa https://openvalley.org/files/original/224661772d8e6972898c024d6ab314d8.jpg 0448bed6d0970ab894e863acb72bce6b https://openvalley.org/files/original/d8d47ab526f8f27c8819f58487ae7a82.jpg 185ab701776a62304d7185061a3edcc9 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 paintin Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: 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 Tunnel by the Hudson Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 17.8 MB jpeg, 363 KB Description An account of the resource Against a cool background of blue-grays and white, we see a hillside of innumerable colors flowing downhill in nearly a molten state. In contrast to Fastovsky’s general blending technique are several smaller clusters of intensely pointilized colors—at lower left, for example. Even a telephone pole draws upon this for its green insulators, and the dreamy fluidity of landscape, house, and rail infrastructure is very attractive. It's possible that the location for this painting is the Breakneck Ridge rail tunnel, in which case there may be a kind of hidden joke: the building shown is an access point down into the Catskill Aqueduct, whose waters cross from Storm King (on the west side of the Hudson) to Breakneck Ridge (on the east), by way of a deep tunnel underneath the river. About the Artist: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (Arizona Daily Star 16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>. Creator An entity primarily responsible for making the resource Fastovsky, Isaac, 1889-1980 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 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 #FA18148 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 058 Federal Art Project Hudson River Isaac Fastovsky landscape New Deal Gallery painting Railroads https://openvalley.org/files/original/03e50e9ca860be695133690c293fc964.jpg e814de177abecdf6e36799a5f3f9485e https://openvalley.org/files/original/3e4f027dc49154c3f28793dbdeb3d5ca.jpg dd6eefeb975d121dc6aa54d7d02b7fa7 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 Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 9 7/8 x 12 in. Sheet: 11 1/2 x 16 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/. Format The file format, physical medium, or dimensions of the resource jpeg, 2.7 MB jpeg, 2 MB Title A name given to the resource Backyard Description An account of the resource We look out from an elevated view towards a small lawn, enclosed between several city apartment buildings of varying sizes. An added layer of fence and trees can be seen between the apartments and lawn as well. The straight lines of the buildings contrast heavily to the curved and organic shapes of the trees and lawn. This gives a sense of uniformity to the man-made elements compared to a fluidity in the natural ones. The apartments take up a large portion of the print with their rigid verticality, that extends out of frame, leaving no clear skies visible. The view feels extremely small and communal, something that may not be thought of alongside the idea of a backyard in America. Compare Backyard to Faye's similar print, <a href="https://www.nga.gov/artworks/146231-old-apartment-house" target="_blank" rel="noopener">Old Apartment House</a>, showing neglected neighborhoods surrounded by industrial zones. Both give a notion of how valued privacy can be amidst the density of urban structures. The actual yard of the print is very small compared to other elements and is heavily obstructed by trees and buildings. One lone person can be seen on the bottom of the print. With no discernable features about the person, they are simply a neighbor to the viewer. The perspective gives a sense that you are meant to be looking out of your own apartment window: what you see as your "backyard" really is the lives of all the other people surrounding you. About the Artist Harold K. Faye was born in La Grange, Illinois. Faye pursued formal training at the AIC, Art Institute of Chicago. He made his way to New York City in his early 20s and enrolled in the National Academy of Design like many others of the time. Faye specialized in graphic prints, or lithographs, throughout his entire career. His works primarily depicted New York’s working-class locations and experiences, choosing not to idealize city life. Often favored industrial locations, like factories and locomotives, and densely constructed areas. He often featured smokestacks and dark-colored skies in his works. This was possibly drawing on social themes of urban density and pollution-stricken living. Working-class Americans were not privileged with affording nice living spaces. Faye was never a particularly famous artist but was featured in several FAP and AIC exhibits throughout the late 1930s for his lithographic work. Later in life, Faye pursued a career in cartography, moving on from city lithographs to map-making. Faye began exploring industrial design, and used his background in art to create exceptional maps for several <a href="https://archive.org/details/worldshistory0000fred/page/20/mode/2up">books</a> and <a href="https://archive.org/details/magazine-of-the-year_1947-08_1_6/page/10/mode/2up?q=%22harold+faye%22+maps">magazines</a> . Harold Faye passed away in 1980 in Irving, NY. 6 works <a href="https://magart.rochester.edu/artist-maker/info/717?query%3D%5bExhibitions%5d_ID%20%3D%20%22761%22%26sort%3D26%26page%3D51">at Memorial Art Gallery</a>. 1 work at <a href="https://www.hrm.org/collection/90-10-8/">Hudson River Museum</a>. 5 works at <a href="https://www.nga.gov/artists/33410-harold-faye">National Gallery of Art</a>. 16+ works at <a href="https://art.gsa.gov/people/1314/harold-faye/objects/images?page=1">US GSA</a>. 2 works at <a href="https://collections.mcny.org/CS.aspx?VP3=DamView&VBID=24UP1GZ2MN916&SMLS=1&q=Harold+Knickerbocker+Faye+(1910-1980)&RW=1366&RH=600">Museum of NYC</a>. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-6">FAP</a>. 21 images at <a href="https://art.gsa.gov/people/1314/harold-faye/objects" target="_blank" rel="noopener">GSA</a>. Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Creator An entity primarily responsible for making the resource Faye, Harold (1910 - 1980) Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Pallotta, Florence (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1216 Type The nature or genre of the resource Still image City Federal Art Project Harold Faye lithograph New Deal Museum Urban Setting