34 10 1402 https://openvalley.org/files/original/d147e594cb2ffff381cdf2fe6823e738.jpeg dd6724953316ae3faf4b9f06e4e37189 https://openvalley.org/files/original/c5c9df4e01cd972060b026f0b721f9cf.svg 450aac1948280b7fc48e51e1837c0bde 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 art 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 Farmworkers Atlas Art Description An account of the resource Composite image created as a directory page for nine story maps associated with the <a href="https://openvalley.org/exhibits/show/geneseo-migrant-center--farmwo/introduction" target="_blank" rel="noopener">Farmworkers Atlas </a>exhibit. It consists of eight mandala drawings associated with each story map, along with the Geneseo Migrant Center logo. In the background are topographic contour lines. There are two files here: a jpeg for the purposes of display, and an .svg that includes hyperlinks to all of the story maps. Creator An entity primarily responsible for making the resource Cooper, Ken <a href="https://www.vecteezy.com/vector-art/15360794-abstract-blank-detailed-topographic-contour-map-subtle-white-vector-background-geographic-topographic-map-grid-line-map-with-elevation-topographic-cartography-topographic-map-topographic-relief" target="_blank" rel="noopener">MD Israfil Hosen, "Abstract Blank Detailed Topographic Contour Map"</a> Publisher An entity responsible for making the resource available OpenValley Date A point or period of time associated with an event in the lifecycle of the resource 2023 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB svg, 8.6 MB Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Geneseo Migrant Center Open Valley https://openvalley.org/files/original/eb5d55807a33bd5492b0eaef2f8be657.jpg c10b751a5844f4c3cf178fedbd10df14 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 Silkscreen poster, via color film copy slide 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 Federal Art Project exhibition, Albany Institute Format The file format, physical medium, or dimensions of the resource jpeg, 444 KB Description An account of the resource Created by the Federal Art Project Poster Division, this advertises a show staged by the Albany Institute of History and Art. It appears to have supported "The Art Caravan," a traveling exhibition of paintings accompanied by lecturer Judson Smith. After its stop in Albany, "Stops will be made at small towns throughout New York" (Kingston Daily Freeman 21 Sept. 1938: 5). Creator An entity primarily responsible for making the resource Rothstein, Jerome (1918-2008) 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 1938 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress, Prints & Photographs Division, WPA Poster Collection, <a href="https://lccn.loc.gov/98516718" target="_blank" rel="noopener">LC-USZC2-930</a> Type The nature or genre of the resource Still image Albany, NY Federal Art Project Poster Poster Division Works Progress Administration WPA https://openvalley.org/files/original/f4939378e038c8fea00af4946518c312.png ae6c9028b192f1b71a5f7e4a55de2083 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 Scanned picture of a poem 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 Félix Hipolito - "On the job" Description An account of the resource This poem, written by Felix Hipolito demonstrates the life that a migrant farm worker has. The first stanza of the poem begins with Hipolito getting to work and cutting tomatoes and then continuing to do so for the rest of her workday. From this piece, it seems that once a migrant farm worker is told to do a piece of work, they do it, and then continue to do that labor for the rest of the day. Later in the poem, he talks about his favorite job on the farm which is making boxes. Creator An entity primarily responsible for making the resource Hipolito, Felix 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 Unknown Contributor An entity responsible for making contributions to the resource Michalkow, Nikolete Source A related resource from which the described resource is derived Geneseo Migrant Center Format The file format, physical medium, or dimensions of the resource png, 182KB Type The nature or genre of the resource Still Image Geneseo Migrant Center Migrant Camps Migrant Farmer https://openvalley.org/files/original/4eabb6c0a9a643260b29aae1f7fda4da.jpg 202b39982b716f32b6982034ee10c66d https://openvalley.org/files/original/3606af3a9825ad92f3f5b47c4ec08aa1.JPG 8fed4079ce1aac029cdae0de85f6460e 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 23.5 x 19.5 in. Condition: surface dirt, pencil marks, stains 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 Field Flowers Creator An entity primarily responsible for making the resource Hartl, Leon Joseph, 1889-1973 Publisher An entity responsible for making the resource available Federal Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18170 Format The file format, physical medium, or dimensions of the resource jpeg, 991 KB jpeg, 11.9 MB Description An account of the resource The setting of this composition blurs the genres of En plein air landscapes and still lifes; there is no "background" to situate the basket of flowers in space, but the grass underneath them departs from carefully artificial indoor settings. A few buttercups growing in the grass echo those already collected for Hartl's basket. Hovering in space, the stems sometimes are so delicate that their blooms appear to be floating. About the Painter: Born in Paris, Hartl immigrated to the US in 1912 and became a citizen ten years later. His professional background had been with aniline dyes, working with ostrich and other rare feathers for milliners and couturiers. In 1922, he entered into a partnership with <a href="https://en.wikipedia.org/wiki/Marcel_Duchamp" target="_blank" rel="noopener">Marcel Duchamp</a> creating a fabric and feather-dyeing shop that went bankrupt six months later. Hartl always held jobs out of necessity, painting his landscapes and still-lifes on Sundays, but was widely respected for his art. After viewing a 1924 show at Minneapolis Institute of Arts, one critic wrote that “The care with which he works out his subject is the touchstone which transforms a quiet scene into something broadly tender, beautiful in texture and tone” (Allen). Another described his still lifes as “lovely still-life arrangements of  flowers, arranged on pale colored clothes, preferably pinks and grey blues. The bouquets have the simplicity of statement that a child’s concept of a bouquet would have with the difference that his work is neither accidental or immature” (Brooklyn Daily Eagle 28 Jan. 1934: 12). He exhibited at the <a href="https://archive.org/details/newpicture00unse/page/n87" target="_blank" rel="noopener">New Gallery</a> (1923), Art Institute of Chicago, Carnegie Institute, Corcoran, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Salons of America, Society of Independent Artists, and the Whitney Museum of American Art. Hartl’s reputation usually was framed within the problematic concept of primitivism, like his contemporary Henri Rousseau; this was based upon his visual style but perhaps also due to his refreshingly down-to-earth view of painting. At a 1970 Teamsters Union show featuring the work of amateurs, the 81-year-old Hartl was quoted as saying “It’s very important for working people to develop a spiritual side” (New York Daily News 21 June 1970: 22). 4 works at <a href="http://collection.whitney.org/artist/571/L%C3%A9OnHartl" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 5 works at <a href="http://www.ashevilleart.org/artists/leonhartl/" target="_blank" rel="noopener">Asheville Art Museum</a>. 7 works at <a href="http://emuseumplus.unl.edu:8080/eMP/eMuseumPlus?service=ExternalSearch&module=collection&viewType=detailList&fulltext=Hartl" target="_blank" rel="noopener">Sheldon Museum of Art</a>. 1 work at <a href="http://www.phillipscollection.org/collection/browse-the-collection?id=0886" target="_blank" rel="noopener">The Phillips Collection</a>. His papers are at <a href="https://library.syr.edu/digital/guides/h/hartl_l.htm" target="_blank" rel="noopener">Syracuse University</a>. Source Consulted: Burt Allen, “'Personality’ is Slogan of French Artists Whose Work is Being Shown at Institute,” Minneapolis Star Tribune 30 Mar. 1924: 61. Identifier An unambiguous reference to the resource within a given context 080 Federal Art Project Leon Hartl New Deal Gallery painting still life https://openvalley.org/files/original/3a2d5b23f21c5ee6d0aa44d2daf2fca0.jpg 53b45170b7f79934e6778ae5eca7a0ac https://openvalley.org/files/original/b6773bbcc869e6dc3888234387953755.jpg a5a93716bb2062e117ab89ddea28ee1b https://openvalley.org/files/original/166251233a9b845af5fa35af9817eb7d.jpg a8debcdee3e204c1ef0084cb30b4e2fc 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 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 Fields Creator An entity primarily responsible for making the resource Cavazos, Juan (1963- ) 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 1988 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 16.9 MB jpeg, 1.1 MB Description An account of the resource Landscape painting adopts an aerial perspective upon a farm in the midst of harvesting--tomatoes, potatoes, and corn all are represented. Large formal blocks of color divide the different spaces, and farm equipment conveys a sense of energy via zig-zagging passes. An important facet of the painting is what's easily overlooked: a farmhouse, barn, and silos in the far distance; and numerous field workers picking the tomatoes. Juan Cavazos, from Monterrey Nuevo León, was himself a farm laborer in Western New York who often sketched portraits of his fellow workers. He was encouraged to take studio classes at MollyOlga Neighbord Art Classes, in Buffalo and eventually began showing his paintings, drawings, and sculpture. An exhibit titled "My Journey Through the Fields: The Art of a Migrant Farm Worker" was hosted by SUNY Geneseo in 1989. In his artist's statement, Cavazos wrote that "Farmworkers are a group apart in the society. What belongs to us is the courage to face and challenge hard labor. We make an immense contribution to the community, society, and the country." Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Farm labor Geneseo Migrant Center Juan Cavazos painting https://openvalley.org/files/original/68409ae3ea632f36924d9bd66b5029f4.jpg 87c8b532522d7d1a85d5f605c6442879 https://openvalley.org/files/original/a0655f04edb1c502cd03811d653f2575.jpg 4062e5fe89aa2f2937827ec04856f246 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 Wood engraving print Physical Dimensions The actual physical size of the original image 7 7/8 x 5 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 Fields in Spring Creator An entity primarily responsible for making the resource Weissbuch, Oscar (1904-1948) Description An account of the resource From an elevated perspective we look into a pleasingly enclosed, bowl-shaped valley; agricultural plantings emphasize the land’s underlaying contours. An arboreal line runs diagonally across the property. In the middle ground, a small house and attached shed is tucked into one cluster of trees, that of a presumed farmer returning home. Weissbuch’s curvilinear composition is extended to mountains in the distance and a sky full of clouds. In this and other prints Weissbuch seems to illustrate the “American Scene” of regional artists of the 1930s, some of whom “chose to focus on rural subject matter, preferring images of the countryside and scenes that depicted a simpler side of life” (Viso). “Fields in Spring” was honored at the 12th Annual Exhibition for American Graphic Artists, Philadelphia, in 1938. An appreciative reviewer praised its “expert differentiation of varied qualities of earth and foliage,” which again might be taken to reference the print’s rural setting (Lewis). But he also was praising the woodcut’s variety of pattern for its own sake—at least a dozen different recurring ones to be observed. Weissbuch’s later <a href="https://munson.emuseum.com/objects/1932/backyard-in-summer?ctx=4715703bae747f0b36f946b02d2517711b4029c3&idx=3" target="_blank" rel="noopener">“Backyard in Summer”</a> (1942) suggests that, many years earlier, the artist was intrigued by tensions between representation and underlying forms. About the Artist The son of Romanian immigrants, Weissbuch grew up in Brooklyn and already was working at a hat factory by the age of fifteen. Weissbuch studied at the Yale University School of Fine Arts, the Beaux-Arts Institute of Design, and the Art Students League (where he likely encountered the influential abstractionist Hans Hoffman). Beginning in 1934, Weissbuch worked on various WPA programs for seven years (Public Works of Art Project, Temporary Emergency Relief Administration, Federal Art Project), altogether producing 23 recorded prints. His works were widely exhibited in New York (including MoMA, the Brooklyn Museum, and Albright-Knox Museum), along with traveling shows to California, England, and Scandinavia. Weissbuch also became an important mentor within the Graphic Arts Division. For a short time he was appointed its supervisor, and along with his predecessors was “liked and respected by the artists. They showed sympathy and understanding and stood up for the artists under the pressures of the Project administration, which in turn was under political pressure” (Kainen 170). One such pressure by the late 1930s was a call for graphic works supporting European Allies and military preparation, rather than landscapes or social criticism. Late in 1941, Weissbuch began teaching at the newly established <a href="https://en.wikipedia.org/wiki/Munson-Williams-Proctor_Arts_Institute" target="_blank" rel="noopener">Utica Art School</a>, created by the Munson – Williams – Proctor Arts Institute. Its egalitarian mission announced that faculty, “when executing their own professional work, will welcome students and the general public who may thus observe their methods in practice” (Art Digest 1 Dec. 1941: 29). Alongside American art generally, Weissbuch’s work during the 1940s moved in a direction of increasing abstraction—for example, <a href="https://munson.emuseum.com/objects/1932/backyard-in-summer?ctx=4715703bae747f0b36f946b02d2517711b4029c3&idx=3" target="_blank" rel="noopener">“Backyard in Summer”</a> (1942) and <a href="https://munson.emuseum.com/objects/10524/rooftops-no-1?ctx=4715703bae747f0b36f946b02d2517711b4029c3&idx=1" target="_blank" rel="noopener">“Rooftops, No. 1”</a> (1943)—and then fully embraced it by the end of his life in works like <a href="https://munson.emuseum.com/objects/1057/sea-motif?ctx=4715703bae747f0b36f946b02d2517711b4029c3&idx=2" target="_blank" rel="noopener">“Sea Motif”</a> (1948). Given Weissbuch’s fascination with motific patterns and textures seen in FAP prints of the 1930s, though, perhaps abstraction makes sense as a latent potential within his earlier work. He was a brief, but meaningful influence upon the Pop artist Robert Indiana, who took classes at the Utica Art School while stationed near there in the amy (Ryan 271). But it seems there had been many other apprentices taught by Weissbuch along the way. 18 works at the <a href="https://www.philamuseum.org/collection?artist=Oscar%20Weissbuch" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 2 works at the <a href="https://www.nga.gov/artists/34125-oscar-weissbuch" target="_blank" rel="noopener">National Gallery of Art</a>. 2 works at the <a href="https://americanart.si.edu/artist/oscar-weissbuch-5309" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 works at <a href="https://munson.emuseum.com/search/Weissbuch" target="_blank" rel="noopener">Munson Museum</a>. 1 work at the <a href="https://digital.wolfsonian.org/node/67534?search_api_fulltext=weissbuch" target="_blank" rel="noopener">Wolfsonian-FIU</a>. 4 versions of “Gypsy Fortune Teller,” illustrating stages of the woodcut printing process, at <a href="https://dac-collection.wesleyan.edu/artist-maker/info/38000" target="_blank" rel="noopener">Wesleyan University Davison Art Collection</a>. 5 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-23-folder-54" target="_blank" rel="noopener">FAP</a>. 16 images at <a href="https://art.gsa.gov/search/weissbuch" target="_blank" rel="noopener">GSA</a>. Works Consulted: Olga M. Viso, “The Golden Age of American Printmaking, 1900-1950”  (1994), courtesy TFAO <a href="https://www.tfaoi.org/aa/9aa/9aa175.htm" target="_blank" rel="noopener">Link</a>; Edward Lewis, “3 Shows Open at Print Club,” Philadelphia Inquirer 27 Mar. 1938: 16; Jacob Kainen, “The Graphic Arts Division of the WPA Federal Arts Project,” in The New Deal Art Projects: An Anthology of Memoirs, ed. Francis V. O’Connor (1972) <a href="https://archive.org/details/newdealartprojec0000unse_m0q7/page/154/mode/1up" target="_blank" rel="noopener">Link</a>; Susan Elizabeth Ryan, Robert Indiana: Figures of Speech (2000); Peter Hastings Falk, ed., Who Was Who in American Art (1999) <a href="https://archive.org/details/whowaswhoinameri0003unse/page/3507/mode/1up" target="_blank" rel="noopener">Link</a> Contributor An entity responsible for making contributions to the resource Cooper, Ken (description & biography) Helquist, Morgan (photography) Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.6 MB 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 ca. 1935 Source A related resource from which the described resource is derived New Deal Museum, Mt. Morris Object #FA 1566 Type The nature or genre of the resource Still image Federal Art Project Landscape Art New Deal Museum Oscar Weissbuch woodcut https://openvalley.org/files/original/86037c5a2829479a3d21c5c356b441b7.jpg b36f5b72ba790a392eedf70f98b7cdc4 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 Silkscreen poster Physical Dimensions The actual physical size of the original image 35.5 x 55.8 cm 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 Fight Tuberculosis--Obey the Rules of Health Format The file format, physical medium, or dimensions of the resource jpeg, 2.4 MB Description An account of the resource Poster promoting better health care through the prevention of tuberculosis by better eating and sleeping habits, and more exposure to sunshine. 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 1936-1941 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/pictures/item/98513584/" target="_blank" rel="noopener">Library of Congress </a> Type The nature or genre of the resource Still image Federal Art Project Public Health Silkscreen tuberculosis https://openvalley.org/files/original/43942685e8b713fee9d80e1bb6de3da0.JPG 2637f038ace460016d92f7d4a3c7921f https://openvalley.org/files/original/4638c282f59ba88630f3765f8ecaaf31.JPG 6578ce470b7cea2759e26d5c7d131472 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 23.5 x 29.5 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 Fighting Stallions Description An account of the resource A fierce encounter between two stallions recalls the work of Frederic Remington in its drama and stripped-down setting. Rounded masses of muscle on the horses resemble the surrounding hills, particularly at lower right. Although not perhaps set during nighttime, a stark contrast between white horses and the landscape’s darker colors likewise owes a debt to Remington’s moonlit scenes. Here there are no humans, other horses, or even trees to witness this frozen moment in time. About the Artist: Born in Townsend, MT, Meloy was raised on the family ranch, where he and his siblings were encouraged to pursue their creative interests as children. His parents arranged for a year of study with the landscape painter <a href="http://www.askart.com/artist/Elmer_L_Boone/65200/Elmer_L_Boone.aspx" target="_blank" rel="noopener">Elmer Boone</a>, and meanwhile Meloy took correspondence courses in commercial art. Visiting friends in Chicago, a trip to that city’s Art Institute so moved him that he decided to enroll there, marking a change in plans and the “divide between a reliable career in commercial art and a more risky career in painting” (citation). Meloy relocated to New York in 1926, studying first with <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the National Academic of Design and then <a href="http://www.askart.com/artist_bio/John_Wesley_Carroll/2060/John_Wesley_Carroll.aspx" target="_blank" rel="noopener">John Carroll</a> at the Art Students’ League. Meloy was influenced by the Ashcan School’s urban realism, sketching on New York’s busy streets and while riding its subway: “These urban portraits convey Meloy’s interest for the whole of life’s volume and mass. The movement of fast-paced New York is depicted through sweeping caricature into beautiful line figures in motion, changing light, and telling environmental information” (citation). During the late 1920s and early ‘30s Meloy supported himself, in part, through illustrations for western and outdoor magazines. Beginning in 1933 he created works for the WPA, including its Easel Art division. During 1941-42 he painted a mural, <a href="https://postalmuseum.si.edu/indiansatthepostoffice/pdfs/The_Flathead_War_Party.pdf" target="_blank" rel="noopener">Flathead War Party</a>, for the US Post Office in Hamilton, MT that still remains. Beginning in 1940 Meloy taught art at Columbia University, where he became intrigued by the more abstract painting of artists like <a href="https://en.wikipedia.org/wiki/Henri_Matisse" target="_blank" rel="noopener">Henri Matisse</a>, <a href="https://en.wikipedia.org/wiki/Willem_de_Kooning" target="_blank" rel="noopener">Willem de Kooning</a>, and <a href="https://en.wikipedia.org/wiki/Jackson_Pollock" target="_blank" rel="noopener">Jackson Pollock</a>. In a letter concerning his new experiments with color, line, and shape he wrote, “I want to fit in and at the same time I want to be alive and contribute something of myself” (Rodriguez). Meloy died suddenly in 1951, while waiting for a train in Grand Central Station. 2 works at the <a href="https://www.metmuseum.org/art/collection/search#!?q=meloy" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3509/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 works at the <a href="http://yellowstoneart.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Yellowstone Art Museum</a>. 18 works at <a href="http://montanamuseum.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Montana Museum of Art & Culture</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-7" target="_blank" rel="noopener">FAP</a>. His papers and approximately 4,000 oil paintings are the <a href="https://www.umt.edu/montanamuseum/permanent/henrymeloy.php" target="_blank" rel="noopener">Montana Museum of Art and Culture</a>. Sources Consulted: Gordon McConnell, “Henry Meloy: Record of a Life,” Henry Meloy: Five Themes, 1945-1951 (Yellowstone Art Center, 1990); Kathryn Lorraine Rodriguez, <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=2269&context=etd" target="_blank" rel="noopener">Henry Meloy: The Portraits, A Narrative of the Exhibition</a> (MA Thesis at University of Montana, 2008) Creator An entity primarily responsible for making the resource Meloy, Henry J., 1902-1951 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) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18205 Format The file format, physical medium, or dimensions of the resource jpeg, 908 KB jpeg, 12.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 112 Federal Art Project Henry J. Meloy New Deal Gallery painting https://openvalley.org/files/original/75cadfc8f69db685424fc880eb5b3cb9.jpg 5d165e652c5d326495677a61f18f9d12 https://openvalley.org/files/original/b2e3ccc8330428115fe4a8118ccecd14.jpg 3cfd796f1c4b867963ccf442880bc17c 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 Wood engraving on paper Physical Dimensions The actual physical size of the original image 5.5 x 7 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 Figure Subject Description An account of the resource Figure Subject is a print that showcases a nude woman looking off as she rests her arms and stands on a windy brick ground, barefoot. Wiltz plays with perspective by not having the road directly lead to the background--he even has the supposed ground blend in with a bridge. The woman’s body is split into muscle-group areas, creating distinct differences in different parts of her body. She is leaning on what looks like a wood structure, like a table, until you look closer and realize that it is stacked steel beams with a birdcage-like structure in front of it, creating the illusion. The print is composed in black and white, which seems to highlight the mundanity that is juxtaposed with the nude woman in a public space--which isn’t quite a real spot--and evokes how mass industrialization must felt. Public spaces were becoming unrecognizable. Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 803 KB Creator An entity primarily responsible for making the resource Wiltz, Arnold (1889 - 1937) 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 Contributor An entity responsible for making contributions to the resource Loucks, Paige (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1581 Type The nature or genre of the resource Still image Arnold Wiltz Federal Art Project lithograph New Deal Museum Nude https://openvalley.org/files/original/eb7f04f0d0a4d2c19ee884b808d198a4.jpg e52531f793c7cf5cf9d0fe8a7907e6e0 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. 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 Filling in the Engine house land Description An account of the resource The Engine house of the Perry Knitting Company was destroyed and the land filled in. 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 Unknown Contributor An entity responsible for making contributions to the resource Lisicki, Macaire 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, 2 MB Identifier An unambiguous reference to the resource within a given context 4970