36 10 1402 https://openvalley.org/files/original/7751f1312d6d5ef3a8c29afa4e9110e6.jpg 1803aaa93412a3ecd30421e259b15f1f 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 Magazine cover Physical Dimensions The actual physical size of the original image 8.5 x 11 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 Fish Story Description An account of the resource While the title of this humorous cover art for Liberty magazine is unknown, its editors thought it was appropriate for the backstory to Stephen Ronay's art. "Yes, it happened!" they write; "It simply proves that the war reaches into all walks of life--including the wet and slithery upstream walk of the hitherto sovereign American fisherman" (54).  Noting that the incident occurred near Fort Pine, NY (modern-day Fort Drum), they briefly profile Ronay as a Hungarian immigrant who "made himself into one of America’s foremost landscape painters, the kind that holds one-man exhibitions in famous art galleries." His satirical and humorous cartoons allowed him to "let off steam"--as did fishing and saber-fencing. A comparison to the intense drama of Ronay's The Life Boat, painted for the Federal Arts Project, suggests that his artistic work spanned a wide range of styles and moods. Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert] , 1900-1983 Publisher An entity responsible for making the resource available Macfadden Publications Date A point or period of time associated with an event in the lifecycle of the resource 1942-04-04 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Liberty 19.14 (4 April 1942): cover <a href="https://archive.org/details/LibertyV19N1419420404/mode/1up" target="_blank" rel="noopener">Courtesy Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 911 KB Type The nature or genre of the resource Still image Cartoon Federal Arts Project Liberty Magazine Stephen Ronay World War II https://openvalley.org/files/original/15b38033476a0f7a7838b3c1b792b3cd.JPG 981a5edb9e500fffb732201e46a080b6 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 21 in. Condition: torn, chipped paint, stained 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 Fishing Boats, New Suffolk Description An account of the resource Two boats, a sailboat at left and a motor boat at right, are stationary on calm water. Trees that occupy the background of this piece are reflected by the water in which several moorings are stand. A sand hill or trail cuts into these trees. The painting is predominantly earth-toned, excluding the red stripes on both boats and the blue of the sky which is also reflected by the water. Note: an unfortunate repair of the painting has rendered the sailboat’s booms miscolored. About the Artist: Born in Baltimore, MD, Theobald was the eldest child of <a href="https://en.wikipedia.org/wiki/Samuel_Theobald" target="_blank" rel="noopener">a famous eye surgeon</a> at the Johns Hopkins University Medical School. After attending college at that institution, where he was an artist for the school annual, he worked briefly as a caricaturist for the Baltimore Afternoon News (“Art News”). Early in Theobald’s career, he studied with <a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Castaigne" target="_blank" rel="noopener">André Castaigne</a>, the popular French illustrator and painter. He was present to witness the <a href="https://en.wikipedia.org/wiki/Great_Baltimore_Fire" target="_blank" rel="noopener">Great Baltimore Fire of 1904</a>, sketching from Federal Hill and creating a lurid painting of fire and smoke that was described as “very appalling” in its sublime effect (“Picture”). Theobald began dividing his time betwen Baltimore and New York around 1900, his main interests to that point focused upon sporting art. In 1915, he married Elizabeth Sturtevant, a sculptor, and exhibited his work in venues like the Corcoran Gallery, the Beginning in the mid-1920s, the divided their time between Staten Island and Orlando, FL. They received permission from the Ringling Brothers to spend several months at the circus’s winter home in Sarasota, resulting in distinctive works like sculptural castings of “Miss Congo” the gorilla, and paintings of bareback riders, clowns on stilts, and “Elephant Being Manicured” (“Theobald Art”). 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-22-folder-42" target="_blank" rel="noopener">FAP.</a>  Sources Consulted: “Picture of the Great Fire,” Baltimore Sun 12 Mar. 1904: 6; “Art News from Baltimore,” American Art News 3.71 (18 Mar. 1905): 5; “Theobald Art Exhibitions on Display In New Showing of Art Association,” Orlando Sentinel 17 Mar. 1929: 15. Creator An entity primarily responsible for making the resource Theobald, Samuel Jr., 1872-1956 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Stern, Alison (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Art Gallery, Genesee Valley Council on the Arts Object # FA18279 Format The file format, physical medium, or dimensions of the resource jpeg, 714 KB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 186 Federal Art Project New Deal Gallery Oil on Canvas painting Samuel Theobald https://openvalley.org/files/original/babc66603c98436bb75f7d5bedc48dca.jpg cec888b638d27cc9b6f740e9a32f90bc Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe src="http://www.youtube.com/embed/0Zh0EYJEVwY" frameborder="0" width="480" height="360"></iframe> 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 Fishing Scene from "Libeled Lady" (1936) Description An account of the resource William Powell plays a city slicker trying to fake a knowledge of angling in Jack Conway's film 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 http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available cantbesilent published via YouTube.com Contributor An entity responsible for making contributions to the resource Cooper, Ken Type The nature or genre of the resource Moving image angler Seth Green William Power https://openvalley.org/files/original/7806b2b04e31486de517b56291332733.JPG f6a0993ce0790c7314872f232b88f6e8 https://openvalley.org/files/original/4b528c250f4c934b82abe352e7a0f402.JPG 8979ea93d635abc4b42f1d1ea737d60a 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 22.5 x 16.5 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 Fishkill Fields Format The file format, physical medium, or dimensions of the resource jpeg, 981 KB jpeg, 11.6 MB Description An account of the resource Using a fairly flat picture plane, Ramer uses an array of muted colors to depict a rural scene in Duchess County (mountains in the background may be the Fishkill range). The composition is balanced between an aging tree at left, a windmill at right. Between them is an area somewhat nebulous in its use; colors may indicate corn tassels, or simply overgrown fields. The building seems in good repair, however, so its effect is to serve as antipole to the largely natural landscape. About the Artist: Born in Lemberg, Ukraine, Ramer immigrated to the US with a family holding strongly progressive views (a younger brother, Aaron, was killed in the Spanish Civil War while serving in the Abraham Lincoln Brigade). During the 1930s Ramer’s work was exhibited at the Pennsylvania Academy of the Fine Arts (1934), the Corcoran Gallery (1935), and the Montross Gallery (1936), among other venues. Reviews of his work suggest a protean sensibility, of choosing “to experiment in different fields of painting and “submit[ting] them all to public scrutiny” (Offin). Another visitor thought his “more imposing” figures and still lifes were “not as inviting as his lighter and more fluent” landscapes—an opinion seemingly shared by those who allocated three works to the Mt. Morris sanatorium (“The Critic”). Ramer continued to evolve, in the 1950s influenced by abstract expressionism, in the 1960s and ‘70s according to his nephew “doing some large lucite cast abstractions with found objects that had a La Brea tarpits kind of quality” (Friedman). All this while he maintained a studio upstairs from Max’s Kansas City on Lower Park Avenue, sometimes teaching art classes at Brooklyn College. Much of his work suffered fire damage from the club below or was not preserved after his death. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-47" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Charles Z. Offin, “Introducing Nat Ramer,” Brooklyn Daily Eagle 23 Feb. 1936: C13; “The Critic Takes a Glance Around the Galleries,” New York Post 22 Feb. 1936: 24. For additional information, a special thanks to Alan Friedman. Creator An entity primarily responsible for making the resource Ramer, Nathaniel (“Nat”), 1904-1987 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 #FA18248 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 156 Federal Art Project Nathaniel Ramer New Deal Gallery painting https://openvalley.org/files/original/611f8cd797b77ede39fb3464de0de7a9.jpg dc87b4626103d42dc38ab60c72ecf37c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Postcard Physical Dimensions The actual physical size of the original image 5 x 3.5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Five Arch Bridge With Interurban Train Description An account of the resource Beginning in roughly the 1900s, electric interurban rail lines became popular across the US. Their lower profile--in terms of size, weight and emissions--made them ideal for commuters traveling to cities. The Erie Railroad joined this trend by adding service along an existing line between Mt. Morris and Rochester. The postcard view here shows one such journey across the town of Avon's five-arch bridge during the 1920s. Service stops included Mt. Morris, Cuylerville, Geneseo, Ashantee, Avon, West Rush, West Henrietta, Mortimer, and Rochester. Initially, 24 trains ran daily; by 1931, however, that number had been cut in half, and in 1941 all passenger service was terminated as automobiles supplanted interurban rail service. The Erie RR tore up all tracks south of Avon. Work Consulted: Arch Merrill, “Interurbans Had a Day...And a Pleasant Day it Was,” Rochester Democrat & Chronicle 13 Feb 1949: 29. Date A point or period of time associated with an event in the lifecycle of the resource 1920-1925 Source A related resource from which the described resource is derived <a href="https://www.facebook.com/JohnKuckoDigital/posts/restoring-an-icon-i-give-much-credit-to-communities-that-make-it-a-point-to-prot/1223251189468614/" target="_blank" rel="noopener">Jane Schryver, via John Kucko</a> Format The file format, physical medium, or dimensions of the resource jpeg, 806 KB Type The nature or genre of the resource Still image https://openvalley.org/files/original/133287c3fe49b05bc6d0be7b6c3bdb5e.jpg 4aff93dbc83df838bdb83fc81209e773 https://openvalley.org/files/original/62e5a28d392174bb035d65bbc72a66bf.jpg 2cd82126010510375bbef325b2733eb5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Postcard Physical Dimensions The actual physical size of the original image 3.5 x 5 in Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Five Arch Bridge, Avon NY Publisher An entity responsible for making the resource available Rochester News Company Date A point or period of time associated with an event in the lifecycle of the resource 1910-1920? Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 771 KB jpeg, 310 KB Type The nature or genre of the resource Still image Description An account of the resource 200-foot stone viaduct was constructed by the Rochester and Genesee Valley Railroad sometime around 1856-57, crossing the outlet of Conesus Lake not far from where that creek joins the Genesee River. By 1859 the planned rail line between Mt. Morris and Rochester had been completed, but it struggled financially and eventually was leased to the Erie Railroad beginning in 1873. The viaduct's use of wooden timbers, visible in this photograph, led to ongoing structural concerns and perhaps accounts for the rail line's conversion to a small electric commuter route, which operated 13 runs daily between Mt. Morris and Rochester starting in 1907 and lasting into the late 1930s. The tracks were torn up in 1940 due to declining ridership in the age of automobiles, but the Five Arch Bridge has had an afterlife as a symbol of Avon history. Avon, NY Conesus Creek Conesus Lake Erie Railroad Five Arch Bridge Genesee River Genesee Valley Railroad Railroads https://openvalley.org/files/original/f201ed9e3d9c2de04a1dae8539289bae.jpg 2e6c9a6581e34c667ceaa82d5f71b839 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 Flamingos at Perry Knitting Co. Open House Description An account of the resource The Rice Collection annotation reads: "Leah White looks over the flamingoes used to advertise the Nitey Nites in store windows. These flamingoes were being housed at the Mill in 1954." This date is probably in correct; although no such event was advertised in 1954, there was a large open house held on May 27, 1954. The idea was to have something for everyone: guided tours for the tinkerers, in-person meetings with employees for prospective workers, and refreshments for everyone. The flamingos appear to be aimed at curious youngsters, as a newspaper article suggests: "“Schools of the area have been invited to visit the plant in groups and the Perry schools have indicated thru special arrangements most of the students will take advantage of the opportunity” (Perry Herald 21 May 1953: 1). 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 1953-05-27 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, 1.5 MB Identifier An unambiguous reference to the resource within a given context 6706 Type The nature or genre of the resource Still image Clark Rice Photography Collection Marketing Perry Knitting Co. Perry, NY https://openvalley.org/files/original/fedc597e3b9d0028fd0641bb6894b439.jpg f0a44252c2f7566a89dfe07a141e1060 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 Color comic strip Physical Dimensions The actual physical size of the original image 14 x 10 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flash Gordon: The Fire Plain Description An account of the resource Flash Gordon was a comic-strip hero dating to 1934, created by King Features to compete with the successful Buck Rogers series. It ran until 2003 under various artists, for our purposes including Emanuel (Mac) Raboy between 1948 and his death in 1967. Raboy began his working career in the Federal Art project, already developing a visual style in wood engravings that would translate successfully into the comics medium: high-contrast lighting, dramatically composed scenes, and expressive bodies captured in moments of action. Four of those works are in the New Deal Museum collection. Here, we see a typical episode of the Flash Gordon series, where Raboy had to navigate the constraints of small panel size and large blocks of speech balloons. Dramatic tendrils of fire--in red, orange, and yellow--surround the protagonist and his girlfriend Dale Arden. These visual elements contrast with the blues and violets of rocks, one of them hurtling downhill toward them in the last panel, in typical cliffhanger fashion. Creator An entity primarily responsible for making the resource Raboy, Emanuel (Mac), 1914-1967 Publisher An entity responsible for making the resource available King Features Syndicate Date A point or period of time associated with an event in the lifecycle of the resource 1957-02-03 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Image courtesy of Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 777 KB Type The nature or genre of the resource Still image Comic Strip Federal Art Project Flash Gordon Mac Raboy New Deal Gallery https://openvalley.org/files/original/7b3f879147d16b4f7ed7912a5d1d2701.jpg 32813439541c3d2cbca1435b895d0a54 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 Printed advertisement 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 Flax and Hemp Dresser Publisher An entity responsible for making the resource available Malloy & Sanford (company) The Genesee Farmer Date A point or period of time associated with an event in the lifecycle of the resource 1863-09 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Genesee Farmer 24.9 (Sept. 1863): 296 <a href="https://archive.org/details/sim_genesee-farmer_1863-09_24_9/page/296/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 510 KB Type The nature or genre of the resource Still image Description An account of the resource Dressing flax was a complicated, labor-intensive process to remove seeds and stems so as to separate out the plant's valuable fibers. This image appears in an extensive advertisement for a mechanical dresser--or rather, three different models--that would be used on farms. It promises faster speeds and better yields than a hand-operated process called "hackling." Like other farm implements of this time, a major facet of its sales pitch is the industrial model of deskilling labor, and thus lowering wages: "This machine does not require in its use any peculiar skill. It can be operated by boys or girls, and does not involve any risk to the hands or arms of the operatives, while the ordinary machines require the use of skilled labor, and as experience has proved are always attended with risk to the operatives” (296). agricultural machinery Farm implements industrialization https://openvalley.org/files/original/8783c81bf11b8a738e6b37c1fa7ce410.jpg 420e02566a606db62dec28ffc5231cdd 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 panoramic 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 Flooding at Sodus Point, NY Description An account of the resource Soldiers of the New York Army National Guard's 105th Military Police Company construct a sandbag barrier to protect property at Sodus Point, N.Y. from flooding due to rising waters on Lake Ontario on May 22, 2017. Creator An entity primarily responsible for making the resource Belmont, Patrick (Sgt. 1st Class) Publisher An entity responsible for making the resource available New York National Guard Date A point or period of time associated with an event in the lifecycle of the resource 2017-05-22 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.flickr.com/photos/thenationalguard/34623612670" target="_blank" rel="noopener">New York National Guard, via Flickr</a> Format The file format, physical medium, or dimensions of the resource jpeg, 107 KB flood Lake Iroquois Lake Ontario Sodus Point, NY Watersheds