37 10 1402 https://openvalley.org/files/original/ba61e9c6eb4299857c1d425293ca1003.jpg a6634793498005c3921434522819a54d 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 photo 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 Gapstow Bridge, Central Park Creator An entity primarily responsible for making the resource Gobetz, Wally Date A point or period of time associated with an event in the lifecycle of the resource 2007-03-03 Source A related resource from which the described resource is derived <a href="https://flic.kr/p/CjacE" target="_blank" rel="noopener">Via Flickr</a> CC BY-NC-ND 2.0 Format The file format, physical medium, or dimensions of the resource jpeg, 909 KB Description An account of the resource Situated at the northeast end of the pond in Central Park, the Gapstow Bridge was envsioned as part of Frederick Law Olmsted and Calvert Vaux's network of trails, tunnels, and bridges--both functional and aesthetically pleasing. This one was constructed in 1874 using a more elaborate wood and wrought iron design that did not age well; the current stone bridge was constructed in 1896. This photograph is in OpenValley to approximate the location of New Deal artist Bruce Nelson, whose painting <a href="https://openvalley.org/items/show/2171" target="_blank" rel="noopener">The Ridge</a> (c. 1935) creates an idyllic spring setting where New York's modernist skyline and the park's artful nature are in pleasing balance. Contributor An entity responsible for making contributions to the resource Cooper, Ken Type The nature or genre of the resource Still image Bruce Nelson Central Park Gapstow Bridge https://openvalley.org/files/original/b7f8062e62168961d523ac43507e8243.pdf 69a7f3794b822639a90d5909adf2ed6f 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 Computer print-out, annotated Physical Dimensions The actual physical size of the original image Six pages, 8.5 x 11.5 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 Interview with Gonzalez Perez family Format The file format, physical medium, or dimensions of the resource pdf, 588 KB Creator An entity primarily responsible for making the resource Gonzalez Perez, Diodoro Gonzalez Perez, Avalino Gonzalez Perez, Samuel Howell, Jane (interviewer) 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 1992-11-05 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 Type The nature or genre of the resource Still image Description An account of the resource Anthropologist Jayne Howell spoke with two brothers and their cousin concerning apparently simple sculptures created with popsicle sticks. Their answers are much more involved. Diodoro explains how, "For my part, I made the figures with the objective of remembering something of my village. Given the distance to Chincanaque de Pinabeta, in the Mexican state of Chiapas, his memories stretch a great distance from the migrant labor camp in Seneca Castle, NY where the interview took place. Included are detailed descriptions of several creations--a basketball court, a marimba, a school--and of their lives in a small village populated by about 1,000 people. Creative Artists Migrant Program Services Diorama Folk Art Geneseo Migrant Center migrant art https://openvalley.org/files/original/7f140af618c84a8db2b209f301a4df20.jpg f2bb9e66cb7cc2da61db292a9d09ba16 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Digital photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mariposa House Description An account of the resource In 1992, anthropologist Jayne Howell encountered two brothers, Diodoro and Samuel Gonzalez Perez, and their cousin Avelino Gonzalez Perez at the Seneca Castle migrant farmworker camp. Their <a href="https://openvalley.org/items/show/1944" target="_blank" rel="noopener">small dioramas constructed of popsicle sticks</a> had specific and complex connections to their village in Chiapas, Mexico. Three years later, Geneseo Migrant Center Director Sylvia Kelly encountered Samuel at the Franjo Farm camp, teaching others his constructions. She described this object as "a large multicolored house with cantilevered double roof on each side, and a thread-hinged, swinging front door. The front wall of the house is necely decorated with a HUGE gold and blue mariposa." Creator An entity primarily responsible for making the resource Gonzalez Perez, Samuel 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 1995? 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, 1.6 MB Type The nature or genre of the resource Still image Arts Creative Artists Migrant Program Services Geneseo Migrant Center Miniatures https://openvalley.org/files/original/b180bd8ee2c2badc37e2a428670a6187.jpg db43b7d86fb5fb3b8e81b38ac0fe9926 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summer in Central Park Creator An entity primarily responsible for making the resource Gordon, Benjamin (1878-1940) Description An account of the resource Gordon, Benjamin (1878-1940). We haven’t located any reliable information about this artist. 9 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11"> FAP</a>. 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 Ramsay, Elizabeth Source A related resource from which the described resource is derived New York City W.P.A. Art Project Photography Division 235 East 42nd Street Accessed at: <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11">https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11</a> Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Photograph of a Painting https://openvalley.org/files/original/626274b5724f4aa2e2afcc2a9c6d0e16.jpg a7ee4d50c55056b0236785529714137c https://openvalley.org/files/original/a6fb32506701cdb163694825cf07e56e.JPG 43f591fed13d37a5a345da979fcf8c46 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 Still image Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: surface dirt, paint 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 The Lake Creator An entity primarily responsible for making the resource Gordon, Benjamin T., 1878-1940 Publisher An entity responsible for making the resource available Federal Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18162 Format The file format, physical medium, or dimensions of the resource jpeg, 950 KB jpeg, 13.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 072 Description An account of the resource In the foregound, trees bent through years of snow; behind them an alpine lake and glaciered mountain under cerulean skies. Much of this painting is based upon a pair of complementary colors, played out in different juxtapositions. In subject matter (the mountains) and its color palette it resembles other works of this period, all of them perhaps owing a debt to Maxfield Parrish. We haven’t located any reliable information about this artist. Please contact us if you're able to help. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11" target="_blank" rel="noopener">FAP</a>. Benjamin T. Gordon Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/68f05c40db5f88fd93f0763341b0c044.jpg 352ad2d40d84f0c732eb8b502620316c https://openvalley.org/files/original/0593169275ae15f80dea00406f2a4b9a.JPG 9108d32f8b91e201d5896ed7a9df407b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: surface dirt 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 Woods and Stream Creator An entity primarily responsible for making the resource Gordon, Benjamin T., 1878-1940 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 #FA18163 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 17.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 073 Description An account of the resource Judging from the brushstrokes, we appear to be located at a river's bend, our view of the sky obstructed by trees but inferable by a play of light in the water. With the exception of two sharply defined tree trunks, most of Gordon's painting emphasizes autumnal color over form; a few dabs at lower right become a principle drama. About the Artist: We haven’t located any reliable information about this artist. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11">FAP</a>. Benjamin T. Gordon Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/72a6cecfd0cc3129963607f063b7bdfe.jpg e759a2ceaf8bebe6feaaf4048fd8caf6 https://openvalley.org/files/original/941120cd4abc61ed1adf0bacef3c58e9.JPG 4728c6ab59f667fdc376b9df3aac3c2b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: dirt, painting thinning 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 Pool Creator An entity primarily responsible for making the resource Gordon, Benjamin T., 1878-1940 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 #FA18164 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 15.4 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 074 Description An account of the resource A mass of rocks at upper left is mirror by rising ground at lower right in this impressionist composition. Earth tones predominate, even in the water's surface, except for a delicately colored sky and treetops--at sunrise or sunset? About the Artist: We haven’t located any reliable information about this artist. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11" target="_blank" rel="noopener">FAP</a>. Benjamin T. Gordon Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/6967e930debb7c85ef48847aed7b5c85.jpg 175bdad476fdce1aa9f71a457aa5abb9 https://openvalley.org/files/original/36172ab4d52f216e878ed6d7c2224384.JPG 3c7df64f2e1285b40b4671dc64b33cd7 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 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 The Two Birches Creator An entity primarily responsible for making the resource Gordon, Benjamin T., 1878-1940 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 #FA18165 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 13 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 075 Description An account of the resource The title of this painting isn't clear; it's inscribed as "Gray Day" on the frame, but listed as "The Two Birches" in its NDG and General Services Administration records--which is followed here for the sake of institutional continuity. The canvas itself shows Gordon's talents as an evocative colorist, using cool tones of gray, rose, mauve and green. As in his other NDG works, tree trunks are one of the few elements that are sharply delineated. A light source at top center suggests that it may owe something to the moonlit landscapes of <a href="https://en.wikipedia.org/wiki/Ralph_Albert_Blakelock" target="_blank" rel="noopener">Ralph Albert Blakelock</a>. About the Artist: We haven’t located any reliable information about this artist. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11" target="_blank" rel="noopener">FAP</a>. Benjamin T. Gordon Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/ea638f36ce4cd2da587298260aa08612.jpg f10e16d010759f5e163b9de02ddae562 https://openvalley.org/files/original/c48edd28d4cae4c36ab33608c86b30b5.JPG 8cfef5c24df1400cf0827f361f866792 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 print Physical Dimensions The actual physical size of the original image 7 x 9 in. Condition: needs treatment; paper yellowed 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/. Description An account of the resource A faceless laborer lifts what appears to be bales of cotton--presumably one of many for New York's textile and garment industries. The etching's dark, cross-hatched interior contrasts with a view of docks, tugboat, and buildings seen through the doorwary. The anonymous toil depicted here would have been paralleled by sharecroppers in the South, although a market crash there preciptated a "great migration" north. About the Artist: Born in Beijing, China, Grambs was the granddaughter of a Baptist missionary and daughter of what she later termed an “exploitive businessman”; she grew up in Tian-Jing but felt isolated because Europeans didn’t interact with the Chinese. In 1934, she received an Art Students League scholarship that enabled her to emigrate to New York. She was greatly influenced by <a href="https://en.wikipedia.org/wiki/Harry_Sternberg" target="_blank" rel="noopener">Harry Sternberg’s</a> printmaking class—how the medium enabled direct confrontation with social injustices—and was active in several Popular Front organizations. As James Wechsler writes, Grambs’ work in printmaking coincided with government support for progressive artists: “Through the FAP, art became an integral part of the New Deal’s objective of treating the intangible symptoms of a demoralized nation...giving visual from to what President Roosevelt called the ‘nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance’” (383-384). Her NDG print “Warehouse, East River” appeared in a 1936 WPA show at the Brooklyn Academy of Music, one of 25 lithographs that she produced for the federal program. Grambs was deeply involved with the Artists’ Union and its efforts to preserve public funding for the arts amidst conservative reaction. In 1936, her former teacher Sternberg arranged for a group of artists to visit the minefields of Pennsylvania; many of her most powerful prints date to this period, showing the intersectionality of labor and ecological exploitation. She relocated to Europe briefly in 1939 but returned via a harrowing journey as borders closed. Grambs never worked in printmaking again, making her living initially as an illustrator for Woman’s Day magazine and eventually for more than 30 children’s books (sometimes under the name Grambs Miller). Many of these books evoked an affirmative vision of nature (a far cry from the Pennsylvania coal fields) that was perhaps influenced by Rachel Carson and an emergent environmental movment: <a href="https://archive.org/details/hummingbirdsinga00gans?q=%22grambs+miller%22" target="_blank" rel="noopener">Hummingbirds in the Garden</a> (1969) <a href="https://archive.org/details/mushroomsmolds00from?q=%22grambs+miller%22" target="_blank" rel="noopener">Mushrooms and Molds</a> (1972); <a href="https://archive.org/details/younggrizzly00corc?q=%22grambs+miller%22" target="_blank" rel="noopener">The Young Grizzly</a>; <a href="https://archive.org/details/plantfun00anit?q=%22grambs+miller%22" target="_blank" rel="noopener">Plant Fun</a> (1974); and <a href="https://archive.org/details/rootsarefoodfind00bran?q=%22grambs+miller%22" target="_blank" rel="noopener">Roots are Food Finders</a> (1975). 15 works at <a href="https://www.nga.gov/collection/artist-info.25832.html" target="_blank" rel="noopener">National Gallery of Art.</a> 8 works at <a href="https://americanart.si.edu/artist/blanche-grambs-1899" target="_blank" rel="noopener">Smithsonian American Art Museum.</a> 16 works at <a href="https://www.metmuseum.org/search-results#!/search?q=grambs" target="_blank" rel="noopener">Metropolitan Museum of Art.</a> 9 works at the <a href="https://www.newarkmuseum.org/search-our-collection" target="_blank" rel="noopener">Newark Museum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-20" target="_blank" rel="noopener">FAP</a>. Sources consulted: James Wechsler, “The Great Depression and the Prints of Blanche Grambs,” Print Quarterly 13.4 (Dec. 1996): 376-396. Title A name given to the resource Warehouse, East River Creator An entity primarily responsible for making the resource Grambs, Blanche Mary, 1916-2010 Date A point or period of time associated with an event in the lifecycle of the resource 1937-07-15 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photograph) Cooper, Ken (biography) Publisher An entity responsible for making the resource available Federal Art Project Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18166 Format The file format, physical medium, or dimensions of the resource jpeg, 910 KB jpeg, 11.8 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 076 Blanche Mary Grambs Engraving Federal Art Project New Deal Gallery https://openvalley.org/files/original/404c9c5004eefec108175166a97c0246.jpg f8106875d25cfcc7c87931ea067cc170 https://openvalley.org/files/original/854ed1ac37083fdcb42a54a6f72fcd25.jpg 4c30cfd599541afcbf6c1d762ada016a 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 Diagrams 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 Geological Diagram of Portage Dam Site Creator An entity primarily responsible for making the resource Green, Andrew Haswell (1820-1903) Hall, Edward Hagaman (1858-1936) Publisher An entity responsible for making the resource available American Scenic and Historic Preservation Society Date A point or period of time associated with an event in the lifecycle of the resource 1907? Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Item originally appeared in "Annual Report of the American Scenic and Historic Preservation Society," vol. 13 (1908): following p. 34. Scanned image, from the University of Florida George A. Smathers Library, courtesy of The Internet Archive. Description An account of the resource Beginning in 1890, recurring attempts were made to construct a dam in the Genesee River gorge so as to control flooding in the city of Rochester and generate electricity. After failed efforts at Mt. Morris, in 1896 attention turned to a site at Portageville and the state legislature authorized creation of the Genesee River Company. William P. Letchworth was alarmed at the project's potential impacts, and by 1906 he had enlisted the aid of the American Scenic and Historic Preservation Society. These two diagrams were created by that organization as part of a multi-prong resistance to the dam project--along grounds of historical & environmental uniqueness of the gorge, and in this case its geological infeasibility. The two diagrams appear with their original captions, the gist of which is to show that a proposed canal already had rejected the site because of its sandy composition. Remarks following the diagrams are offered by Prof. A. W. Grabau of Columbia University: "A break in this dam of quicksand such as is sure to occur from undermining by seepage if the lake is created, would carry the resultant flood into the present Genesee gorge near the Lower Falls and through the outer gorges to the flats below Mount Morris. It would not be difficult to estimate which of the villages of the flats would hr wiped out of existence. Probably few would escape. Unless it can be shown that a dam of quicksand from half a mile to a mile in length and 2,000 feet across, and extending 70 feet below the floor of the valley which it dams, can hold in check a lake 15 miles long and 118 feet deep and about a mile in width, and containing 15,000,000,000 cubic feet of water, the project will have to be abandoned." The Portageville Dam project finally was rejected in 1911, although on grounds of economic "infeasibility" rather than geological unsoundness or historical preservation. American Scenic and Historic Preservation Society Dam Genesee River Genesee River Company Letchworth State Park William Pryor Letchworth