4 10 1402 https://openvalley.org/files/original/dd866bf8e55a8f44bbe73381a5ee3558.jpg f98e2acb750037e618f73ff9a672ea57 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 Engraving 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 A Hive of Farm Activity Date A point or period of time associated with an event in the lifecycle of the resource 1880 Format The file format, physical medium, or dimensions of the resource jpeg, 627 KB Creator An entity primarily responsible for making the resource Wade (artist?) F.W. O'Neill (author) H.L. Williams (author) Publisher An entity responsible for making the resource available R. Worthington Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived F.W. O'Neill and H.L. Williams, The American Farmer's Hand-Book (New York: R.Worthington, 1880): 22. <a href="https://archive.org/details/americanfarmersh00onei/page/n33/mode/1up">Courtesy of Internet Archive</a> Description An account of the resource A beehive, traditional symbol of industry and an orderly community, organizes four images of farming around its center. In clockwise order from the top, we see the arts of landscaping and decorative gardening; a barnyard with various farm animals including a dairy cow at rear; a farmhouse with fields being plowed and seeded with grains; and a group of fruit-pickers in an orchard. All are depicted as facets of a modern, integrated farm. But decorative images--sheaves of wheat, barrels of cider, vegetables, hand tools--also seem to be updating an older symbol of cornucopia. It was an ideal few real-life farms could realistically attain. Type The nature or genre of the resource Still image Beehive Engraving Farm Farm implements farming Harvest https://openvalley.org/files/original/26883369101cb2fea842c471a7347b9f.png 9741ef1ba16adf2b281d6a26d45617d4 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 Poster Physical Dimensions The actual physical size of the original image 18 x 24 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 A Painting's Work is Never Done Description An account of the resource Promotional poster created for a May 2026 exhibition, added to OpenValley as artwork for the <a href="https://openvalley.org/exhibits/show/a-painting-s-work-is-never-don/about" target="_blank" rel="noopener">landing page</a> of a five-part exhibit. Creator An entity primarily responsible for making the resource Theel, Rose Publisher An entity responsible for making the resource available New Deal Museum Date A point or period of time associated with an event in the lifecycle of the resource 2026-05-08 Contributor An entity responsible for making contributions to the resource Theel, Rose Format The file format, physical medium, or dimensions of the resource png, 5.6 MB Type The nature or genre of the resource Still image Federal Art Project New Deal Gallery Poster https://openvalley.org/files/original/b2843be31ecfc3f99797828aa2f2f240.jpg 9956eda6bb8efa9049f6404be581ab30 https://openvalley.org/files/original/484d1e11b73d973a9ca6273e76830a2e.jpg 0cdf09cd8c7bebb991d22453a9262c1a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas Physical Dimensions The actual physical size of the original image Canvas: 30 x 24 in. Frame: 35 x 30 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 A Peaceful Valley Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.3 MB Description An account of the resource Powell depicts a calm, rural landscape, with a flowing stream that starts in the foreground and curves across the canvas. The colors of the work become hazier, and brushstrokes become more organic as the eye moves from the foreground to the background, utilizing the technique of atmospheric perspective. The waters appear still, with bits of rock and greenery peeking out from the surface, providing more visual interest to the foreground. On the left side of the canvas, closer to the middle ground, there is a patch of land with foliage and a cluster of trees. consisting mostly of green, with bits of warmer colors dispersed throughout the bushes. The trunks and limbs of the trees are dark, creating a contrast against the soft green of the leaves. On the right side of the painting, another patch of land sits. There is less contrast in this area, as it is approaching closer to the background. On this side, we can see the figure of what appears to be a farmer and a goat-driven wagon. Due to the loose strokes used to create these figures, they almost seem to blend into the surrounding landscape. The painting embodies its title, as while it depicts a scene that can be interpreted as a farmer doing his job, it is simultaneously calm and serene. It reflects Powell’s later life, when he would be creating works for the WPA. He was older, and instead of traveling and doing grander things as he had in his younger years, he had more or less settled down. The farmer in the background may represent Powell himself, as while he is still working, the life he lives is much calmer than it may have been in the past, and this difference in style between this painting and some of his older works further shows this. About the Artist Powell was an American painter and muralist known primarily for his atmospheric landscape paintings. Born in Van Wert County, Ohio, he developed an early interest in art and eventually pursued formal training. Over the course of his career, he became associated with American landscape painting, particularly the natural scenery of the northeastern United States. His career spanned from the late nineteenth and early twentieth centuries, meaning he was quite far along in his art career when he began creating works under the Federal Art Program. Powell studied at several notable art institutions, including the San Francisco School of Design, the St. Louis School of Fine Art, and the Académie Julian in Paris. This combination of American and European education exposed him to a variety of artistic traditions and techniques, which influenced his approach to painting. His works often featured carefully observed natural environments such as forests, mountains, streams, and farmland, of which he based on places he’s been. Earlier in his career, he tended to paint grand landscapes of the West. He made paintings of National Parks, such as his work “Going to Sun Mountain, Glacier Park” and “Lincoln Peak, Glacier National Park.” In addition, he also made works encapsulating the expanse of the Grand Canyon. His career in his later years consisted of him painting more calm, rural landscapes, as he wasn’t traveling as much. His art was praised, particularly for how he composed the subjects of his work and his usage of color. Throughout his career, Powell lived and worked in both New York City and Dover Plains, New York. In addition to creating easel paintings, he also produced murals for public and religious buildings. Some of these murals were installed in churches in New York as well as in Bowne Hospital in Poughkeepsie, which was a sanatorium much like the New Deal Museum on Mt. Morris. Powell was active in the American art community and belonged to several professional organizations. He was elected an academician of the National Academy of Design in 1921 and remained associated with the institution for the rest of his life. He was also a member of the Salmagundi Club, the New York Watercolor Club, and was a founder of Allied Artists of America. During his career, he exhibited widely and received multiple awards for his work. Powell continued painting well into his late years and died on July 15th, 1956, in Poughkeepsie, New York. Today, his paintings of scenic landscapes remain part of museum collections and art auctions, preserving his contribution to American landscape painting. Creator An entity primarily responsible for making the resource Powell, Arthur Emery (1864 - 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 Papapietro, Isabella (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 231 Type The nature or genre of the resource Still image Arthur Emery Powell Federal Art Project Landscape Art nature New Deal Museum https://openvalley.org/files/original/bc3c534cbd80989eed34717e06a4bc0f.docx 6546d390bd40e1475b0c865a36aaed63 https://openvalley.org/files/original/977d9e2cde6767e639e2c757c20a8e68.JPG 69ee66f3a5dbf871c5b092aafd8fd76b Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document The Outside: I stand on a sloped asphalt path that’s riddled with cracks and dips, gray from the wear of shuffling feet and lengthy winters. Guided by post chain fences on either side, the path cuts through the fading lawn and pools in front of Blake Hall. The building is standard—brick, flat, boxy—with windows of the same attributes. However, at the base of the building stands a distinct arched canopy. The maroon color draws my eye and serves as a sort of tunnel. I’m transported from the all too dull architecture to a room with life. The Inside: Purple. A lot of purple. The walls are a light purple, almost pinkish, and retro. The circles that make up the purple carpet add bubbly life to the atmosphere. The ceilings are tiled and hold yellowed lights. Everything is open. There are tall circular tables with chairs around the outside and a ground level stage made of movable tiles in the middle. It’s a strange room that feels almost out-of-time, but it’s cheerful and inviting nonetheless. Experience: The Knight Spot became one of the first places on campus that felt familiar to me outside of my dorm room. When I transferred to Geneseo, I wasn’t very acquainted with the campus, the organizations, or the student body, but once, while walking the halls of Brodie on my way out of class, I saw that vegSOUP was holding auditions for a show, Blithe Spirit. At the time, I didn’t know what vegSOUP was or even what the show was about, but theater was a beacon to which I was drawn. I put all nerves behind me and went to auditions. Soon cast as Madame Arcati, an eccentric and strange medium, I began rehearsing in The Knight Spot. Rather than using a traditional theater and stage, we we’re to be performing on ground level with our audience. The room was a comfortable place to work in. The purple walls were invigorating and fun, and my all fears dissolved in the open space. During rehearsals, if I moved too quickly or slid, the adjustable tiled floor would come with me. We used the space to stretch our muscles and warm our voices, to become a family. Even after Blithe Spirit had finished, I found myself in this space again—this time for a different organization. Geneseo’s Pride organization booked the room one Friday night for a drag show. My friends and I dressed up, bending the norms of the gender binary, and went off. This time, the atmosphere was a lot different. The purple room had transformed into a place exploding with music and rocking with bodies all too excited to dance and sing. A large rainbow flag hung brilliantly against the purple wall. The tall rounded tables and chairs were pushed to the side to make room for a DJ booth. The grounded tile stage was lifted to create a platform for the performers. Although the moods and purposes of the events were different, the character of the room stayed the same. The Knight Spot is a place of gathering, of fun and socialization, for students of every organization to come and enjoy time with their campus community. 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 A Pleasant Purple Description An account of the resource The Knight Spot, formerly known as “The Hub,” had once been a place to get lunch and hang out with friends on campus. Although the room has since changed, it still holds these characteristics of excitement and energy. Creator An entity primarily responsible for making the resource Keane, Jordan Date A point or period of time associated with an event in the lifecycle of the resource 2015-12 Format The file format, physical medium, or dimensions of the resource doc, 29.9 KB Type The nature or genre of the resource Prose Geneseo The Knight Spot Underground Atlas https://openvalley.org/files/original/fe4294b570a25ff32bb6340266a11184.jpg 1b9ad44b22096a09e8ad3ae029b73d50 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 Engraving 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 A Progressive Farm, 1880 Description An account of the resource "The radical error of the American system of farming," this handbook argues, is that "throughout the greater part of the country, the attention of farmers and planters has been almost exclusively devoted to the cultivation of a few staple articles" (iii). In tandem with with the handbook, frontispiece schematically illustrates the diversified revenues of a well-run farm: cattle, hogs, chickens, geese, ducks, and turkeys. We see a hard-working farmer plowing, and his hands bringing hay into the barn. Various farm implements are displayed, as well. Creator An entity primarily responsible for making the resource Griffin, A. B. (artist) F.W. O'Neill (author) H.L. Williams (author) Publisher An entity responsible for making the resource available R. Worthington Date A point or period of time associated with an event in the lifecycle of the resource 1880 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived F.W. O'Neill and H.L. Williams, The American Farmer's Hand-Book (New York: R.Worthington, 1880): ii. <a href="https://archive.org/details/americanfarmersh00onei/page/n9/mode/1up"></a><a href="https://archive.org/details/americanfarmersh00onei/page/n9/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 673 KB Type The nature or genre of the resource Still image https://openvalley.org/files/original/a9f550b08e0cec68c50bcd38797207a2.jpg c01cb52bd49edbc9b6179f211c1ef47f https://openvalley.org/files/original/10d23c94c1e42352d3c7a955abf6f4fc.jpg 3f0bd805cfc411a1003d36b0daf426d3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Map Physical Dimensions The actual physical size of the original image 48 x 66 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 A Survey of Lake Champlain Description An account of the resource The full title of this map is A Survey of Lake Champlain, including Lake George, Crown Point and St. John. Surveyed by Order of His Excellency Major-General Sr. Jeffery Amherst, Knight of the most Honble. Order of the Bath, Commander in Chief of His Majesty's Forces in North America, (now Lord Amherst) by William Brassier, Draughtsman. (with) A Particular Plan of Lake George. Surveyed in 1756. By Capt. Jackson. London: Printed for Robt. Sayer & Jno. Bennett ... Augst. 5th 1776.  The two dates here are important: the first locates Capt. Jackson's surveys amidst the French and Indian Wars, when England and its rival France were battling for territorial control of North America; the second date, of course, locates publication of the map during the American Revolution. The Champlain Valley and its waterways were a critical transportation route, and accurate knowledge of its terrain and strategic points was important military intelligence. Much of that is encoded literally on the terrain here. This map was one of six in a small hand atlas designed for British officers and as such was dubbed the "Holster Atlas" for its use in the field. Creator An entity primarily responsible for making the resource Sayer, Robert Bennett, John Publisher An entity responsible for making the resource available Sayer and Bennett (firm) Date A point or period of time associated with an event in the lifecycle of the resource 1776 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.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~1141~90019:A-Survey-of-Lake-Champlain,-includi?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No&qvq=q:%22lake%20george%22;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&mi=0&trs=4#" target="_blank" rel="noopener">Courtesy David Rumsey Historical Map Collection</a> Format The file format, physical medium, or dimensions of the resource jpeg, 825 KB jpeg, 4.3 MB Type The nature or genre of the resource Still image American Revolution Champlain Valley French and Indian War Lake Champlain Lake George Map Military Map Watersheds https://openvalley.org/files/original/c8ef99a087fec67aa8a854264c747c8f.jpg 27d76e43d5cdf155ff5a471ef5975973 https://openvalley.org/files/original/28998adede2352322c3e0b1246c35fa7.jpg f187be5e869c73cda6486b9f2d364cd7 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 Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History 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 A.K. Fowler, Drugs & Medicines Description An account of the resource Number 40 on the Burleigh map of Caledonia, drugstore relocated here in 1890 from Lima but shortly thereafter was destroyed in the Caledonia fire of 6 February 1891. The first image shows an advertisement for Chamberlain's Cough Remedy, the sort of patent medicine typically advertised by Fowler during the early days of his firm and a major driver of early advertising in America. After the 1891 fire, Fowler's rebuilt business evolved into a business also carrying books, stationery, and--as can be seen in the second image--goods for the home. Archibald K. Fowler (1852-1914) was active in Caledonia civic life, helping to found the Eunice Lodge #830 of Free and Accepted Masons in 1899 (he was its first chairman), and eventually serving as Caledonia's postmaster beginning in 1905 until his death in 1914. Date A point or period of time associated with an event in the lifecycle of the resource 1894-10-25 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Caledonia Advertiser, 25 Oct. 1894. Courtesy of Tom Tryniski / Fulton History. Format The file format, physical medium, or dimensions of the resource jpeg, 247 KB jpeg, 249 KB Type The nature or genre of the resource Print advertisement A.J. Fowler Burleigh Litho Co business Caledonia fire Caledonia, NY https://openvalley.org/files/original/09a5ea029662c55ec81facbd6b2ddd1f.jpg 373b200dd5161a3ba1f6f420e136de1b 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 Abbey of the Genesee, Overhead View Description An account of the resource Drone photograph views Trappist Monastery, founded in 1951, occupies about a dozen acres on its main grounds. Creator An entity primarily responsible for making the resource McCarthy, Tom Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Photo courtesy of Tom McCarthy / Lynn Design Format The file format, physical medium, or dimensions of the resource jpeg, 762 KB Type The nature or genre of the resource Digital photograph Abbey of the Genesee Genesee River Piffard, NY https://openvalley.org/files/original/02626525da5a8810225a4764f1fcde9e.jpg ed24a27f61f85cb25d3a96534165456e 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 Typed Letter Physical Dimensions The actual physical size of the original image 8.5" x 11" 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 Acceptance Letter from the Balch Institute for Items from African Past, Migrant Present Description An account of the resource At the close of the 1986 gallery African Past, Migrant Present, some art pieces were transported to the Balch Institute in Philadelphia. They were displayed there as part of their "Freedom's Doors" exhibition. It is unknown what works from African Past, Migrant Present were sent to the Balch Institute, but it is nonetheless impressive that a seemingly small and insignificant gallery exhibit got attention hundreds of miles away in a large city. The migrant works got to see a larger world. Creator An entity primarily responsible for making the resource Turk, James F. Date A point or period of time associated with an event in the lifecycle of the resource 1897-07-31 Contributor An entity responsible for making contributions to the resource Wilson, Sawyer 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 jpeg, 124 KB African Past, Migrant Present Balch Institute Geneseo Migrant Center https://openvalley.org/files/original/26e093a1c729b5c4d5b5a3714d310280.jpg 117c47ffb72cab1f9e235fd50a3620c0 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 Drawing Physical Dimensions The actual physical size of the original image 12 x 12 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Aching Heart Mandala Creator An entity primarily responsible for making the resource Hernandez, Eva 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 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, 980 KB Description An account of the resource Floral border defines a circle with more flowers, a pair of solar disc flowers, and a heart with anthropomorphized face. Above, the phrase "Te Extrano" (I Miss You) raises a complex question. Is Hernandez referring to a specific person or, given the red/white/green color pallete, Mexico itself? Or perhaps both? Note: this is file from a digital photograph taken at the time; size and clarity may be impacted. Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Geneseo Migrant Center Mandala Mexico