45 10 1402 https://openvalley.org/files/original/bbbdd3b5c508af7c02e9d3f996057460.JPG 4e05bb649889fc1320100ca865ca1fd9 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: torn, 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 July Flowers Format The file format, physical medium, or dimensions of the resource jpeg, 957 KB Description An account of the resource This dramatic still life is created using bold brush strokes and skillful blending, combined with high-contrast lighting. Two vases—one of gladiolus, the other filled with yellow roses—sit upon a small table near a brick wall and arched window. A stem without a rose blossom lies alone, enigmatically. About the Artist: Born in St. Petersburg, Russia, Kadulin attended art schools in Moscow and Kiev, then turned to a career as a cartoonist for one of Petrograd’s leading newspapers. Postcard versions of his cartoons became very popular. His work seems to have been a mix of political and social satire—for example a “drunken series” or “student types”—and it seems likely that his irreverent sense of humor is what led him to flee the Soviet Union. At this point information becomes scarce. In 1924, five of Kadulin’s caricatures appeared in a New York Times story on <a href="https://nyti.ms/2S6b0ih" target="_blank" rel="noopener">“Festivals and Parades in Russia”</a>; lacerating images of (for example) a “Red Army Soldier in Full Regalia,” bottles of alcohol in each hand, suggest that he was deeply critical of the new regime. There is record of Kadulin being hired in 1926 by a new Tampa restaurant named Katinka to create interior and exterior wall murals using his talent for caricature. It’s quite possible that he lived in Tampa for a period: he traveled to Florida by way of Cuba in 1930, was married in Havana 1931, then traveled again to Florida 1932. Kadulin became a US citizen in 1938. As of 1942 he was living in New York City, then in New Rochelle as a commercial artist. 42 caricatures at <a href="https://commons.wikimedia.org/wiki/Category:Caricatures_by_Vladimir_Kadulin" target="_blank" rel="noopener">Wikimedia</a>. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6" target="_blank" rel="noopener">FAP</a>.               Sources consulted: Anna Louise Strong, “Festivals and Parades in Russia,” New York Times 26 Oct. 1924: 132. Creator An entity primarily responsible for making the resource Kadulin, Vladimir Fedorovich, 1884-1957 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 #FA18187 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 094 Federal Art Project New Deal Gallery painting still life Vladimir Kadulin https://openvalley.org/files/original/d8e5027394f5710f95f6fdc31d1f55b6.jpg 4742d2c1d7d0402f000d1dd4c08a96b4 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 Central Pk. Creator An entity primarily responsible for making the resource Kadulin,Vladimir, 1884-1957 Description An account of the resource Kadulin, Vladimir Fedorovich (1884-1957)  Born in St. Petersburg, Russia, Kadulin attended art schools in Moscow and Kiev, then turned to a career as a cartoonist for one of Petrograd’s leading newspapers. Postcard versions of his cartoons became very popular. His work seems to have been a mix of political and social satire—for example a “drunken series” or “student types”—and it seems likely that his irreverent sense of humor is what led him to flee the Soviet Union. At this point information becomes scarce. In 1924, five of Kadulin’s caricatures appeared in a New York Times story on<a href="https://nyti.ms/2S6b0ih"> “Festivals and Parades in Russia”</a>; lacerating images of (for example) a “Red Army Soldier in Full Regalia,” bottles of alcohol in each hand, suggest that he was deeply critical of the new regime. There is record of Kadulin being hired in 1926 by a new Tampa restaurant named Katinka to create interior and exterior wall murals using his talent for caricature. It’s quite possible that he lived in Tampa for a period: he traveled to Florida by way of Cuba in 1930, was married in Havana 1931, then traveled again to Florida 1932. Kadulin became a US citizen in 1938. As of 1942 he was living in New York City, then in New Rochelle as a commercial artist. 42 caricatures at<a href="https://commons.wikimedia.org/wiki/Category:Caricatures_by_Vladimir_Kadulin"> Wikimedia</a>. 5 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6"> FAP</a>.         Sources consulted: Anna Louise Strong, “Festivals and Parades in Russia,” New York Times 26 Oct. 1924: 132. 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 1940 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 110 King Street Accessed at:<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6">https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6</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/e8e1fdfa7f714e74a7effadab85853bc.jpg b19b09a49207cde60b5080b46b405bfc 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 Autumn-Central Park Creator An entity primarily responsible for making the resource Kadulin,Vladimir, 1884-1957 Description An account of the resource Kadulin, Vladimir Fedorovich (1884-1957)  Born in St. Petersburg, Russia, Kadulin attended art schools in Moscow and Kiev, then turned to a career as a cartoonist for one of Petrograd’s leading newspapers. Postcard versions of his cartoons became very popular. His work seems to have been a mix of political and social satire—for example a “drunken series” or “student types”—and it seems likely that his irreverent sense of humor is what led him to flee the Soviet Union. At this point information becomes scarce. In 1924, five of Kadulin’s caricatures appeared in a New York Times story on<a href="https://nyti.ms/2S6b0ih"> “Festivals and Parades in Russia”</a>; lacerating images of (for example) a “Red Army Soldier in Full Regalia,” bottles of alcohol in each hand, suggest that he was deeply critical of the new regime. There is record of Kadulin being hired in 1926 by a new Tampa restaurant named Katinka to create interior and exterior wall murals using his talent for caricature. It’s quite possible that he lived in Tampa for a period: he traveled to Florida by way of Cuba in 1930, was married in Havana 1931, then traveled again to Florida 1932. Kadulin became a US citizen in 1938. As of 1942 he was living in New York City, then in New Rochelle as a commercial artist. 42 caricatures at<a href="https://commons.wikimedia.org/wiki/Category:Caricatures_by_Vladimir_Kadulin"> Wikimedia</a>. 5 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6"> FAP</a>.         Sources consulted: Anna Louise Strong, “Festivals and Parades in Russia,” New York Times 26 Oct. 1924: 132. 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 1944 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 110 King Street Accessed at:<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6">https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6</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/c901207121c65aa2fd4e7d935a8e27ef.jpg 74f6296c741a597d7b951428aed6169d https://openvalley.org/files/original/c4723ab0748652e3491201364f6c423e.docx 587d5e459fd1502e18dc66ede959907e 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 Enter, and you’re greeted by wild hair, curled with the stories of the wilder days of Geneseo. Stories of rock-and-roll and drama, of students climbing to tops of buildings to pull pranks, laughing, beer sloshing in their stomachs as they run free around the campus. You listen to these stories, to the hustle of an old-time cash register “ding”ing through the store. Scan the walls, hearing titles of albums and singles play off the spines of books. It’s chaos. It’s crooked posters and instrument pieces next to theory books next to a broken record player. It’s a tiny shop in a tiny town in the middle of nowhere, bursting with more music and people and life than it can hold. And like the town itself, it’s all about the stories. It’s about tales of students woven into wild hair, about love songs and heartbreaks and broken instruments woven into the pages of books and the notes on the sheet and the back room. It’s about a little store woven into Main Street in a little town that holds so much history and backbone and life. 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 "Tonal Voices" -- nonfiction prose Description An account of the resource Buzzo’s Music Shop on Main Street is an exciting stop-in for students of all musical abilities. Featuring CDs, records, guitar strings, sheet music, and most importantly, Buzzo’s wild stories, there is never a dull moment from the second you enter the shop until you check out your purchases and leave. Creator An entity primarily responsible for making the resource Kahn, Danielle 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, 27.8 KB Type The nature or genre of the resource Prose Contributor An entity responsible for making contributions to the resource Kahn, Danielle Geneseo Underground Atlas https://openvalley.org/files/original/2c4ecbe370f3e9fb47f5cd67da69925e.JPG 0da6179bc805164ea817662290da3967 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 x 32 in. Condition: spotted, 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 Copper Jug Format The file format, physical medium, or dimensions of the resource jpeg, 997 KB Description An account of the resource The objects in this still life are candidly imperfect: all the bananas have spots; the apples are mottled or appear to have bruises. Still, their colors are vibrant and the table is replete. More of Kallem’s attention has been devoted to less-than-perfect reflections, in ghostly shades upon a table or in the copper jug. Reflected in the jug, it appears that we see the painter in silhouette, with light coming in from a window over his right shoulder. About the Artist: Born in Philadelphia to immigrant parents, Kallem learned to paint from his father Morris, a portraitist (his brother was the sculptor <a href="http://www.terenchin.com/2015/12/16/herbert-kallem-1909-1994/" target="_blank" rel="noopener">Herbert Kallem</a>). He studied at the Pennsylvania Academy of the Fine Arts. At some point during the 1920s the family  moved to New York where Henry set up and likely lived in a studio. He became friends with modernist artists who have come to be called the “28th Street” group because they gathered at the Henry and David Rothman Frame Shop at that location. Like many other artists, Kallem’s subject matter during the Great Depression became more explicitly political; his paintings included “The Sweatshop,” “Subway Construction,” and “Mill Town”—the latter appearing in a 1939 show at the Federal Art Gallery with NDG artists Harold Baumbach, Bena Frank, and James Guy. Starting in 1938 he was part of a five-person group that called themselves the “New York Realists”: Kallem, Max Frankel, Herbert Kallem, <a href="https://americanart.si.edu/artist/morris-neuwirth-3522" target="_blank" rel="noopener">Morris Neuwirth</a>, and <a href="https://thejewishmuseum.org/collection/artist/morris-shulman-american-1912-1978" target="_blank" rel="noopener">Morris Shulman</a>. He also joined a working group of artists encouraging closer cooperation with the American Labor Party. During World War II Kallem worked as an aircraft factory toolmaker, then returned to painting. In a nationwide 1947 competition, his <a href="https://books.google.com/books?id=a0YEAAAAMBAJ&pg=PA103&dq=country+tennement+henry+kallem&hl=en&sa=X&ved=0ahUKEwjhzuSi_tXcAhUFmVkKHcTiBlIQ6AEIKzAA#v=onepage&q=country%20tennement%20henry%20kallem&f=false" target="_blank" rel="noopener">“Country Tenement”</a> was awarded first prize and prompted controversy due to this mainstreaming of abstract art. The controversy also may have been due to its gritty content, for Kallem said, “My idea was to show how I felt upon seeing this scene one evening in the country—all the people crowded into one building with all that space around”(“Prize”). His postwar work moved in the direction of formal abstraction and landscapes, the two not necessarily separate. In 1955, a review called his paintings “subtle, quiet affairs, in which he achieves movement and depth through relationships of graded tones and colors. The approach seems free and easy, but there is a lot more to his work than first meets the eye” (Driscoll). 2 works at <a href="http://collections.portlandmuseum.org/4DACTION/HANDLECGI/CTN3/" target="_blank" rel="noopener">Portland Museum of Art</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-9" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Edgar Driscoll, Jr., “Copley Society Presents Pleasing Members’ Show,” Boston Globe 9 Jan. 1955: 39; “Prize Art Satirizes the Housing Shortage,” New York Evening Post 30 Sept. 1945: 5 Creator An entity primarily responsible for making the resource Kallem, Henry, 1912-1985 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource 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 #FA18188 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 095 Federal Art Project Henry Kallem New Deal Gallery painting still life https://openvalley.org/files/original/8f2649f799e1765c9834c91634321ea6.jpg 707019bb47425931aae2d917c28f4807 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. 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 Gertrude Karlan Jewelry Description An account of the resource Born in New York, from a young age Karlan’s artistic endeavors cut across different forms: music, painting, jewelry. At left, we see two brooches and a necklace displayed at a 1946 Museum of Modern Art show on "Modern Handmade Jewelry." Karlan's pieces are displayed at left, next to several by Madeleine Burrage. One of her paintings is held by the New Deal Gallery, Mt. Morris, NY. Creator An entity primarily responsible for making the resource Karlan, Gertrude Publisher An entity responsible for making the resource available Museum of Modern Art Date A point or period of time associated with an event in the lifecycle of the resource 1946 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Museum of Modern Art, <a href="https://www.moma.org/calendar/exhibitions/3195?installation_image_index=3">"Modern Handmade Jewelry"</a> installation images. Photograph by Soichi Sunami. Format The file format, physical medium, or dimensions of the resource jpeg, 84 KB Type The nature or genre of the resource Still image Gertrude Karlan Museum of Modern Art New Deal Gallery https://openvalley.org/files/original/a7e23aaabe1c5df616c4afc488c4fda7.jpg a02901c7190804a5bb887e0cb9acf57c https://openvalley.org/files/original/1e4ee79b46ad1f283c157de7a138dfb0.JPG d33d5719f61bbbef0486bfe1bccb4ad7 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 Gouache painting Physical Dimensions The actual physical size of the original image 10 x 16 in Condition: good, may have to be remounted 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 Virginia Deer Creator An entity primarily responsible for making the resource Karlan, Gertrude, 1901-1998 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 #FA18189 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 12.5 MB Description An account of the resource We see at close range a female of Odocoileus virginianus, also known as white-tailed deer. Their range encompasses most of the United States, and they are the most numerous of that family here. Karlan’s painting depends less upon its anatomical accuracy than the proximity at which we view a living Virginia deer; her effect is that of extending a short, but unforgettable, moment of beholding one in the wild before the deer raises its white tail in alarm, and then is gone. About the Artist: Born in New York, from a young age Karlan’s artistic endeavors cut across different forms. In the early 1920s her orchestral compositions were performed at New York’s Third Street Music School Settlement; by 1931 she was composing (and playing) avant-garde pieces written for Léon Theramin’s new electronic instrument in collaboration with modern dancer <a href="https://en.wikipedia.org/wiki/Sophia_Delza" target="_blank" rel="noopener">Sophia Delza</a>. Meanwhile she was, according to a 1927 news feature, one of the few women silversmiths in America and thinking of the decorative arts in terms of self-expression: “The rudest tribes and the most luxurious civilizations realized this fact. It is by their jewelry that we know them” (Gross). She was mentioned in Rockwell Kent’s influential Creative Art magazine, and <a href="https://openvalley.org/files/original/8f2649f799e1765c9834c91634321ea6.jpg" target="_blank" rel="noopener">several of her pieces</a> were selected for the Musuem of Modern Art’s 1946 show <a href="https://www.moma.org/calendar/exhibitions/3195?locale=en" target="_blank" rel="noopener">“Modern Handmade Jewelry”</a>. 1 work at the <a href="http://collections.madmuseum.org/objects/1354/necklace-and-earrings?ctx=3f2cd284-525f-4a8b-ac16-0e30e3b8ea93&idx=0" target="_blank" rel="noopener">Museum of Arts and Design</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-18" target="_blank" rel="noopener">FAP</a>. Source Consulted: Pearl Gross / Universal Service, “Barbaric Gems in Favor,” San Francisco Examiner 30 Oct. 1927: 42. Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 096 Federal Art Project Gertrude Karlan nature New Deal Gallery painting https://openvalley.org/files/original/fd8a93d5dda0772167294c41e98b0509.JPG 9eae49a997412772865244ce596c1e39 https://openvalley.org/files/original/04ab2b7b6687e48d94cad30ef8327cfb.JPG 70c2b51be01ca62ebb1ff101da9fb2e6 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 Harbor Creator An entity primarily responsible for making the resource Kaufman, Edwin, 1906-1939 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource 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 #FA18190 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 14.3 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 097 Description An account of the resource At least a third of this painting is dominated by a harbor, whose representation of waves resemble the letter "U" and whose boats are the simplest of icons. To characterize the scene as childlike, however, overlooks the skillful pattern-making applied to trees in the foreground and background. Kaufman creates a bounded world whose simplicity is deceptive; he strips away realist techniques while retaining their representational ends. About the Artist: Born in Cleveland, Kaufman began his art studies at an early age culminating with formal training at the Cleveland School of Art, where he studied with Harry Keller. One of his oil paintings won him the Agnes Gund European Traveling Scholarship; he spent a year there painting and studying under several artists: <a href="https://en.wikipedia.org/wiki/Hans_Hofmann" target="_blank" rel="noopener">Hans Hofmann</a>, <a href="https://translate.google.com/translate?hl=en&sl=fr&u=https://fr.wikipedia.org/wiki/Henry_de_Waroquier&prev=search" target="_blank" rel="noopener">Henry De Waroquier</a>, <a href="https://en.wikipedia.org/wiki/Othon_Friesz" target="_blank" rel="noopener">Othon Friesz</a> , and <a href="https://case.edu/ech/articles/w/warshawsky-abel-and-alexander" target="_blank" rel="noopener">Abel G. Warshawsky</a>. Kaufman seems to have been able to support himself through his work, in part because his primary medium was etching seriographs, in part because he was an effective agent for his own work. He died tragically, along with his wife and two-year old son, when a bridge they were crossing in Pennsylvania collapsed under the weight of a freight truck. As Henry Adams writes, “Kaufman’s best work is a curious blend of the 19th century picturesque, the social realism of the Ashcan School, and the bold patternmaking of the modernists he associated with in the thirties, such as [Louis] Lozowick....It’s intriguing and somewhat eerie to have his work resurface seventy-five years after his death; and a reminder that we should honor not only those who achieved great things, but those whose early promise was cut short.” 28 works at <a href="http://www.clevelandart.org/art/collection/search?collection_search_query=edwin+kaufman&op=search&form_build_id=form-15PFTp2baERGNHrnKO0CfVQdqVUy5plUcejHtrvSUJ8&form_id=clevelandart_collection_search_form" target="_blank" rel="noopener">Cleveland Museum of Art</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-26" target="_blank" rel="noopener">FAP</a>. Edwin Kaufman Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/e9977b7252cdf060a410833bbbda80a4.docx ec9f19940f2bdb94e2ca391ba4221a24 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 Setting eye, bright with knowledge of the hills, swells yellow, orange, pink as it speaks scripture on red seasoned leaves that rattle and lean in to take in its tales. Stories written in braille bumps, veins mapping routes of ventures for the lost; a blind wanderer. I seek solitude in autumn leaves and listen to their legends; for each leaf falls to feel their roots once more, too. 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 Omniscience Description An account of the resource At Geneseo, I’m enraptured not only by the programs and curriculum offered, but by the colors of the hills and sunsets. I feel that by indulging in nature, one can learn a lot just from the quiet around them. This poem captures the space in which education and nature cross paths. 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 2015-10 Format The file format, physical medium, or dimensions of the resource doc, 27.5 KB Type The nature or genre of the resource Poem Geneseo Underground Atlas https://openvalley.org/files/original/2e7bc3f817f25412315d180274ab98e5.docx 4a1a03087184341509b024f015184f06 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 Silver is the winter wind that cuts icy throats, the cunning lie crafted at the trickster’s tongue, sworn to come with a whisper in my ear. It stretches like the ice that ghosts along my windows beneath the evening’s veil, while fissures crack glass at the warmth of my fingertips. I look at my reflection confined in glass. Silver is the seduction of eternity’s rhythm, counted by the rain’s endless patter to draw in my focus. Unlatch the window. In marble bones, I lean on the sill, tasting the cool salt that bites the insides of my cheeks as I breathe ice. As raindrops rush in, chasing goosebumps up my skin, I resign to winter’s wait. 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 Silver Mornings Description An account of the resource As months fade to winter, the sky is drained of color. The temperature drops and the rain pours. Everything is gray, wet, and sits like cool, bitter tea. This poem captures the feeling of betrayal that sometimes comes with the oncoming winter’s dreary mornings. 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 2015-11 Format The file format, physical medium, or dimensions of the resource doc, 27.5 KB Type The nature or genre of the resource Poem Geneseo Underground Atlas