45 10 1402 https://openvalley.org/files/original/a1c21ddfa0ae38ce216903508eb54932.JPG d61d00f604e0a3082a4c04bbc258563c https://openvalley.org/files/original/2fec3c886bd59f6e4e7bc0b9c1818b21.JPG 2ac6f9a6bdb5f7aa778913517f290c91 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 16 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 Grapes and Roses Format The file format, physical medium, or dimensions of the resource jpeg, 994 KB jpeg, 8 MB Description An account of the resource Upon a table we behold a composition in red: a bunch of grapes, a bouquet of red roses, and a bottle of Chianti its classic straw basket (called a fiasco). Once we factor in Pecci’s white wall and green leaves, it would seem that these colors of Italy aren’t accidental—the still life grows out of a powerful nostalgia for home. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-6" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Pecci, Mario 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 #FA18239 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 146 Federal Art Project Mario Pecci New Deal Gallery painting still life https://openvalley.org/files/original/21c2b1ca6db74f474bd019f2e5eb7f89.jpeg 4344db7ce03d5c0cf1404883fd67794e 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 Satellite imagery 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 Green Empire Farms Description An account of the resource Green Empire Farms is a massive, 64-acre Controlled Environment Agriculture (CEA) operation in Oneida, NY. It is owned by the Mastronardi Produce company, a Canadian firm that also purchased three Intergrow Greenhouse locations in 2023. This location opened in August of 2019. Less than a year later it became notorious for a COVID outbreak, which revealed that hired migrant workers were not wearing masks and sleeping four to a room in local motels. At least 179 out of 300 Green Empire Farms tested positive. This black and white satellite photo was created for an ArcGIS story map titled <a href="https://storymaps.arcgis.com/stories/9f892f35bee24c17b2a65316116cee13" target="_blank" rel="noopener">"Scorching Existence"</a> Creator An entity primarily responsible for making the resource Cooper, Ken Date A point or period of time associated with an event in the lifecycle of the resource 2023-12-15 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived ArcGIS Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Type The nature or genre of the resource Still image Farm labor Geneseo Migrant Center Greenhouse Mastronardi Produce https://openvalley.org/files/original/79c83d47a9ac4368b796e822eb684cde.jpg afb7fa8e29f36d4bc8678b0f2f58b00f https://openvalley.org/files/original/2f8e9ab0ee0f7a228008dabef453aaf4.jpg 5c923118ea8c6e42b5a1f92e09a51376 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 on canvas Physical Dimensions The actual physical size of the original image 26 x 20 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 Green Mountain Village Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 969 KB Description An account of the resource A gray sky overlooks the main street of a small mountain town, rendered by Prestipino with flat shapes and minimal shading. The unrealistic proportions and perspective in the painting give the image a visual appearance that evokes American folk art, which employs similar formal techniques. In the village, several old men and a few young women with an infant are gathered. In the middle of the painting is a building with a prominent clock tower topped in goldwork, perhaps the town’s city hall. A tiny figure can be made out working on the side of the tower. Behind the town hall are a few buildings which appear to be mixed use for residential and commercial purposes. On the far left side of the painting, a man sits on a rocking chair on the porch of a house which also sports an oval blue “Ford” sign, the sole source of ‘branding’ in the image.A heavy-set man stands facing away from the viewer in the bottom center of the painting, his large posterior on prominent display. Perhaps the proximity of the substantial buttocks in the composition to the state building presents some sort of sly political commentary on Prestipino’s part? About the Artist Gregorio Prestipino was born in 1907 to Sicilian immigrants Antonino Prestopino and Letteria Rando, who raised the boy in Little Italy in New York City. Prestipino’s career in the arts was kickstarted when he received a scholarship to the National Academy of Design in New York. At this renowned institution, the burgeoning painter had the opportunity to study under the guidance of portrait and genre painter  C.W. Hawthorne. Drawing from the works of 16th-century artist Pieter Bruegel as well as contemporary urban scenes he observed in Manhattan and Harlem, Prestipino created social realist paintings with a cubist influence that depicted, in the words of historian Irma B. Jaff, “the human condition with a warmth tempered only by honesty." A series of paintings depicting scenes from a New York State prison was featured in Life magazine in 1954, a major achievement for Prestipino. The same year, Prestipino served as the director of the MacDowell Colony - America’s first artist-in-residence program, located in Peterborough, New Hampshire. In recognition for his body of work, Prestipino was awarded the Rome Prize in 1972, which allowed him to further his studies with a residency at the American Academy in Rome. In addition to the serious topics he tackled, Prestipino also produced fanciful paintings and illustrations for children; his 1937 mural work depicting Mother Goose rhymes adorned the Infant Pavillion of the Welfare Island hospital in New York, and he provided whimsical illustrations for the 1968 picture book The Reluctant Dragon. Gregorio Prestinio passed away in 1984 at the age of 77. Creator An entity primarily responsible for making the resource Prestopino, Gregorio, 1907 - 1984 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 Casey, Meaghan (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 403 Type The nature or genre of the resource Still image Federal Art Project Gregorio Prestopino New Deal Museum painting Vermont https://openvalley.org/files/original/0728a01a6e2febe01cace699b7537479.JPG 3341e1dcb5ba0dbf00f4e312c5fe8b2f 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 Monoprint Physical Dimensions The actual physical size of the original image 15.75 x 13 in. Condition: needs remounting 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 Greenfields Format The file format, physical medium, or dimensions of the resource jpeg, 959 KB Description An account of the resource At lower left, a tight cluster of houses is set along the same plane as a plateau running to the right; in the distance are gentle hills of a comparable height, and beyond that taller mountains in blue. In the basin between them we see the broad green fields that give Nagai’s monoprint its name, a space that with a change of color could be a lake. Tiny dots of yellow and orange across the fields may indicate houses on the opposite side, in which case the basin is massive. Subtle etchings in the paint convey ground contours, brush, and tree foliage—the grassfields are a fine-grained texture of their own. About the Artist: Born in Gunma Prefecture, Japan, Nagai immigrated to the US in 1906, initially with a plan to study law but soon returning to his love of art—a grandfather and uncle both had been painters. In New York he studied at the Art Students’ League with <a href="https://en.wikipedia.org/wiki/Thomas_Hart_Benton_(painter)" target="_blank" rel="noopener">Thomas Hart Benton</a> for five years, whose influence can be seen in Nagai’s “Picnic” (1929) with its treatment of massy figures arranged in deep space. In 1928 the Brooklyn Daily Eagle’s art critic, Helen Appleton Read, singled out Nagai’s painting “Tea” as one of three “discoveries” from more than 1,000 exhibits at the Society of Independent Artists. He went on to exhibit at the Corcoran Gallery, Art Institute of Chicago, the Brooklyn Musuem of Art, and the ACA Gallery, among many venues. His “Japanese Landscape” appeared in a 1939 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Louis Harris, Bena Frank, and Herman Copen also appeared. Many of In 1936 Nagai signed the Call for the <a href="https://en.wikipedia.org/wiki/American_Artists%27_Congress" target="_blank" rel="noopener">American Artists’ Congress</a>, an anti-fascist popular front organization. Near the end of his life Nagai and his artist wife Paula Rosen retired to Orlando, FL area. 1 work at the <a href="http://collection.whitney.org/artist/934/ThomasNagai" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-2" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nagai, Tomizo (“Thomas”), 1886-1966 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 #FA18215 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 122 Federal Art Project Monoprint New Deal Gallery Tomizo "Thomas" Nagai https://openvalley.org/files/original/982c4ed844dd9e6a1516eb130a4efbd0.pdf fc83d9e18b95d969bd1de128591ffc46 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. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Three loose-leaf pages Physical Dimensions The actual physical size of the original image 8 1/2 x 11 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Greenhouse Vocabulary Words Description An account of the resource The Geneseo Migrant Center (GMC) reached out to farmworkers at many locations and different types of operations: potato harvesting, tomato picking, fruit orchards, dairies. A relatively new type of agricultural operation was year-round greenhouses. The large Intergrow greenhouse was constructed near Fillmore, NY to grow tomatoes year-round, and employed primarily Spanish-speaking migrant workers. In response to this situation, the GMC created "flashcards" for staff members and artists interacting with the Intergrow workers. It was a matter of understanding the specifics of their unique work from a position of mutual respect. The process was described like this: "1. Make full list work words/phrases; 2. Sort and label work photos; 3. Type up & make flashcards from photos." It appears that Director Sylvia Kelly spoke with migrant workers; poet Janine Pommy Vega then translated names associated with their labor--terms like "pallet jacks" (gato de paleta) and "string line" (cuerda de linea). The three-page pdf document here captures the process of identifying a working vocabulary; <a href="https://openvalley.org/items/show/1900" target="_blank" rel="noopener">the OpenValley item here</a> gathers photographs taken of those greenhouse terms. The greenhouse still is in operation, now called Sungrow. Creator An entity primarily responsible for making the resource Kelly, Sylvia Vega, Janine Pommy 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 2001 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 pdf, 3.18 GB Type The nature or genre of the resource Text Creative Artists Migrant Program Services Geneseo Migrant Center Intergrow migrant workers Translation https://openvalley.org/files/original/35f44c949771534e92f3f536bd329958.jpg 8592cd012abf269aa191104d29d534a0 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 30 x 54 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 Greenwood Lake Format The file format, physical medium, or dimensions of the resource jpeg, 765 KB Description An account of the resource Cropsey, initially trained as an architect, turned to painting in the style of Thomas Cole's sublime renderings of nature. He traveled in the Northeast and Europe, gaining recognition for his increasingly vivid fall hues and more restful settings. Here we see a lake whose shoreline is shared by the states of New York and New Jersey. A group of visitors appreciates the view in foreground, with forests in early autumn and pristine waters. Crossing the lake is a steamship—which as it happens had commenced operations two years earlier due to a growing tourist industry on the lake. Like other paintings of this era showing (for example) a railroad passing through natural landscapes, even small details indicate ambivalence. Creator An entity primarily responsible for making the resource Cropsey, Jasper Francis, 1823-1900 Date A point or period of time associated with an event in the lifecycle of the resource 1875 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://americanart.si.edu/artwork/greenwood-lake-5976" target="_blank" rel="noopener">Smithsonian American Art Museum</a> Type The nature or genre of the resource Still image Greenwood Lake Jasper Francis Cropsey Landscape Art painting Watersheds https://openvalley.org/files/original/3da5a4c404d0c9671ecc23e19efa00df.png 58173d71ea3291824d4562baf62f85e2 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 Greigsville Union Free School Description An account of the resource Greigsville Union Free School, which children from Retsof attended, opened in 1904 Date A point or period of time associated with an event in the lifecycle of the resource 1904 Contributor An entity responsible for making contributions to the resource Auld, Mary Source A related resource from which the described resource is derived Marilyn Yasso, "History of Retsof, New York: A Compilation, 1884-1986 (Lyons, NY: Wilprint, 1988) Publisher An entity responsible for making the resource available Yasso, Marilyn Format The file format, physical medium, or dimensions of the resource jpeg, 154 KB Type The nature or genre of the resource Photograph Greigsville, NY Little Italy Retsof Mine https://openvalley.org/files/original/98d26bd6e0d197d9df7f966b35d655ca.jpg 8b4b92ea6d906899607d03b372efcef4 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 Mills of Genesee Valley Description An account of the resource Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (lumber mill); grinding corn into animal feed or for distilling alcohol (grist mill); grinding wheat or other grains (flour mill); creating boxes and other products from wood pulp (paper mill); fabricating metals (triphammer mill); powering industrial equipment (textile mill); and by the 1880s creating electricity via turbines. This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century. 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, black and white Physical Dimensions The actual physical size of the original image 9.88 x 7.61 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 Grist mill in Mount Morris, N.Y. Format The file format, physical medium, or dimensions of the resource jpeg, 791 KB Type The nature or genre of the resource Still Image Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1900 Description An account of the resource A photograph, looking east, of people bringing sacks of grain to a large mill in the village of Mount Morris, N.Y., for milling and/or storing. This mill appears to be located on State St., next to the mill race that crosses it there, . A 1902 map indicates that it is the Galbraith Mill, situated approximately where the Humphrey Mill once stood. Source A related resource from which the described resource is derived Livingston County (N.Y.) Historian's Office GENESEE VALLEY Grist Milling mills Mount Morris, NY https://openvalley.org/files/original/b15d65cba3ded6f6451d14095703a73f.jpg 6f3ffc6c938311693abc47fd3258ffb2 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 Screencap of satellite imagery 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 Groveland Correctional Facility Description An account of the resource At this location near Sonyea, NY a community of Shakers settled in 1837 and grew to a size of perhaps 150. Later in the century, as their numbers declined, the 1,800-acre plot was purchased by the State Board of Charities and eventually named the Craig Colony for Epileptics. It was envisioned to be a self-supporting enterprise, making use of the Shakers' mills, blacksmith shops, farmland, and houses. It opened in 1896. The reality of life at the Craig Colony was very different, in part due to the warehousing of inmates with various psychiatric and developmental needs. At its peak in the 1930s, population at the overcrowded and underfunded facility approached 3,000 inmates; credible reports of neglect and abuse persisted throughout the decades. During the late 1970s a movement to de-institutionalize patients, combined with a drastic rise in prison populations, led Gov. Hugh Carey to propose a the repurposing of Craig Colony as a medium-security prison--a move opposed by local residents. Nevertheless Groveland Correctional Facility began operations in 1982 and has faced similar problems of overcrowding and inhumane conditions. The image here is drawn from a satellite view of the property, showing how the Colony's original footprint remains intact although virtually none of its buildings remain. Format The file format, physical medium, or dimensions of the resource jpeg, 642 KB Creator An entity primarily responsible for making the resource Esri Date A point or period of time associated with an event in the lifecycle of the resource 2025 Contributor An entity responsible for making contributions to the resource Cooper, Ken Type The nature or genre of the resource Still image Craig Colony Groveland Correctional Facility satellite imagery https://openvalley.org/files/original/0941a2c9af331b7e7919a4828bdb89e1.jpg 76212a675e27181e9a64ae99bb12f9aa 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 Photgraph Physical Dimensions The actual physical size of the original image 13 x 9 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 Haitian Couple Description An account of the resource Unidentified migrant farmworkers from Haiti, which probably dates the photograph to the 1980s and severe economic & political crises that drove emigration. This scene is at a labor camp, probably outside of a cinder block barracks where the young woman is doing laundry in a tub. Despite the difficulties of agricultural work combined with caring for a toddler, the picture shows a lot of affection. 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 1980-1990 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Wyoming County Historian Format The file format, physical medium, or dimensions of the resource jpeg, 910 KB Type The nature or genre of the resource Still image Agriculture Geneseo Migrant Center Haitian immigrant migrant housing