46 10 1402 https://openvalley.org/files/original/7433e57edc0acc4957b200b7d03c8be2.jpg 229437c4edb1551820a659fc9c9eb753 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 9 x 13 1/4 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 Migrant Family Description An account of the resource The photograph depicts three people, all Haitian migrants, living their lives in a Migrant Camp in Wyoming County. The woman is seen to be washing clothing, using plastic buckets, one for sitting and one for washing. The man beside her is holding a child, a young, plump, baby who is no more than 9 months old. The setting of the photograph is a brick building with a rough, coarse ground of rocks and pebbles. The photograph itself is 9x13 1/4 in black and white and is matted to a 16 x 20 board. 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 Kershner, Natalie Format The file format, physical medium, or dimensions of the resource jpg, 2 MB Geneseo Geneseo Migrant Center Haitian Haitian Migrants Migrant Children migrant family Migrant Farmers Migrant Women migrant workers Migrants Wyoming County https://openvalley.org/files/original/1abf2ba628a97ca3ce906047a3279133.jpg a45abb00295a5652f001749080625dfb Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 9 x 13 1/4 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 Mother and Baby Description An account of the resource This photograph showcases a Haitian pregnant woman holding another child. The child appears to be no older than 6 months old. The mother is seen to be wearing a nice white dress as well as hair curlers in her hair. The baby lays affectionately across the mother's lap. This photograph was taken in McCormick Camp on Hardy Road in Wyoming County. The photograph itself is 9 x 13 1/4 in black and white and is matted to a 16 x 20 board. Creator An entity primarily responsible for making the resource Greenlar 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 Kershner, Natalie Format The file format, physical medium, or dimensions of the resource jpg, 1.8 MB Geneseo Geneseo Migrant Center McCormick Camp Migrant Children Migrant Mother Migrant Women migrant workers Migrants Mother Mother and Child Motherhood Pregnancy Wyoming County https://openvalley.org/files/original/3de5c63f81e19bb120999a05d4738faf.jpg c0b191688f2468e093c863792b22e65b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 7 1/2 x 12 1 /2 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 Women Bathing Babies Description An account of the resource Two Haitian women are photographed bathing their babies in tubs of water outside of a Migrant Camp. This photograph is from the early 80s, at Jimmy Jordan's. The mothers are dressed in very nice skirts and shirts, with their children calmly accepting their baths. Overall, the photograph depicts the tranquility of family life within migrant camps. The photograph itself is 7 1/2 x 12 1 /2 in black and white and is matted to a 15 x 18 1/2 black board. 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? Contributor An entity responsible for making contributions to the resource Kershner, Natalie Format The file format, physical medium, or dimensions of the resource jpg, 847 KB Geneseo Geneseo Migrant Center Migrant Children Migrant Farmers Migrant Mother Migrant Women migrant workers Migrants Mother Mother and Child Motherhood Wyoming County https://openvalley.org/files/original/d21e7337c2dd20d78f153679a43a974b.jpg 56bde93b32d98e664bba85a8324812b4 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 Physical Dimensions The actual physical size of the original image 4.5 x 7 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 Halkett's "Guideway Steam Culture" Illustrated Description An account of the resource Scheme for the application of steam engines to agriculture was deemed by the editors of "The Genesee Farmer" to be "more poetry than practice." Surreal as it appears to be, except for the rail lines modern planting and harvesting use very similar practices. Publisher An entity responsible for making the resource available Genesee Farmer Date A point or period of time associated with an event in the lifecycle of the resource 1863 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived "Genesee Farmer" 24.2 (Feb. 1863): 46-47 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Creator An entity primarily responsible for making the resource Halkett, P.A. Braithwaite, John "Genesee Farmer" Agriculture industrialization Sheffield Peabody 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/a39d575cc99dcc192b2bb0e43dd94dcf.jpg c335603e6c790868e380ea9ddceaa942 https://openvalley.org/files/original/49fcbc65c49b038cf49cd67f33cfad47.jpg 459500119a8f96b9b86d8eb69230e50f 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 26 x 16 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 Harbor Island, Lake George, NY Description An account of the resource David Johnson was a second-generation school of the Hudson River School who studied with Jasper Francis Cropsey and was friends with his contemporaries John Frederick Kensett and John William Casilear. This is one of several paintings Johnson made of Lack George, which was a popular subject due to its spectacular setting, constantly changing weather, and relative ease of access. Here, we are looking through a narrow passage between the Harbor Islands towards the Tongue Mountain Range, specifically Brown Mountain and its distinctive cliffs. A light rain falls upon the water, from a squall either approaching or having passed. Creator An entity primarily responsible for making the resource Johnson, David, 1827-1908 Date A point or period of time associated with an event in the lifecycle of the resource 1871 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Original painting in <a href="http://collections.currier.org/Obj7094?sid=51500&x=2478786" target="_blank" rel="noopener">Currier Museum of Art</a> <a href="https://commons.wikimedia.org/wiki/File:Harbor_Island,_Lake_George,_NY,_by_David_Johnson,_1871,_oil_on_canvas_-_Currier_Museum_of_Art_-_Manchester,_NH_-_DSC07473.jpg" target="_blank" rel="noopener">Image by Daderot via Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 3.8 MB Type The nature or genre of the resource Still image Adirondacks David Johnson Harbor Islands Hudson River School Lake George painting Watersheds https://openvalley.org/files/original/a11432a5722b139be89a02988dde8953.jpg 93c46bdd0e3a618b36a6d475336ff744 https://openvalley.org/files/original/cce9da073e2f42b267eb72e06f87d56d.jpg d540027a15ddfd3b2e8da26d1e275e0c https://openvalley.org/files/original/f75c21d37c12ff3e6e6e6f114e816dfd.jpg e541ba2a6ec63b0165b015568e541161 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 Harmon Road Stone Walls Description An account of the resource Near the Harmon farm named "O-Ka-lee" are the remains of these stone walls--according to family history constructed by Irish immigrants around the mid-1800s. The contemporary digital photographs have been transformed into b/w versions. A third photograph, created for the "Clans of Caledonia" exhibit, superimposes ghostly photographs upon Harmon Road stones. Counterclockwise from upper left: Eugene E. Harmon, Mary McPherson, Ada Harmon, Mary Jane Craig & Mary McPherson, Elisha Harmon, and Isabel Fraser Harmon. 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 2016-04-10 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 572 KB jpeg, 425 KB Type The nature or genre of the resource Digital photograph Belcoda, NY Harmon Family Wheatland, NY https://openvalley.org/files/original/1c3e72b07160f033d90d2f91abb38693.jpg 2d0e093eebdfbaed263abb461c250756 https://openvalley.org/files/original/c5fad43243b06077b3d4a25918d506a7.JPG 59bd41729b07cb9e5eae8b60e83a49ba 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 30 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 Harvest Still Life Creator An entity primarily responsible for making the resource Hartl, Leon Joseph, 1889-1973 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 #FA18171 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 15.2 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 081 Description An account of the resource Nature's bounty is gathered into a late-summer array: grapes, pears, peaches, a plum and a melon; behind them, heads of wheat and various flowers. It is not a haphazard grouping, given the wheat stalks poking out from green grass; the effect is closer to that of a flower arrangement. At the intersection of nature and artifice stands a gourd-shaped pitcher, worked metal emulating the shape of indigenous dried gourds used for a similar purpose. About the Artist: Born in Paris, Hartl immigrated to the US in 1912 and became a citizen ten years later. His professional background had been with aniline dyes, working with ostrich and other rare feathers for milliners and couturiers. In 1922, he entered into a partnership with Marcel Duchamp creating a fabric and feather-dyeing shop that went bankrupt six months later. Hartl always held jobs out of necessity, painting his landscapes and still-lifes on Sundays, but was widely respected for his art. After viewing a 1924 show at Minneapolis Institute of Arts, one critic wrote that “The care with which he works out his subject is the touchstone which transforms a quiet scene into something broadly tender, beautiful in texture and tone” (Allen). Another described his still lifes as “lovely still-life arrangements of  flowers, arranged on pale colored clothes, preferably pinks and grey blues. The bouquets have the simplicity of statement that a child’s concept of a bouquet would have with the difference that his work is neither accidental or immature” (Brooklyn Daily Eagle 28 Jan. 1934: 12). He exhibited at the <a href="https://archive.org/details/newpicture00unse/page/n87" target="_blank" rel="noopener">New Gallery</a> (1923), Art Institute of Chicago, Carnegie Institute, Corcoran, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Salons of America, Society of Independent Artists, and the Whitney Museum of American Art. Hartl’s reputation usually was framed within the problematic concept of primitivism, like his contemporary Henri Rousseau; this was based upon his visual style but perhaps also due to his refreshingly down-to-earth view of painting. At a 1970 Teamsters Union show featuring the work of amateurs, the 81-year-old Hartl was quoted as saying “It’s very important for working people to develop a spiritual side” (New York Daily News 21 June 1970: 22). 4 works at <a href="http://collection.whitney.org/artist/571/L%C3%A9OnHartl" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 5 works at <a href="http://www.ashevilleart.org/artists/leonhartl/" target="_blank" rel="noopener">Asheville Art Museum</a>. 7 works at <a href="http://emuseumplus.unl.edu:8080/eMP/eMuseumPlus?service=ExternalSearch&module=collection&viewType=detailList&fulltext=Hartl" target="_blank" rel="noopener">Sheldon Museum of Art</a>. 1 work at <a href="http://www.phillipscollection.org/collection/browse-the-collection?id=0886" target="_blank" rel="noopener">The Phillips Collection</a>. His papers are at <a href="https://library.syr.edu/digital/guides/h/hartl_l.htm" target="_blank" rel="noopener">Syracuse University</a>. Source Consulted: Burt Allen, “‘Personality’ is Slogan of French Artists Whose Work is Being Shown at Institute,” Minneapolis Star Tribune 30 Mar. 1924: 61. Federal Art Project Leon Hartl New Deal Gallery painting still life https://openvalley.org/files/original/8d961aaf9f56d9d75f1f88b21ad74038.jpg 922eb15c84d9e795a0e0e1c17b62e7ce 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 of oil painting 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 Haverstraw Landscape Description An account of the resource According to the Federal Writers Project Guide to New York state, "Haverstraw...squats on the edge of the Hudson with its back propped against High Tor, Little Tor, and Pyngyp...Here James Wood discovered the modern system of burning brick and set up brickyards in the town...which at the peak included 40 brickyards, producing 326,000,000 brick annually" (605). We're probably looking at the remains of one such brickyard, piles of its product in the foreground. About the Artist: Born in Kiev, Russia, Gubin immigrated to the US in 1909. She studied art at Hunter College, the Art Students League, and New York University; her teachers included <a href="https://americanart.si.edu/artist/raphael-soyer-4566" target="_blank" rel="noopener">Raphael Soyer</a>, <a href="https://americanart.si.edu/artist/byron-browne-621" target="_blank" rel="noopener">Byron Brown</a>, and <a href="https://americanart.si.edu/artist/john-sloan-4476" target="_blank" rel="noopener">John Sloan</a>. Initially she supported herself as an office worker, but in 1933 managed to aquire a hot dog stand on Rockaway Beach that freed up time for her painting (Syracuse Post-Standard 24 Jan. 1973: 28). Gubin’s art was exhibited at the Muncipal Art Gallery (1938), ACA Gallery (1941), and the Woodstock Artists Association (1955). She was recognized with the F. W. Weber award by the National Association of Women Artists. Gubin often is mentioned as a teacher of art; along with private lessons, she managed the summer Timberline camp at Jewett, NY (a progressive hotbed <a href="https://archive.org/details/investigationofcny195305unit/page/1379" target="_blank" rel="noopener">later investigated</a> by the House Un-American Activities Committee). In later years she extended her classes to disadvantaged children: “When she wants to motivate them, Miss Gubin paints portraits of the youngsters, as they appear to her in class. Her happiest experience came when she brought a smile to a little girl’s face. ‘Why are you so sad?’ the artist asked her student. ‘My mother told me I was ugly, and mothers always tell the truth,’ explained the girl. Miss Gubin then painted a portrait of a pretty, smiling girl—with a flower in her hair” Syracuse Post-Standard 11 Feb. 1974: 17). 2 works at <a href="https://americanart.si.edu/artist/selma-gubin-1978" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="https://www.harvardartmuseums.org/collections?q=selma+gubin" target="_blank" rel="noopener">Harvard Art Museum</a>. 1 work at <a href="http://museums.fivecolleges.edu/detail.php?museum=all&record=0&v=2&s=selma+gubin&type=all&t=objects&f=&d=" target="_blank" rel="noopener">Smith College Museum of Art</a>. 2 works at <a href="http://emuseum.delart.org:8080/emuseum/view/people/asitem/search@/0?t:state:flow=a29f2d1c-7a33-44c5-8ae4-3dfb0e1fc930" target="_blank" rel="noopener">Delaware Art Museum</a>. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-39" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Gubin, Selma, 1903-1974 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 Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467" target="_blank" rel="noopener">Federal Art Project, Photographic Division, Box 9, Folder 39</a> Format The file format, physical medium, or dimensions of the resource jpeg, 394 KB Type The nature or genre of the resource Still image Brickyard Federal Art Project Haverstraw, NY painting Selma Gubin https://openvalley.org/files/original/6b6c9e7fcdc82caa58b3ed2e93a04650.jpg b9a76871c3bc0cfda58df964c08ca35c https://openvalley.org/files/original/78b0525d49ce1b77328bea19f67f3235.jpg 497ef67dc98416999018a120aa8e6d41 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 16 x 12 x 16 in.  Sheet: 23 x 16 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 He Calleth His Own by Name--Potter's Field Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 1.7 MB Description An account of the resource Burke’s lithograph depicts an unidentifiable graveyard, set on rolling hills with trees scattered throughout the image. There are small human figures in the background, but the entire print feels desolate and void. Smaller gravestones are visible peeking through the grass, but the clear focal point of this image is a massive cruciform gravestone in the foreground of the print. The eye first travels to the right to the cross, then to the left to a scraggly tree, and finally to the background, where people appear to be digging. There is a contrast between the tonal values of the foreground and the background, with the foreground much darker and more defined, and the background lighter and more amorphous. It places a clear emphasis on the cross, disproportionately large and inevitably drawing attention--in stark contrast to the invisible indigent buried on Hart's Island, and the prison inmates who dug their graves. Burke's title alludes to a passage in <a href="https://www.biblegateway.com/passage/?search=John%2010&version=KJV" target="_blank" rel="noopener">John 10:3</a> that harshly judges the treatment of poor people in human societies, compared to a just world. About the Artist David Burke (Bochkousky) was born in Cleveland, Ohio in 1917. At some point in his early life, he changed his name to Burke, anglicizing it, perhaps to avoid anti-immigrant sentiments. Other than that, little is known about his life before his work with the WPA. He would have been about twenty when he moved to New York City to work for the Federal Art Project around the late 1930s. During this time, he was a student at the <a href="https://en.wikipedia.org/wiki/American_Artists_School">American Artists School</a>, a progressive school in New York City, associated with socialism. By 1940, he was a part of the faculty, teaching lithography classes there in the evenings (Stanley). Burke was also part of the American Artists Union. Starting in 1938, union members put on exhibitions to support artists during the Great Depression. His work, along with many others, like New Deal Museum artists Hugh Pearce Botts and Ernest Trubach, were shown at these exhibitions (McCausland). Along with this, Burke’s paintings were exhibited in many different galleries and schools in New York City, most notably at the New York World’s Fair in 1939. Here, he exhibited his work Evicted - Nanking, which unfortunately seems to have been lost to time. Burke also did an illustration for the Federal Writers Project’s New York City Guide (1939) showing a scene of a <a href="https://archive.org/details/wpaguidetonewyor0000unse/page/n651/mode/1up">Clam Shack</a> in Brooklyn. He was clearly very active during the New Deal era, but there is little information about his later life. It is unclear what he did afterwards or when he died, but his legacy lives on in many galleries across the United States. 18 works at <a href="https://www.metmuseum.org/art/collection/search?q=David+Burke&searchField=ArtistCulture">Metropolitan Museum of Art</a>, plus 1 as <a href="https://www.metmuseum.org/art/collection/search/374285">David Bochkowsky</a>. 3 works at <a href="https://www.nga.gov/artists/34161-david-burke">National Gallery of Art</a>. 2 works at <a href="https://emp-web-95.zetcom.ch/eMP/eMuseumPlus?service=direct/1/ResultListView/result.t1.collection_list.$TspReferenceLink.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=0&sp=3&sp=SdetailList&sp=0&sp=Sdetail&sp=0&sp=F&sp=Sartist&sp=l1618">Sheldon Museum of Art</a>. 1 work at <a href="https://collections.newarkmuseumart.org/search/david%20burke">Newark Museum of Art</a>. 3 works at <a href="https://www.philamuseum.org/collection?artist=David%20Burke">Philadelphia Museum of Art</a>. 1 image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-49">FAP</a>. 5 images at <a href="https://art.gsa.gov/people/909/david-burke/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: Art News 1 April 1939: 15+ <a href="https://archive.org/details/sim_artnews_1939-04-01_37_27/page/22/mode/1up?q=%22david+burke%22">Link</a>; Lee Stanley, “Teaching Democracy in Art,” Daily Worker 12 April 1940: 7 <a href="https://archive.org/details/per_daily-worker_daily-worker_1940-04-12_17_89/page/2/mode/1up?q=%22david+burke%22+">Link</a>; Elizabeth McCausland, “Significant Exhibits in Many Galleries,” Springfield Sunday Union and Republican 6 Feb. 1938: 6E <a href="https://www.newspapers.com/image/1063306911/?match=1&terms=%22david%20burke%22%20artist">Link</a>; Creator An entity primarily responsible for making the resource Burke, David (Bochkousky), 1917 - ? 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 1935-1942 Contributor An entity responsible for making contributions to the resource Donalty, Kenna (description and biography) Helquist, Morgan (photograph) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1151 Type The nature or genre of the resource Still image David Burke Federal Art Project Hart's Island, NY lithograph New Deal Museum Potter's Field