47 10 1402 https://openvalley.org/files/original/8ac483055d2ac3f8f9f3474c5b29919c.jpg 6c850abb3de2f4210ebaa7be829cdc23 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 Rolling Hills Asylum Description An account of the resource Constructed as the Genesee County Poor House in 1828, this site in Bethany, NY became the warehouse for a variety of afflictions: alcoholism, mental illness, disability, and pauperism. Inmates spent years there including one, Phebe White, who died after 58 years. Many were buried in unmarked graves. After the facility closed in 1974 it has come to be known as a destination for paranormal tourism. Source: <a href="https://www.geneseeny.gov/files/sharedassets/county/v/1/history/county-home/county-home-history.pdf" target="_blank" rel="noopener">Susan L. Conklin, "Genesee County Home / Poorhouse (A Brief History" (2005)</a> Creator An entity primarily responsible for making the resource Kirkland, Jennifer Creative Commons license BY-NC-ND 2.0 Publisher An entity responsible for making the resource available flickr Date A point or period of time associated with an event in the lifecycle of the resource 2013-10-05 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still image Poorhouse Rolling Hills Asylum https://openvalley.org/files/original/552760dde42f537f810cc5240215d37e.JPG b043669d5c3e2290df667e46a5dcc24e 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 21.5 x 17.5 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fruit and Drapery Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource This complex still life plays with how the natural world makes its way into artistic forms and representation. A grouping of fruit at upper left is echoed in the fabric’s shapes at lower right, as with the bell pepper’s distinctive shape. A pear at middle right is easy to overlook because its colors blend in. Meanwhile, a ceramic teapot is painted with its own colors and floral designs (referenced in another fabric). There are three distinct pieces of cloth, whose patterns multiply by reversal and draping. In the background is either a painting of sky upon the wall, or Kovner’s painted sky for this composition. About the Artist: Born in Rogachov, Russia, Kovner—who painted under the name “Saul”—immigrated with his parents in either in 1911 or 1912 to New York. He studied there at the National Academy of Design with <a href="https://en.wikipedia.org/wiki/Charles_Webster_Hawthorne" target="_blank" rel="noopener">Charles Hawthorne</a> and <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a>. Kovner then set up a studio near Central Park, whose gregarious crowds seem to have influenced many of his works, regardless of their unflinching looks at poverty. In 1935, Kovner was one of three WPA artists assisting James Michael Newell on <a href="https://livingnewdeal.org/projects/evander-childs-high-school-mural-bronx-ny/" target="_blank" rel="noopener">The Evolution of Western Civilization</a>—a massive, 12-panel fresco at Evander Childs High School in the Bronx. Kovner moved to Burbank, CA in the late 1940s and remained there until his death. 6 works at <a href="https://americanart.si.edu/artist/saul-kovner-2702" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at the <a href="https://www.dia.org/art/collection?keys=kovner&keyword=&start=&end=&sort_bef_combine=search_api_aggregation_6+ASC&Submit+Collection+Search=Search+Collection" target="_blank" rel="noopener">Detroit Institute of Arts</a>. 1 work at <a href="http://collection.whitney.org/object/4903" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 3 works at <a href="https://www.nga.gov/collection-search-result.html?artist=Kovner%2C%20Saul" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at the <a href="https://gallery.newarkmuseum.org/media/view/Objects/3073519/595685?t:state:flow=6f524d60-9569-439c-b346-e757c9208e43" target="_blank" rel="noopener">Newark Museum</a>. 1 work at <a href="https://artmuseum.princeton.edu/collections/objects/3676" target="_blank" rel="noopener">Princeton University Art Museum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-13-folder-8" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Kovner, Saul, 1904-1982 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 #FA18192 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 099 Federal Art Project New Deal Gallery painting Saul Kovner still life https://openvalley.org/files/original/48ecbdd952b3fa28646e46e44ca4c658.jpg 1a652c1352aea2da20f9ed48a6bb06c0 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 etching 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 Small Town Harlem Description An account of the resource At the time of this painting Harlem had the highest population density in New York, so it is a surprise to see remaining pockets of its originally rural identity. On the hill above, we see newer and more expensive housing. About the Artist: Born in Rogachov, Russia, Kovner—who painted under the name “Saul”—immigrated with his parents in either in 1911 or 1912 to New York. He studied there at the National Academy of Design with <a href="https://en.wikipedia.org/wiki/Charles_Webster_Hawthorne" target="_blank" rel="noopener">Charles Hawthorne</a> and <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a>. Kovner then set up a studio near Central Park, whose gregarious crowds seem to have influenced many of his works, regardless of their unflinching looks at poverty. In 1935, Kovner was one of three WPA artists assisting James Michael Newell on <a href="https://livingnewdeal.org/projects/evander-childs-high-school-mural-bronx-ny/" target="_blank" rel="noopener">The Evolution of Western Civilization</a>—a massive, 12-panel fresco at Evander Childs High School in the Bronx. Kovner moved to Burbank, CA in the late 1940s and remained there until his death. 6 works at <a href="https://americanart.si.edu/artist/saul-kovner-2702" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at the <a href="https://www.dia.org/art/collection?keys=kovner&keyword=&start=&end=&sort_bef_combine=search_api_aggregation_6+ASC&Submit+Collection+Search=Search+Collection" target="_blank" rel="noopener">Detroit Institute of Arts</a>. 1 work at <a href="http://collection.whitney.org/object/4903" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 3 works at <a href="https://www.nga.gov/collection-search-result.html?artist=Kovner%2C%20Saul" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at the <a href="https://gallery.newarkmuseum.org/media/view/Objects/3073519/595685?t:state:flow=6f524d60-9569-439c-b346-e757c9208e43" target="_blank" rel="noopener">Newark Museum</a>. 1 work at <a href="https://artmuseum.princeton.edu/collections/objects/3676" target="_blank" rel="noopener">Princeton University Art Museum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-13-folder-8" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Kovner, Saul, 1904-1982 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 1939 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/series-1/box-13-folder-8" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 13, Folder 8.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 384 KB Type The nature or genre of the resource Still image Etching Federal Art Project Harlem, New York New Deal Gallery Saul Kovner https://openvalley.org/files/original/196ad0b316dfdb3bd75d858938d3e4be.jpg 373e867f2ff57332b7c655067665e5f6 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 Bird's eye view Physical Dimensions The actual physical size of the original image 30 x 71 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Warsaw, NY, 1885 Creator An entity primarily responsible for making the resource L.R. Burleigh Publisher An entity responsible for making the resource available L.R. Burleigh, Troy NY Beck & Pauli Date A point or period of time associated with an event in the lifecycle of the resource 1885 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress Geography and Map Division <a href="http://hdl.loc.gov/loc.gmd/g3804w.pm006500">http://hdl.loc.gov/loc.gmd/g3804w.pm006500</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB Type The nature or genre of the resource Bird's eye view Description An account of the resource Bird's eye view looking northwest shows the rapidly growing town of 3,200 located along Oatka Creek. Founded in 1803 from the Holland Purchase tract, agriculture followed the clearing of timber and by the later 19th century the town's economy was a mix of farming, milling, manufactures, and (most recently) salt mining. Burleigh uses great ingenuity to depict five different salt mines on his panorama, located along the two main railroads passing through Warsaw. Also notable are the town's three different different newspapers, an early gas works (founded in 1859), and a large union free school. bird's eye view Map Salt Mines Warsaw, NY https://openvalley.org/files/original/f7be2c7b100c64f5b1582a81eb54d95f.jpg ec55edc45b5ea715ddaafd7ac78f6e15 https://openvalley.org/files/original/c3b2c0409bb0d70d7ba0209dbc94cc3e.JPG 1434d3a562c1f28b3c17b9b862c97ca6 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: tack mark in vase, 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 Flower Study Description An account of the resource This composition occupies a sort of uncanny valley in painting: its vase and flowers use one regime of three-dimensionality; its plant stand uses a different regime, or perhaps the same from a different vantage point. No viewing point can make those two cohere. La Spina’s still life is not cubist in its treatment of space, yet results in an object not simply  floating in space, but tethered to another perspective. Compare the aesthetic here to his more traditional <a href="https://openvalley.org/items/show/1156" target="_blank" rel="noopener">“October Bouquet.”</a> About the Artist: Very little is known about this artist born in Palermo, Sicily, who immigrated to the US in 1914 and became a citizen in 1936. Among his known works are a 1931 self-portrait, “Lady Justice Among Figures” (1932), “Portrait of Lillian” (1934), and “Pieta” (1949). In 1942 La Spina painted a FAP <a href="https://www.flickr.com/photos/nycdesign/16347786631/in/photostream/" target="_blank" rel="noopener">ceiling mural</a> for the Psychiatric Wing of Bellevue Hospital, NYC. He published a book entitled Clouds and Dust in 1975. Creator An entity primarily responsible for making the resource La Spina, Nunzio E., 1900-1988 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 #FA18195 Format The file format, physical medium, or dimensions of the resource jpeg, 879 KB jpeg, 13.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 102 Federal Art Project New Deal Gallery Nunzio La Spina painting https://openvalley.org/files/original/124e0fbfe2e355f9e6146c0fbac6d5e6.jpg 1a4c80dff23fe8f6c0f1c66b370a4a00 https://openvalley.org/files/original/052daab44b2bf738e0f5befb52c4226a.JPG 00f52d2a51371001c61190833681e465 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: flaked paint, chipped, surface dirt, patched hole 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 October Bouquet Description An account of the resource A side table, situated at the corner of two walls, displays a cobalt-blue vase filled with profuse blooms and fall folliage. Blue, cross-hatched walls and the table’s gray tone harmonize with the bouquet’s primarily pink and rose tones. The painting’s drama comes via light from upper right that is reflected upon the vase, sets apart its floral blooms from the background, and modulates the walls different tones. Compare the aesthetic here to his more experimental <a href="https://openvalley.org/items/show/1155" target="_blank" rel="noopener">“Flower Study.”</a> About the Artist: Very little is known about this artist born in Palermo, Sicily, who immigrated to the US in 1914 and became a citizen in 1936. Among his known works are a 1931 self-portrait, “Lady Justice Among Figures” (1932), “Portrait of Lillian” (1934), and “Pieta” (1949). In 1942 La Spina painted a FAP <a href="https://www.flickr.com/photos/nycdesign/16347786631/in/photostream/" target="_blank" rel="noopener">ceiling mural</a> for the Psychiatric Wing of Bellevue Hospital, NYC. He published a book entitled Clouds and Dust in 1975. Creator An entity primarily responsible for making the resource La Spina, Nunzio E., 1900-1988 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 #FA18196 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 15.3 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 103 Federal Art Project New Deal Gallery Nunzio La Spina painting https://openvalley.org/files/original/ffa9d6185506e8cd178dc97a8e40b71f.jpg 7917f74bd37c6a6a3e1f54aabe43e650 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 B & W halftone of drawing Physical Dimensions The actual physical size of the original image 6 x 4 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 Boat Creator An entity primarily responsible for making the resource LaMarre, Charles 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 1985 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 741 KB Description An account of the resource This is a halftone image created from an original pen-and-ink drawing no longer available. It was drawn by a Haitian immigrant farmworker living at the Hoehandle labor camp in Castile, NY. His work was featured in the 1986 gallery show African Past: Migrant Present and this reproduction appeared in <a href="https://openvalley.org/items/show/1975" target="_blank" rel="noopener">the printed program</a>. LaMarre's drawing has literal and symbolic dimensions that are intertwined. The drawing's date of 1985 commemorates a crossing to America, along with other "boat people" fleeing the violent Duvalier regime in Haiti. It also probably references the vèvè (ritual symbol) of the Vodou spirit Agwé--ruler of the seas and their life, to whom sailors and fishers would appeal for guidance and safety. For the artist, that hadn't been an abstract concern. Type The nature or genre of the resource Still image African Past, Migrant Present Creative Artists Migrant Program Services Geneseo Migrant Center migrant art https://openvalley.org/files/original/e9e381c44b2655a901e7066aad313446.jpg 09319d10ead2e16249fd4d1f31d26bac https://openvalley.org/files/original/f2d32b8c8debbbcc5e42ad3b0e691412.JPG 5c784fdd18020a0b34bea7a14d6f85e4 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: slightly stained, peeled in left & right lower corners 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 Old Stone House Description An account of the resource A clearing in forested land, receding toward the painting’s center, draw our attention to a stone house. But it seems to have at least one and possibly two additions to its original structure; along with the farm outbuildings, road and bridge, and the cleared land itself, a passage of time is encoded into the landscape. In muted tones under a clear sky, massy and subtly rounded shapes lend a sculptural quality to the painting. About the Artist: Born in Brooklyn, NY Lane spent much of his young life in Europe studying art—Bonn, Munich, Vienna, Paris—before returning home in 1928. His wife, the former Erna Schurtz, was a dancer in the Isadora Duncan school. Land exhibited in the Ferargil Galleries (1931)—where his portraits were praised for solving the problem of definite physical presentment and of intangible traits of character and personality most successfully” (New York Evening Post 26 Dec. 1931: 3)—the 1939 World’s Fair, and the Bonestall Galleries (1940). He painted three murals for the Port Washington, NY post office in 1937 (“Lighthouse,” “Sailing,” and “Landscape”); another entitled <a href="https://livingnewdeal.org/artists/harry-s-lane/" target="_blank" rel="noopener">“Air Express”</a> ended up in Oakdale, LA. In 1949 Lane moved to the Berkshires permanently, continuing to exhibit and share his knowledge with artists in the community. 1 work at the <a href="https://www.metmuseum.org/art/collection/search#!?q=%22harry%20lane%22&perPage=20&sortBy=Relevance&sortOrder=asc&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 1 work at <a href="http://vps343.pairvps.com:8080/emuseum/view/people/asitem/items@null:6473/0?t:state:flow=e4db09e1-f448-47c1-9dd7-41131e9a703f" target="_blank" rel="noopener">Worcester Art Museum</a>. 1 work at <a href="https://americanart.si.edu/artist/harry-lane-2787" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-13-folder-21" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Lane, Harry S[chaeffer], 1891-1973 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 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18193 Format The file format, physical medium, or dimensions of the resource jpeg, 838 KB jpeg, 14.2 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 100 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Federal Art Project Harry S. Lane New Deal Gallery painting https://openvalley.org/files/original/85c7322ee3c635dd74c72361dcc1692d.jpeg 0c117389a937c872e1eeefda120e24d6 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 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 View of the Geneseo Flats looking west across the SUNY Geneseo campus during the flood of 1972 Description An account of the resource Photograph of the flatland surrounding the Genesee River west of the SUNY Geneseo campus during the flood of 1972, the result of Hurricane Agnes. Jones Hall is in the foreground, with Livingston and Monroe Halls beyond, and Mary Jemison Dining Hall, Schrader Sports & Recreation Building, and the under-construction Merritt Athletic Center to the left. The photograph was taken on June 24, 1972 from Milne Library. Creator Creator An entity primarily responsible for making the resource Lane, William T. (William Taylor), 1921- Publisher An entity responsible for making the resource available Milne Library, SUNY Geneseo Date A point or period of time associated with an event in the lifecycle of the resource 1972-06-24 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived New York Heritage Digital Collections Format The file format, physical medium, or dimensions of the resource jpeg, 85 KB Type The nature or genre of the resource Still image Genesee River Geneseo Hurricane Agnes Underground Atlas https://openvalley.org/files/original/96d948b0d4e1ed1c37fadc1bd9598f9d.jpg 8962a1af1ff0867dedf1c7bb194e36c1 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 file from nitrate negative 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 Mexican Laborer's House Description An account of the resource This structure was located on a 1500-acre cantaloupe farm in California's Imperial Valley near the US border with Mexico. Its photographer, Dorothea Lange, was one of the best-known photographers of the New Deal era, often recording poverty amidst appalling conditions. Two years earlier she had photographed Florence Thompson, the <a href="https://www.loc.gov/resource/fsa.8b29516/" target="_blank" rel="noopener">"Migrant Mother"</a> whose iconic image symbolized the plight of families during the Dust Bowl drought. Creator An entity primarily responsible for making the resource Lange, Dorothea Publisher An entity responsible for making the resource available Farm Security Administration , Office of War Information Date A point or period of time associated with an event in the lifecycle of the resource 1938-06 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.loc.gov/resource/fsa.8b32361/" target="_blank" rel="noopener">Courtesy Library of Congress</a> Format The file format, physical medium, or dimensions of the resource jpeg, 244 KB Type The nature or genre of the resource Still image Dorothea Lange Great Depression Migrant Farmworker migrant housing New Deal