59 10 1323 https://openvalley.org/files/original/faab6fd0a0e66302f50a5c46ff50b147.jpg 071817fbc0a6a70ad5a9dcbd0a4fdc63 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 Diagram 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 Profiles of Delaware and Catskill Aqueducts Publisher An entity responsible for making the resource available New York Department of Water Supply, Gas and Electricity Date A point or period of time associated with an event in the lifecycle of the resource 1952 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <div class="element-text five columns omega"> Water Supply of the City of New York (New York Department of Water Supply, Gas and Electricity, 1952): following p. 63. <a href="https://archive.org/details/watersupplyofcit00newy/page/n65?" target="_blank" rel="noopener">Courtesy Internet Archive</a> </div> Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Description An account of the resource Two diagrams show the supply lines ending in New York City's Tunnel No. 1 and No. 2. The Catskill Aqueduct begins at the Schoharie Reservoir; the Deleware Aqueduct (at the time) begins at the Neversink Reservoir. The approximately 160-mile length of each system is amazing. Type The nature or genre of the resource Still image Catskill Aqueduct Delaware Aquaduct new york city Watersheds https://openvalley.org/files/original/bb728f8d08bd2578dd7e119c974d39b8.jpg 2c6fd12ff3e6c0c8e7710310a655f93b 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 City Tunnel No. 2, New York Publisher An entity responsible for making the resource available New York Department of Water Supply, Gas and Electricity Date A point or period of time associated with an event in the lifecycle of the resource 1929-1936 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Water Supply of the City of New York (New York Department of Water Supply, Gas and Electricity, 1952): 40. <a href="https://archive.org/details/watersupplyofcit00newy/page/n41?q=%22Pepacton+reservoir%22" target="_blank" rel="noopener">Courtesy Internet Archive</a> 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 Description An account of the resource Photograph shows workers constructing New York City's second major water tunnel, which originates at the Hillview Reservoir in Yonkers, passes under the East River to Astoria, Queens, then continues south through Brookyn--a distance of 20 miles. The original caption to this photograph reads: "City Tunnel No. 2, 17 feet in diameter, during construction, showing the concrete lining, with the arch still to be placed in the foreground." Delaware Aquaduct new york city water Watersheds https://openvalley.org/files/original/49fcd6b311dfcaf0115924b269732ba7.mp4 93595fefd27269a1ecdcd6db9419dc1b Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Transcription Any written text transcribed from a sound Silent film Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Film Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 16 min. Compression Type/rate of compression for moving image file (i.e. MPEG-4) MPEG-4 Director Name (or names) of the person who produced the video Griffith, D. W. (David Wark), 1875-1948 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 Mountaineer's Honor: In the Hills of Kentucky Description An account of the resource Short clip from the opening of Griffith's silent film shows a young Kentucky mountain girl (played by Mary Pickford) rejecting the advances of a pure-hearted suitor (Owen Moore). It is of interest here because it was shot on location near Cuddebackville, NY, with the Neversink River in the background. During the early days of film nearly two dozen such movies were produced there. Creator An entity primarily responsible for making the resource Griffith, D. W. (David Wark), 1875-1948, direction, writing. Woods, Frank E., writing. Bitzer, G. W., 1872-1944, camera. Pickford, Mary, 1892-1979, cast. Publisher An entity responsible for making the resource available Biograph Films Date A point or period of time associated with an event in the lifecycle of the resource 1909 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, <a href="https://lccn.loc.gov/2012601208" target="_blank" rel="noopener"><www.loc.gov/item/2012601208/></a> Format The file format, physical medium, or dimensions of the resource mpeg-4, 71.4 MB Cuddebackville, NY D.W. Griffith film Mary Pickford Watersheds https://openvalley.org/files/original/83e4b934eba5a4e0ee5eaf20cdaa9d67.jpg e9482264562fda9251a4b7ca94fb922e 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 151 x 100 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 Scene of Corning, New York Description An account of the resource We look north across the Chemung River to the town of Corning, a settlement of about 4,000 at the time. In the background is Dutch Hill, showing signs of deforestation that would grow in the years ahead as Corning became a manufacturing center. In the foreground a man and woman walk along a rutted dirt road. Her attire—namely, leggings popularly known as "bloomers"—are noteworthy because it marks her as a social progressive. The physical and social mobility they implied still were considered radical a little over a decade after their introduction. Creator An entity primarily responsible for making the resource Jennings, J. S. Date A point or period of time associated with an event in the lifecycle of the resource 1860-1870 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Corning Museum of Glass, Gift of Col. and Mrs. Edgar William Garbisch <a href="https://commons.wikimedia.org/wiki/File:Jennings,_J._S.,_Artist_-_Scene_of_Corning,_New_York_-_Google_Art_Project.jpg" target="_blank" rel="noopener">Via Wikimedia Commons / Google Art Project</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Type The nature or genre of the resource Still image Chemung River Corning, NY painting Watersheds https://openvalley.org/files/original/960704b7ab403af2ec90a9cc259e713e.JPG 084b7072ef027f270fb55816ba37421a 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 24 x 30 in. Painting condition: surface dirt, canvas dented 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 Vase of Asters Format The file format, physical medium, or dimensions of the resource jpeg, 868 KB Description An account of the resource In a darkened room, light dramatically illuminates an arrangement of flowers and dried oak leaves in a simple white vase. The leaf shapes and Sharp’s brushwork create a flamelike appearance, albeit in a more muted color palette—even the bouquet’s shadow rises sinuously upward. Highlights upon the background imply that everything here is possessed of an aura. About the Artist: Born in Galesburg, IL, Sharp grew up in Eldon, IA and showed a talent for art at an early age, matriculating at the University of Iowa in 1928. While a student he met curator Edward Rowan and painter <a href="https://en.wikipedia.org/wiki/Grant_Wood" target="_blank" rel="noopener">Grant Wood</a>, both of whom would become important figures in the regional art movement, co-founding the <a href="https://en.wikipedia.org/wiki/Stone_City_Art_Colony" target="_blank" rel="noopener">Stone City Art Colony</a>. At age nineteen, taking Wood on a driving tour of Eldon, Sharp showed him the house that would figure in the iconic painting <a href="https://en.wikipedia.org/wiki/American_Gothic" target="_blank" rel="noopener">American Gothic</a>. Sharp studied at the Stone City colony for a short period before relocating to New York, where he attended the Art Students League and the National Academy of Design. It was during this period in the early 1930s that Sharp met his lifelong partner, the painter <a href="http://www.askart.com/artist/Paul_Crosthwaite/121992/Paul_Crosthwaite.aspx" target="_blank" rel="noopener">Paul Crosthwaite</a>. The two relocated to an established art scene in Buck’s County, PA. Besides his work in the WPA easel division, Sharp was chosen to create three murals for post offices in Iowa:  <a href="https://livingnewdeal.org/projects/post-office-mural-bloomfield-ia/" target="_blank" rel="noopener">“Autumn”</a> (1940), in Bloomfield; <a href="https://livingnewdeal.org/projects/post-office-mural-rockwell-city-ia/" target="_blank" rel="noopener">“Summer”</a> (1941), in Rockwell City; <a href="https://livingnewdeal.org/projects/hawarden-post-office-mural-hawarden-ia/" target="_blank" rel="noopener">“Winter”</a> (1942), in Haywarden. While all show the regionalist influence of Wood, Sharp also had a distinctive sense of humor. His painting <a href="https://bucksco.michenerartmuseum.org/bucksartists/image/645/" target="_blank" rel="noopener">“We All Hang Together”</a> mashes up domestic folk art and a Benjamin Franklin epigram; his landscape painting at the NDG features what appears to be a herd of cows but actually is dinosaurs. Still, his taste for surreality did not stand in the way of commercial success. Sharp was called “a skillful factualist who loves the textures of barns, flowers, leaves, shells, and old roots” (Benson). He was commissioned to render portraits of New York theater actors; his paintings were chosen for a traveling Hallmark Art Award exhibition (1951) and appeared on the cover of Colliers magazine (“P.O. Mural”). Sharp and Crosthwaite moved to Florida full-time by the mid-1950s, continuing their work while instructing younger artists. 3 works at <a href="https://www.pafa.org/collection-artists/john-sharp" target="_blank" rel="noopener">Pennsylvania Academy of the Fine Arts</a>. 3 <a href="https://livingnewdeal.org/artists/john-sharp/" target="_blank" rel="noopener">post office murals</a> for the Treasury Section of Fine Arts. 1 work at <a href="https://chrysler.emuseum.com/objects/37648/untitled?ctx=ab112bf1-8a18-4eee-ad47-7ee4aee14dd0&idx=0" target="_blank" rel="noopener">Chrysler Museum of Art</a>. 1 work at <a href="https://americanart.si.edu/artist/john-o-robert-sharp-4393" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 2 works at the <a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/243/" target="_blank" rel="noopener">Michener Art Museum</a>. 5 images at <a href="https://projects.mtmercy.edu/stonecity/otherartists/sharp.html" target="_blank" rel="noopener">Stone City Art Colony</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-2" target="_blank" rel="noopener">FAP</a>. Works Consulted: Gertrude Benson, “Dynamic Oils and Sculpture at Academy,” Philadelphia Inquirer 25 Jan. 1953: 17; “P.O. Mural is Hung Tuesday,” Haywarden Independent 28 May 1942: 1; Kristy Raine, et al., <a href="“John%20Sharp,”">“John Sharp,”</a> Stone City Art Colony and School, web. Creator An entity primarily responsible for making the resource Sharp, John, 1911-1966 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 1937-04-12 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 #FA18267 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 174 Federal Art Project John Sharp New Deal Gallery painting still life https://openvalley.org/files/original/e4bf8bc3392d11ee298118db3695e3fa.jpg f5ad68ab77394da3ceeadf9dca6bd748 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 Photograph of oil painting Physical Dimensions The actual physical size of the original image 16 x 20 in. Painting 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 April Day #1 Format The file format, physical medium, or dimensions of the resource jpeg, 826 KB Description An account of the resource From just the other side of a split rail fence, we look downhill to a pasture and then patchwork of fields in the valley below. A stream cuts across diagonally and passes under a covered bridge; a horse and foal stand in the foreground, with sheep resting behind them. It’s a peaceful moment at dawn, a few pink clouds hovering nearby. Sabalauskas’ steep ramp of solarized colors ranges from golden pastures nearby to violet mountains in the distance. Note: this digital image is from a photograph taken during the 1990s; the painting has disappeared from the New Deal Gallery. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. Creator An entity primarily responsible for making the resource Sabalauskas, Joseph 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 Pretzer, Ron (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 #FA18261 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 166 Bridge Farm Federal Art Project New Deal Gallery painting Simon Sabalauscas https://openvalley.org/files/original/9edf66f2c9b844a241db4f5ef9a0f84d.jpg ef5a721f26835ec5dd40af67e934ff1c 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 Photograph of watercolor 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 Yellow Bouquet Format The file format, physical medium, or dimensions of the resource jpeg, 757 KB Description An account of the resource A white vase, holding what appears to be baby’s breath and several varieties of marigolds, sits upon a table. Its blaze of yellow, orange, and red overwhelms muted pinks and mauves of the table covering and wallpaper. Rollo accentuates this emphasis through his extemporaneous patterning of the wallpaper, a casual backdrop to the painting’s more detailed flowers. Note: this digital image comes from a photograph taken during the 1990s; the painting has disappeared from the New Deal Gallery. Born Giuseppe Rollo in Ragusa, Italy, he immigrated with his family to the US in 1913 and lived in Chicago (the spelling of his name possibly dating to this time so as to differentiate him from a well-known boxer living in the city). He worked as a newsroom copy boy while studying at the Art Institute of Chicago, then moved to New York in the late 1920s. His work was exhibited in places like the Whitney Museum, Pennsylvania Academy of the Fine Arts, Carnegie Institute, and at different venues in Woodstock, NY. Based upon extant works, Rollo appears to have moved easily between landscape, still life, and portrait genres. In 1934 the PWAP commissioned him to paint the portrait of Chicago mayor Edward Joseph Kelly (Chicago Tribune 15 Jan. 1934: 4). 3 works at the <a href="https://whitney.org/artists/1112" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 3 works at the <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/Rollo%2C%20Joseph/field/creatb/mode/exact/conn/and" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. 1 work at the <a href="https://www.nga.gov/collection/artist-info.34262.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at <a href="https://www.dia.org/art/collection?keys=rollo&keyword=&start=&end=&sort_bef_combine=search_api_aggregation_6+ASC&Submit+Collection+Search=Search+Collection" target="_blank" rel="noopener">Detroit Institute of the Arts</a>. 2 works at the <a href="https://www.metmuseum.org/art/collection/search#!?q=%22joseph%20rollo%22&perPage=20&searchField=All&sortBy=relevance&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-30" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Rollo, Joseph “Jo”, 1904-2001 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 #FA18255 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 162 Federal Art Project Joseph "Jo" Rollo New Deal Gallery still life https://openvalley.org/files/original/ee9c8fb256ea346536b73af70f66073a.mov 663910d61fedeb3860f5d3b17ef972e0 https://openvalley.org/files/original/c2cfae3e28e01034ca1223098200467d.jpg dc8ee03d4db3a95a683e3ccf2a1cb222 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Transcription Any written text transcribed from a sound No spoken words; sound of creek passing over rocks Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Quicktime movie Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 20 sec. 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 Wolf Creek Description An account of the resource This item consists of a short video of the picturesque creek in Letchworth State Park, and a screenshot for the purposes of mobile devices. It depicts a section just before it goes over Wolf Creek Falls into the Genesee River. 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 2018 Format The file format, physical medium, or dimensions of the resource mov, 54.5 MB jpeg, 722 KB Geneseo Green Quotient Letchworth State Park Wolf Creek https://openvalley.org/files/original/36bedbde3d8a20041ce3f1128f414fc2.jpg 274cc5928b88caf24ee2c61b79091496 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 Film 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 Visitors viewing Brontosaurus skeleton Description An account of the resource Publicity photo shows a child pointing at the skeleton of a brontosaurus. Visible in the background is a painted diorama to enhance the scene. Creator An entity primarily responsible for making the resource Coles, Charles H. Publisher An entity responsible for making the resource available American Museum of Natural History Date A point or period of time associated with an event in the lifecycle of the resource 1937-12 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="http://images.library.amnh.org/photos/ptm/catalog/desc/80030/" target="_blank" rel="noopener">American Museum of Natural History Library 287895 Dec 1937</a> Format The file format, physical medium, or dimensions of the resource jpeg, 136 KB Type The nature or genre of the resource Still image American Museum of Natural History Dinosaur Museum https://openvalley.org/files/original/3fe8dd3f1279a599b185cbc47c6be708.jpg ffbeac8a5334ce5d572316b1a6d9bafc 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/. Publisher An entity responsible for making the resource available Columbia University Libraries Source A related resource from which the described resource is derived Annual Report of the Board of Commissioners of the Central Park