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                  <text>Mills of Genesee Valley</text>
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                  <text>Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. &lt;br /&gt;&lt;br /&gt;Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (&lt;strong&gt;lumber mill&lt;/strong&gt;); grinding corn into animal feed or for distilling alcohol (&lt;strong&gt;grist mill&lt;/strong&gt;); grinding wheat or other grains (&lt;strong&gt;flour mill&lt;/strong&gt;); creating boxes and other products from wood pulp (&lt;strong&gt;paper mill&lt;/strong&gt;); fabricating metals (&lt;strong&gt;triphammer mill&lt;/strong&gt;); powering industrial equipment &lt;strong&gt;(textile mill&lt;/strong&gt;); and by the 1880s creating electricity via turbines.&lt;br /&gt;&lt;br /&gt;This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century.</text>
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                <text>Mills Along Conesus Creek, 1829</text>
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                <text>Detail from David H. Burr's "Map of the County of Livingston" shows the location of five different mills via icon.  Captions have been added to identify their names.</text>
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                <text>Burr, David H. (1803-1875)</text>
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                <text>Rawdon, Wright &amp; Co</text>
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                <text>1829</text>
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                <text>Cooper, Ken</text>
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                <text>David Rumsey Map Collection</text>
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                  <text>This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources.&lt;br /&gt;&lt;br /&gt;First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. &lt;br /&gt;&lt;br /&gt;Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years.&lt;br /&gt;&lt;br /&gt;Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or &lt;a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener"&gt;digitized articles from local newspapers&lt;/a&gt;. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti.</text>
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                  <text>Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell.&#13;
&#13;
Special thanks to Jessica Pacciotti at the Perry Public Library.</text>
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                <text>Mills No's: 1,4,5- Perry Knitting Company </text>
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                <text>Perry Knitting Company before the fly over was enclosed and the Walnut Street Bridge changed. The Walnut Street Bridge in  the back of the picture was later resurfaced and rebuilt. </text>
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                <text>Perry, Ny Public Library </text>
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                <text>Rockwell, Mariah </text>
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        <name>Mill</name>
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        <name>Perry Knitting Co.</name>
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              <text>Book illustration</text>
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                <text>Millstones Came in Pairs</text>
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                <text>This illustration from Eric Sloane's "Vanishing America" shows the sophisticated and aesthetically pleasing designs of hand-crafted millstones</text>
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                <text>Sloane, Eric (1905-1985)</text>
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                <text>W. Funk</text>
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                <text>1955</text>
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                <text>Cooper, Ken</text>
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                <text>Sloane, Eric.  "Our Vanishing Landscape."  New York: W. Funk, 1955: ??</text>
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                <text>A photo of the miner's creed that was posted for Retsof Salt Company</text>
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                <text>Auld, Mary</text>
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                <text>Portland Art Museum, Portland OR&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Mohawk_River,_New_York,_by_Albert_Bierstadt,_1864,_oil_on_canvas_-_Portland_Art_Museum_-_Portland,_Oregon_-_DSC08750.jpg" target="_blank" rel="noopener"&gt;Photograph by Daderot, via Wikimedia Commons&lt;/a&gt;</text>
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                <text>This painting, seemingly located on the upper Mohawk River, assumes a timeless, mythical quality. Bierstadt was one of several second-generation Hudson School artists associated with "luminism," a technique using aerial perspective and moisture-saturated air to create an otherworldly glow. &lt;br /&gt;&lt;br /&gt;Here, we see four cattle watering in a river so calm it reflects the surrounding forest. No signs of the humans who graze them are visible. At left a white steer stands apart, illuminated in a beam of sunlight. Its nearly mythical quality may reference Greek mythology and the metamorphosis of humans into animal form--whether &lt;a href="https://en.wikipedia.org/wiki/Io_(mythology)" target="_blank" rel="noopener"&gt;Io transformed by an angry Hera&lt;/a&gt; or &lt;a href="https://en.wikipedia.org/wiki/Europa_(consort_of_Zeus)" target="_blank" rel="noopener"&gt;Zeus transorming himself to rape&lt;/a&gt; Europa.</text>
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                <text>&lt;a href="https://en.wikipedia.org/wiki/Monopoly_(game)#/media/File:DarrowPage1.png" target="_blank" rel="noopener"&gt;Courtesy John D. Buell / Wikimedia Commons&lt;/a&gt;</text>
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                <text>The most popular board game of the 1930s began as an inspiration of writer, actor, political activist and anti-monopolist &lt;a href="https://en.wikipedia.org/wiki/Lizzie_Magie" target="_blank" rel="noopener"&gt;Lizzie Magie&lt;/a&gt;, who created the &lt;em&gt;Landlord Game&amp;nbsp;&lt;/em&gt;in 1903 as an educational tool. Players traveled around a square board, hoping to avoid the charges of predatory railroads. Property was there to demonstrate the social utility of property taxes. Two different modes of play were possible: one version, called Prosperity rewarded all players; the other version, Monopoloy rewarded just one.&lt;br /&gt;&lt;br /&gt;By the 1930s, Magie's game was joined by copied versions. Salesman Charles Darrow encountered the game in 1932, and with a few minor additions submitted the copyright shown above using the work of a hired graphic artist. Darrow's game was so successful that the larger Parker Brothers bought his rights, and went on to widespread success.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;em&gt;Monopoloy&lt;/em&gt; arrived at a time when economic precarity, and vastly diminished family budgets, coincided with fantasies of wealth. The game has proved very resilient, appearing in hundreds of editions and languages.</text>
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                  <text>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." &lt;br /&gt;&lt;br /&gt;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. &lt;a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener"&gt;Follow this hyperlink to a short introduction to the New Deal Gallery collection&lt;/a&gt;. 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.&lt;br /&gt;&lt;br /&gt;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.</text>
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                  <text>Cooper, Ken (project director)&#13;
&#13;
Ritz, Abigail (photography and project assistant)&#13;
&#13;
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.&#13;
&#13;
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.</text>
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                <text>Becker, Frederick G.</text>
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                <text>In &lt;em&gt;Monsters&lt;/em&gt;, white contour lines curve around humanoid figures. One figure is leaf shaped, stretching from the print’s top left corner to the bottom right. This leaf resembles a human face, with eyes, eyebrows, and even forehead lines at the top, a nose in the middle, and beneath it a mustache and mouth. The mouth looks like a leaf as well, its veins resembling cracked lips. Next to the figure is a drum set, where a tree branch extends up towards its ear. The natural element of this print continues with the second figure, who has a tree trunk for a neck, twisted branches stretching upwards. One of the branches has a snake head attached to it, and its forked tongue reaches out to the bass being strummed by the same figure’s large hand. This tree-person also wears a suit and tie like a proper jazz musician. They’re supported by two spindly hands for feet.&lt;br /&gt;&lt;br /&gt;32 images at &lt;a href="https://art.gsa.gov/people/926/frederick-g-becker/objects" target="_blank" rel="noopener"&gt;GSA&lt;/a&gt;.</text>
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