71 10 1396 https://openvalley.org/files/original/62a84133fbda2337adb4422ae6924b81.jpg c6d2ccb2ab672f557a5902c8d8e82c70 https://openvalley.org/files/original/46e2a6db21e47f08492a33590fb617ae.pdf b6ebce9c5be8da466eb65edd0f5f5fd3 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 Printed program Physical Dimensions The actual physical size of the original image 20 pages, 5.5 x 8.5 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 Passages Format The file format, physical medium, or dimensions of the resource pdf, 2.9 MB Description An account of the resource This program was created for a 1991 exhibition whose premise was quite formalist: that there are four types of passages "common to all migrant people": through historical time, through space, through seasons of nature, and through cycles of life. These passages were, furthermore, mapped on to four different cultural groups served by the Geneseo Migrant Center: Mexican, Algonquin Native, Haitian, and African American. The effect was somewhat like a cognitive grid for recognizing commonalities of experience, although for the exhibition pieces were chosen to "highlight, for each group, one passage that receives particular expression and value in their art." Creator An entity primarily responsible for making the resource Roark-Calnek, Sue 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 1991 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 Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Gallery Geneseo Migrant Center migrant art https://openvalley.org/files/original/3cb07807c8cc96793217736ba5da4a55.jpg b71961663cceca537d1d15f2eedd932f https://openvalley.org/files/original/2f25725d5de7758a056a17c46346626e.jpg 0568045725af0df066d2d785bdebb4a9 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 Sketches on grid paper Physical Dimensions The actual physical size of the original image 17 x 11 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Concept Sketches for "Passages" Exhibit Creator An entity primarily responsible for making the resource Roark-Calnek, Sue 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 1991 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, 2 MB jpeg, 1.9 MB Description An account of the resource Two pages from a series of several different concepts for retrospective show on migrant farmworkers. Created by a professor of anthropology at SUNY Geneseo, <a href="https://openvalley.org/items/show/1985" target="_blank" rel="noopener">the exhibit showed</a> the experiences of four different cultural groups--Mexican, Algonquin Native, Haitian, and African American--each of which has a kiosk in the show. The drawing also are of interest to demonstrate the extent to which telling migrant stories required the acquisition of new skills outside of professional fields. There simply wasn't the funding for large departments associated with larger galleries, so Genesee Migrant Center staff and allies did it themselves. Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Gallery Geneseo Migrant Center https://openvalley.org/files/original/8814a4b87ba88c1687d98275d5ca5d19.jpeg 5d535f46f688a6b2e9aa2431bfd2b155 https://openvalley.org/files/original/bee21542a2ee2bcf74b9f10e2420f899.jpeg 7abf0a6f3df9d204f1a048b85856e014 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 Paper 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 Rochester Lithograph and Printing: letter to William A. Brodie Description An account of the resource Commercial exchange concerns a Wadsworth family order of labels, perhaps for use upon nursery stock Creator An entity primarily responsible for making the resource Rochester Lithograph and Printing Co. Date A point or period of time associated with an event in the lifecycle of the resource 1890-03-28 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Wadsworth Family Papers Milne Library Special Collections, SUNY Geneseo foods nursery Rochester Lithograph and Printing Co. wadsworth https://openvalley.org/files/original/c3b98c2a16296d3497fc46f5e24c04f8.jpg cdbf50a9a0b809bc0898cc1a1a97f7fd 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 Drawing Physical Dimensions The actual physical size of the original image 12 x 12 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 Mandala drawing of Mexican National Emblem Creator An entity primarily responsible for making the resource Rodriguez, Ramiro Valázquez 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 Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB Description An account of the resource Based upon <a href="https://en.wikipedia.org/wiki/Coat_of_arms_of_Mexico" target="_blank" rel="noopener">an Aztec story</a>, the Mexican coat of arms depicts a golden eagle perched upon a prickly pear cactus devouring a snake. The founding of Tenochtitlan, the island at Mexico City's center, had been prophesied to the Aztecs by traveling until they saw an eagle--symbol of the sun god Huitzilopochtli--upon an opuntia. The presence of a serpent in this story may have been due to a European mis-translation, but regardless it was adopted as the national emblem appearing on flags, passports, and official state documents. The drawing by Rodriguez places this traditional tableau in the foreground, and suggests that his home may have been in Mexico. Type The nature or genre of the resource Still image art Creative Artists Migrant Program Services Geneseo Migrant Center Mandala Mexico https://openvalley.org/files/original/53b74994b3e6f1e6e9499c4cb43b1e31.JPG 9059aa015c7683a7aecf802fd8a23ddb https://openvalley.org/files/original/b173f7ac83739302b9e1b5a1b6220eee.JPG 630f68a61f251000b3d04dec18bc17ce 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 15.5 x 19.5 in. Condition: pin holes, pencil or crayon marks, stained canvas 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 Constitution and the Guerrere Format The file format, physical medium, or dimensions of the resource jpeg, 964 KB jpeg, 9.6 MB Description An account of the resource This painting depicts a naval battle of consequence, during the War of 1812, between <a href="https://en.wikipedia.org/wiki/USS_Constitution_vs_HMS_Guerriere">the USS Constitution and HMS Guerriere</a> some 400 miles southeast of Nova Scotia. The latter ship was only part of a Royal Navy with large numerical advantage, attempting to enforce a blockade upon American merchant ships. In Rodgovin’s composition, we see the defeated English ship set afire and sinking in the foreground—its crew having surrendered and now prisoners aboard the Constitution with the American flag flying proudly. Massed clouds provide a dramatic backdrop. In this the painting is accurate, for its emotional impact proved crucial to public support for the war. About the Artist: Born in London, Rodvogin’s family immigrated to Hartford, CT in 1900. His parents ran a neighborhood grocery store while he drew pictures upstairs and studied with local artist T. J. Thurber. In 1923 Rodvogin received a scholarship to the Art Students League and moved to New York, returning home during the summers. “Then I’d be set for another winter of starvation in New York,” he later recalled (De Bona 111). Not a strong marketer of his own work, Rodvogin made ends meet by selling the occasional photograph or painting, notably a <a href="http://content.time.com/time/covers/0,16641,19320104,00.html" target="_blank" rel="noopener">Time</a> magazine cover in 1932 of  the French Prime Minister Pierre Laval. Like “The Constitution and the Guerrere,” Rodvogin’s other WPA works seem to focus upon historic maritime subject matter: the Mayflower, Battle of Lake Ontario, and so on. During World War II Rodvogin served in the US Navy as an aerial photographer. He returned to New York and then amidst dire straits in the 1950s was invited by the art critic and collector William Ronnick to live as artist-in-residence at a former mansion overlooking Long Island Sound in New London, CT  called the Lighthouse Inn. He continued to paint and lived to be nearly a hundred years old. 1 work at the <a href="https://www.lymanallyn.org/the-gaze-returned-portrait-studio/" target="_blank" rel="noopener">Lyman Allyn Art Museum</a>. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-24" target="_blank" rel="noopener">FAP</a>. Source Consulted: Joe De Bona, “He’s Losing His Fight Against Success,” Hartford Courant 27 Feb. 1966: 110-111. Creator An entity primarily responsible for making the resource Rodvogin, Harris (“Harry”), 1897-1998 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 1937-04-27 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 #FA18253 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 160 Federal Art Project Harris Rodgovin Marine Art New Deal Gallery painting https://openvalley.org/files/original/dfcaacf487144c36f33f64a38fa311a9.JPG a76fcc8d548fe094cd6fde4311441da1 https://openvalley.org/files/original/1c0e50d176c76d44fa041bc56701667f.JPG 46fc68e9cd004478c075c8b444c8b6b2 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 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 September Bouquet Format The file format, physical medium, or dimensions of the resource jpeg, 523 KB jpeg, 10.6 MB Description An account of the resource The vividness of this still life is the result of its muted brown background, combined with Rollo’s free use of white paint to highlight the tips of flowers in a vase. Shadows from light at the left side of his painting are minimized, creating an effect of the bouquet glowing with an illumination of its own. Casual field flowers thus transform a subdued domestic space. About the Artist: 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 1937-08-24 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 #FA18254 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 161 Federal Art Project Joseph "Jo" Rollo New Deal Gallery painting still life 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/7751f1312d6d5ef3a8c29afa4e9110e6.jpg 1803aaa93412a3ecd30421e259b15f1f 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 Magazine cover Physical Dimensions The actual physical size of the original image 8.5 x 11 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fish Story Description An account of the resource While the title of this humorous cover art for Liberty magazine is unknown, its editors thought it was appropriate for the backstory to Stephen Ronay's art. "Yes, it happened!" they write; "It simply proves that the war reaches into all walks of life--including the wet and slithery upstream walk of the hitherto sovereign American fisherman" (54).  Noting that the incident occurred near Fort Pine, NY (modern-day Fort Drum), they briefly profile Ronay as a Hungarian immigrant who "made himself into one of America’s foremost landscape painters, the kind that holds one-man exhibitions in famous art galleries." His satirical and humorous cartoons allowed him to "let off steam"--as did fishing and saber-fencing. A comparison to the intense drama of Ronay's The Life Boat, painted for the Federal Arts Project, suggests that his artistic work spanned a wide range of styles and moods. Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert] , 1900-1983 Publisher An entity responsible for making the resource available Macfadden Publications Date A point or period of time associated with an event in the lifecycle of the resource 1942-04-04 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Liberty 19.14 (4 April 1942): cover <a href="https://archive.org/details/LibertyV19N1419420404/mode/1up" target="_blank" rel="noopener">Courtesy Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 911 KB Type The nature or genre of the resource Still image Cartoon Federal Arts Project Liberty Magazine Stephen Ronay World War II https://openvalley.org/files/original/48fd2f614ece27a8def643ca14e38169.jpg 7ab1dadda86b123327d518f2c95c4e0d 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 Magazine cover Physical Dimensions The actual physical size of the original image 8.5 x 11 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Collier's Cover Art Description An account of the resource Three months before Japan's attack on Pearl Harbor, and direct US involvement in World War II, military mobilization was impacting many walks of American life. Here, a satirical cover juxtaposes the scale of an ice cream man--and the simpler life he symbolized--to massive tanks and planes. A pair of eyes peeping out from the tank suggest that the soldier prefers those peaceful times, as well. Stephen R. Ronay was a painter supported by the Federal Art Project during the 1930s, but he was equally adept at gently satirical cartoons like this and another one for the magazine eight months later. Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert] , 1900-1983 Publisher An entity responsible for making the resource available Crowell-Collier Publishing Date A point or period of time associated with an event in the lifecycle of the resource 1941-08-30 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Collier's 108.9 (30 Aug. 1941): cover <a href="https://archive.org/details/colliers108julspri/page/n496/mode/1up" target="_blank" rel="noopener">Courtesy Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 928 KB Type The nature or genre of the resource Still image Cartoon Collier's Federal Art Project Stephen Ronay World War II https://openvalley.org/files/original/611f0d05f6832e053e6f3aee6b121adc.jpg 72e4c2738dba8911b3b3a8f7dc48d12b 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 Magazine cartoon Physical Dimensions The actual physical size of the original image 8.5 x 5.75 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 Civil Service Wonderland Description An account of the resource By 1943, "stateside" civilian life in the US had been transformed by WWII. The War Production Board had been granted authority to conserve strategic resources, prioritize essential industrial work, and redistribute labor to support the war effort. Created in 1942, it was generally successful in its goals but the massive scope of its mandates also led to mis-allocations and frustrations. Congressman Robert Ramspeck (D-GA) was Chair of the House Civil Service Committee, and dedicated himself to locating inefficiences and wastes of taxpayer money. If it gained publicity, so much the better. "Civil Service Wonderland" was an occassional feature in Collier's that gathered stories of absurd government waste that are a staple of American life. Stephen Ronay's satirical cartoon illustrates a real-life complaint by one civil servant: "I was just one of more than 100 employees in that office, some of them being paid $6,000 and $8,000 a year, all sitting idle, as I was. Yet the walls were covered with pep slogans" (26). Along with many other examples, Ramspeck concluded that a drastic overhaul of the civil service system was necessary. Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert] , 1900-1983 Publisher An entity responsible for making the resource available Crowell-Collier Publishing Date A point or period of time associated with an event in the lifecycle of the resource 1943-05-15 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Collier's 111.20 (15 May 1943): 26 <a href="https://archive.org/details/colliers111aprspri/page/n519/mode/1up" target="_blank" rel="noopener">Courtesy Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 970 KB Type The nature or genre of the resource Still image Cartoon Collier's Stephen Ronay War Production Board World War II