72 10 1393 https://openvalley.org/files/original/a39c5a4063ab0e13c6de780b0e523640.jpg 843fe462c46a4d8680aa436115c27704 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph of oil painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource View from Ft. Wadsworth Format The file format, physical medium, or dimensions of the resource jpeg, 174 KB Description An account of the resource Named in honor of Gen. James Wadsworth, killed in the Civil War, this location at the entrance to New York Harbor always has been strategic and featured batteries since Europeans arrived in America. About the Artist: Born in Shelbyville, IN, Ross was the son of German immigrants. He studied with <a href="https://en.wikipedia.org/wiki/William_Forsyth_(artist)" target="_blank" rel="noopener">William Forsyth</a>—part of the so-called “Hoosier Group” of painters—then moved to New York in 1905 after receiving a scholarship to study at the Art Students League. By 1911 he had relocated to Paris, working at Académie Julian with <a href="https://en.wikipedia.org/wiki/Richard_E._Miller" target="_blank" rel="noopener">Richard E. Miller</a> and <a href="https://en.wikipedia.org/wiki/William-Adolphe_Bouguereau" target="_blank" rel="noopener">William-Adolphe Bouguereau</a> at Académie de la Grande Chaumière. Returning to the US ahead of the Great War, Ross located near Washington Square and produced a combination of paintings, privately commissioned <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015082310932;view=1up;seq=434;size=150" target="_blank" rel="noopener">murals</a>, and commercial illustration. In 1935 for the Treasury Relief Art Project, Ross installed a massive, <a href="https://www.indstate.edu/business/artworks/magna-carta" target="_blank" rel="noopener">20’ x 20’ painted mural</a> in the Terre Haute, IN courtroom depicting the signing of England’s Magna Carta. First displayed at the Vanderbilt Gallery in New York, the work was praised for the “gay medieval trappings of the nobles and their retainers” while maintaining, for the purposes of a courtroom, a “treatment most dignified and conservative throughout” (New York Sun 28 June 1934: 24). His “Playtime” painting at NDG borrows from murals their organization of bodies in space and a sense of event, even pageantry. In later years Ross became a devout Catholic and painted several more church murals (Pierce). 11 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-40" target="_blank" rel="noopener">FAP</a>. Source Consulted: Mary Anne Pierce, “U.S. District Court Mural Arouses Curiosity Here,” Terre Haute Tribune 19 Mar. 1972: 26; “Brings Back Work He Painted Abroad,” Indianapolis Star 11 Feb. 1912: 32. Creator An entity primarily responsible for making the resource Ross, Frederick Webb, 1885-1964 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 1938-1939 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-19-folder-40" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 19, Folder 40.</a> Federal Art Project Fred Ross James S. Wadsworth New Deal Gallery painting Staten Island https://openvalley.org/files/original/a16201ec9dd80bd5fb021bd64b85d436.jpg 47dbf4d845c3f2b23add2d06651fff70 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 Screenshot of VR map overview 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 Virtual Cabinet of Art and Curiosity Description An account of the resource As the Wadsworth Atheneum in Hartford, CT explains: "European Cabinets of Art and Curiosity were places of universal learning in the sixteenth and seventeenth centuries....They were the museums of their time, offering visitors first-hand knowledge of the far-away world through objects they could see with their own eyes, and touch with their own hands." In 2015 the museum opened their own Cabinet from various materials that had been collected during the 20th century, in particular objects donated by J. Pierpont Morgan in 1917. It took an additional step by creating a virtual rendering of the Cabinet that can be viewed online. This screenshot shows an overview map of that synthetic space, which can be viewed by following <a href="https://www.thewadsworth.org/explore/virtual-tours/" target="_blank" rel="noopener">this link</a>. It is of interest to OpenValley due to questions about the underlying logic of musuem and gallery spatial tours, which are addressed in the story map <a href="https://storymaps.arcgis.com/stories/b8ffee99687346339977f9c0dad81264" target="_blank" rel="noopener">African Past: Migrant Future</a>. Creator An entity primarily responsible for making the resource Roth, Linda Coulon, Francois Publisher An entity responsible for making the resource available Wadsworth Atheneum French American Museum Exchange (FRAME) Date A point or period of time associated with an event in the lifecycle of the resource 2018 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://my.matterport.com/show/?m=YS3dmtEJDW2" target="_blank" rel="noopener">Wadsworth Atheneum</a> Format The file format, physical medium, or dimensions of the resource jpeg, 188 KB Type The nature or genre of the resource Still image Cabinet of Curiosity Map Museum Virtual Reality https://openvalley.org/files/original/9a12a248213e59a8fa3d0f6739460773.jpg 6a22a1db2c4fd0cfbdbb3aec1ad846b6 https://openvalley.org/files/original/f7377a85ea9eb9d5b9bc941a18a021b8.jpg c1350da3e44bf81d09401cdad144dede 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 from nitrate negative Physical Dimensions The actual physical size of the original image 2.25 x 2.25 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 Sand Dunes on a Farm in Cimarron County, Oklahoma Creator An entity primarily responsible for making the resource Rothstein, Arthur (1915-1985) Publisher An entity responsible for making the resource available Farm Security Administration Date A point or period of time associated with an event in the lifecycle of the resource 1936-04 Contributor An entity responsible for making contributions to the resource Jackson, Madison Source A related resource from which the described resource is derived Retrieved from the Library of Congress, <a href="https://www.loc.gov/item/2017760364/" target="_blank" rel="noopener">https://www.loc.gov/item/2017760364/</a>. Description An account of the resource One of photographer Arthur Rothstein's famous series of photographs chronicling the Dust Bowl. This item has a full-size file, and one cropped for use in a Juxtapose JS application used in the OpenValley exhibit <a href="https://openvalley.org/exhibits/show/green-new-deal--conservation/5-" target="_blank" rel="noopener">Green New Deal: Conservation</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 287 KB Type The nature or genre of the resource Still image Arthur Rothstein Dust Bowl Farm Security Administration photograph https://openvalley.org/files/original/eb5d55807a33bd5492b0eaef2f8be657.jpg c10b751a5844f4c3cf178fedbd10df14 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 Silkscreen poster, via color film copy slide 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 Federal Art Project exhibition, Albany Institute Format The file format, physical medium, or dimensions of the resource jpeg, 444 KB Description An account of the resource Created by the Federal Art Project Poster Division, this advertises a show staged by the Albany Institute of History and Art. It appears to have supported "The Art Caravan," a traveling exhibition of paintings accompanied by lecturer Judson Smith. After its stop in Albany, "Stops will be made at small towns throughout New York" (Kingston Daily Freeman 21 Sept. 1938: 5). Creator An entity primarily responsible for making the resource Rothstein, Jerome (1918-2008) 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 1938 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, Prints & Photographs Division, WPA Poster Collection, <a href="https://lccn.loc.gov/98516718" target="_blank" rel="noopener">LC-USZC2-930</a> Type The nature or genre of the resource Still image Albany, NY Federal Art Project Poster Poster Division Works Progress Administration WPA https://openvalley.org/files/original/8dba4ac2a1591b1664308849ac5a0642.jpg 2a00fd3944ac78009d6af07ca9c63300 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 Silkscreen poster, via color film copy slide 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 Exhibition: Oil Paintings from the Easel Division Format The file format, physical medium, or dimensions of the resource jpeg, 613 KB Creator An entity primarily responsible for making the resource Rothstein, Jerome Henry, 1918-2008 Publisher An entity responsible for making the resource available New York City W.P.A. Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936-1941 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, Prints & Photographs Division, WPA Poster Collection, <a href="https://lccn.loc.gov/98516689" target="_blank" rel="noopener">LC-USZC2-5386</a> Description An account of the resource Created by the WPA poster division, it's not clear whether this sign is promoting a show at the New Deal Gallery, a show at some other location, or simply was used for traveling shows. Federal Art Project Poster Poster Division Works Progress Administration WPA https://openvalley.org/files/original/da4fc526928b00f1927754ca7c59cf04.jpg 9fad88b611922c5396611c1d46a49dab 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 Map Physical Dimensions The actual physical size of the original image 22 x 26 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 Bird's-eye view of Titusville, PA Description An account of the resource Looking northwest, major streets and features of a town whose growth was driven by America's first oil boom during the 1860s. Oil Creek is in the foreground, and the Oil Creek Rail Road is shown running south toward the oil region--although by this date the boom was over for Titusville Creator An entity primarily responsible for making the resource Ruger, A. Publisher An entity responsible for making the resource available Chicago Lithographing Company Date A point or period of time associated with an event in the lifecycle of the resource 1871 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress: http://hdl.loc.gov/loc.gmd/g3824t.pm008600 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Type The nature or genre of the resource Map oil Oil Creek, PA Sheffield Peabody Titusville, PA https://openvalley.org/files/original/7fc252ddf099320027edb16301e6d4cb.jpg d9436de20804cd2685dc126b93057336 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 Familia Ruiz Pita Mandala Creator An entity primarily responsible for making the resource Ruiz Pita, Mariano (?) 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 2010-07-18 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, 2.1 MB Description An account of the resource Circular disc is divided into four quadrants that offer glimpses into the lives of the Ruiz Pita family. Starting at the upper right and going counter-clockwise, we learn 1) that they work in cabbage fields; 2) that they are Mexican; 3) that the immediate family consists of parents Texey and Mariano and children Luis, Mariana, and Pedro; and 4) that this art work gives thanks to God for "one day more." It is among the most explicitly autobiographical of the CAMPS mandalas. Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Farm labor Geneseo Migrant Center Mandala Mexico https://openvalley.org/files/original/e26d6029555d907434add4a48f016d62.docx 70c62d89c201c2fdde98e56ea1e7d33d Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document STANLEY: I coming here in the 1950’s, have watched Geneseo change, from being located on Main St. to Walmart and so on. So there is a spread of businesses now. KATHERINE: Were people happy with those changes? Was the sentiment generally accepting, or did people resist those changes? STANLEY: I don’t think people resisted it, I can’t think of any. Whether Walmart caused certain business to go under, I don’t know. I have a hunch, but I just can’t tell you. The college has moved. When I first came, there was parking up rather close to the buildings in the back, away from the middle square. Gosh, I think when I first had come one could park in almost every bit that now is lawn. And of course, the building of the gym and the putting in of an indoor pool for swimming, all those are changes that have been rather important for the college. 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 Interview of Dr. Stanley Rutherford Description An account of the resource Dr. Stanley Rutherford briefly tells some changes of the Geneseo landscape over time with SUNY Geneseo’s organization “Heard @ Geneseo.” He speculates the impacts it had on the town. The oral interview was taken and transcribed by Katherine Russell, and it was later revised by Jordan Keane. Creator An entity primarily responsible for making the resource Russell, Katherine Date A point or period of time associated with an event in the lifecycle of the resource 2011-11-23 Contributor An entity responsible for making contributions to the resource Rutherford, Stanley; Keane, Jordan Format The file format, physical medium, or dimensions of the resource doc, 27.6 KB Type The nature or genre of the resource Interview Geneseo Interview Underground Atlas https://openvalley.org/files/original/d883b956b943c3237c2296aa5d4d4b4c.jpg 786cce1f4dcf7ea5dcf28fa0b12dddcb https://openvalley.org/files/original/667e6454e2e183237a6dc19190c0feed.jpg 5d339c497b356e64735d72d441819afe 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 on canvas Physical Dimensions The actual physical size of the original image 20 3/4 x 25 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 Summer Breeze Format The file format, physical medium, or dimensions of the resource jpeg, 2.7 MB jpeg, 1 MB Description An account of the resource Summer Breeze depicts a rural landscape arranged across a shallow but continuous picture plane. In the foreground, a pale dirt path curves from the lower right corner toward the center of the composition, cutting through an open field of grass. The ground is painted with loose, visible brushstrokes in light greens, yellows, and earth tones, creating an uneven surface. Small patches of vegetation and low shrubs appear scattered across the field. Slightly left of center, a small cow stands near a cluster of bushes. Several tall, slender trees rise vertically in the middle ground, their trunks thin and their foliage rendered with small touches of green and yellow. Behind the trees, a group of small farm buildings occupies the middle ground. Additional buildings extend toward the right, partially covered by trees and greenery. These structures appear smaller in scale than the trees and the field. The sky fills the upper portion of the composition and is painted in pale blue and gray tones with horizontal bands of soft clouds, accented with light pink and yellow highlights. The composition is asymmetrical, organized by the curving diagonal of the path and the vertical emphasis of the trees. Cool greens and blues fill the field and sky, while warm tones in the buildings create contrast and a focal area. Depth is suggested through overlapping forms, shifts in scale, and softer detail in the distance. About the Artist Joseph Sabalauskas (1896? –1970) was a Lithuanian-born American artist active in New York during the early to mid-twentieth century. Born in Lithuania, he immigrated to the United States and arrived in New York in 1927. By 1931, records show him living in Manhattan and working professionally as an artist. He served as a private in the United States Army during World War I before establishing his life and career in New York. Although little is known about his training or exhibitions, Sabalauskas’ artistic activity is confirmed through works in the U.S. General Services Administration Fine Arts Collection, where three pieces are attributed to him. These holdings suggest he may have been connected to federal art initiatives that supported artists during the Depression era. Later in life, he resided in Kings Park, Suffolk County, New York. Sabalauskas died in August 1970 and was buried at Long Island National Cemetery, leaving limited but documented evidence of his career as a New York–based immigrant artist. Creator An entity primarily responsible for making the resource Sabalauskas (1896? - 1970) 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 Murty, Molly (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 27739 Type The nature or genre of the resource Still image Federal Art Project Joseph Sabalauscas Landscape Art New Deal Museum painting https://openvalley.org/files/original/0ff8ae273e7a8c860fe4138a30d0b2b9.JPG e06b3e90a47df6cc7c55122f6e6d622a https://openvalley.org/files/original/864522365252fc3a539931d69260780c.JPG 18e8dd0753b68c4ab216306ec8e6020d 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 16 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 September Format The file format, physical medium, or dimensions of the resource jpeg, 702 KB jpeg, 9.1 MB Description An account of the resource Golden light from low in the sky, at right, evokes a moment of gratitude for a year’s harvest—seemingly of corn shocks drying in the field. A person carrying a stick pause in front of one. Lush fields, green trees, and a gorgeous sky are shown to their best effect. The scene might pass for one of indigenous culture were it not for the rooflines of two houses in the distance, but the intent seems analogous. 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 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 #FA18257 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 164 Federal Art Project Joseph Sabalauscas New Deal Gallery painting