74 10 1399 https://openvalley.org/files/original/d578ac4a2181e92d765b89d9593a9d57.jpg f9091e051fd21c5c1e5bd57ec97c3ccb 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 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 York City's Water Supply System Description An account of the resource Contemporary map shows the three major water supply systems for New York City--the Croton, the Catskill, and the Delaware--along with their constituent reservoirs, aqueducts, and major City Tunnels. This item is in OpenValley to support the Watersheds exhibit. Creator An entity primarily responsible for making the resource New York City Department of Environmental Protection Date A point or period of time associated with an event in the lifecycle of the resource 2015 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://archive.org/stream/2012and2015NewYorkCityDrinkingWaterSupplyAndQualityReport/2015%20New%20York%20City%20Drinking%20Water%20Supply%20and%20Quality%20Report#mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 947 KB Croton Aqueduct Delaware River Deleware Aqueduct Map new york city Watersheds https://openvalley.org/files/original/18e7b2859006048e596615e9aaf22fc9.jpg 0e875ff49463a2c9583e503013bb0009 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 16 x 20 in. Condition: surface dirt, cracked slightly, pitted 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 York Markets Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Description An account of the resource At an unidentified and humble market advertising “Fruits & Produce,” we see what appears to be a family preparing their display. The muted browns of the ground, wooden crates, and shed constitute much of the painting yet serve as a backdrop to the bright colors of the food and the warmth emanated by the farmers. Myers’ composition features several tiers, our eyes zig-zagging along diagonals of produce. A glow in the sky signifies that sunrise is near. The artist had a longstanding fascination with street markets as subject matter, as seen in <a href="https://collections.si.edu/search/detail/edanmdm:hmsg_66.3755?q=Myers%2C+Jerome&record=9&hlterm=Myers%2C%2BJerome&inline=true" target="_blank" rel="noopener">Street Market</a> (1917) and <a href="https://collections.si.edu/search/detail/edanmdm:hmsg_66.3756?q=Myers%2C+Jerome&record=10&hlterm=Myers%2C%2BJerome&inline=true" target="_blank" rel="noopener">Marketing</a> (1928). About the Artist: Born in Petersburg, VA, and traveling to New York City at age eighteen, Myers knew poverty at first hand. He took art classes when he was able at the Art Students League and Cooper Union, but was largely self-taught and perhaps motivated more by a desire to render the city honestly—an aesthetic that had much in common with the so-called “Ashcan School” of American realism of the early twentieth century. But Myers’ own familiarity with the working class, wrote Harry Wickey, meant that his subject matter “was approached from the standpoint neither of the artist, tourist, or one who was out to expose the conditions under which these people lived. He sought out the life these quarters had to offer and it transformed itself into a thing of beauty as it passed through him” (<a href="https://archive.org/stream/jeromemyersmemor00whit#page/n1" target="_blank" rel="noopener">Jerome Myers Memorial Exhibition 3</a>). A <a href="https://magart.rochester.edu/Media/images/2000.29a_A1.jpg" target="_blank" rel="noopener">self-portrait</a> late in life shows a humble, quizzical man. Widespread fame eluded Myers during his lifetime, but his paintings are held by dozens of museums, among them: 3 works at <a href="https://magart.rochester.edu/objects-1/thumbnails?records%3D9%26query%3DPortfolios%20%3D%20%221006%22%20and%20Sort_Artist%20%3D%20%22Myers,%20Jerome%22%26sort%3D52/1000" target="_blank" rel="noopener">Memorial Art Gallery</a>; 9 works at <a href="https://americanart.si.edu/artist/jerome-myers-3479" target="_blank" rel="noopener">Smithsonian American Art Museum</a>; 11 works at <a href="https://www.metmuseum.org/art/collection/search#!?q=%22jerome%20myers%22&perPage=20&searchField=All&sortBy=relevance&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>; 20 works at <a href="https://www.brooklynmuseum.org/opencollection/artists/193/objects" target="_blank" rel="noopener">Brooklyn Museum</a>; 1 work at <a href="https://www.dia.org/art/collection/object/childrens-theatre-55265" target="_blank" rel="noopener">Detroit Institute of Arts</a>; 1 work at the <a href="https://www.corcoran.org/collection/life-east-side" target="_blank" rel="noopener">Corcoran Collection</a>; 13 works at <a href="https://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=1885" target="_blank" rel="noopener">The Athenaeum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-43" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Myers, Jerome, 1867-1940 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 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 #FA18213 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 120 Farm Market Federal Art Project Jerome Myers New Deal Gallery painting https://openvalley.org/files/original/77241877ddb86b6df94e0aa6caa83380.jpg 2faa50cc4fe3e411faf89f802334c92f https://openvalley.org/files/original/bf499090392e2b6f64cf8045923196b5.jpg e60a5b8119ec7bca98305e97cde548f9 https://openvalley.org/files/original/a01b1eb56e2557313a874ae618492b12.jpg 8a5295167a08d3997fa54590655d15da https://openvalley.org/files/original/5ff7168e8de1d5bddfd162562500f981.jpg 95061f5b6cbd30b8fb40d529b406c43f https://openvalley.org/files/original/b41fea75107052893f9c321eeee03a59.jpg deb9b12ac19679fb018f93e4b389e666 https://openvalley.org/files/original/9e269110266cfa517834299bb291758e.jpg 09979d9ecd568ce694433bf1c13fdcc8 https://openvalley.org/files/original/efc4b560aeefc9cb0009dd23712ff8a5.jpg 2603047a6a4f9cc16edf30beb755f47f 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 Illustration in book Physical Dimensions The actual physical size of the original image 7.83 x 11.29 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 New York State "native" grape illustrations Description An account of the resource A collection of illustrations from the 1908 book Grapes of New York by Ulysses Prentiss Hedrick. The selections are native grapes, as opposed to European-origin vinifera grapes. These varieties are seen as more "local" options that are better for the environment and require fewer chemicals than vinifera grapes, which needed to be grafted onto the roots of native grapes in order to survive in the Finger Lakes soil. Creator An entity primarily responsible for making the resource Hedrick, Ulysses Prentiss Date A point or period of time associated with an event in the lifecycle of the resource 1908 Contributor An entity responsible for making contributions to the resource Booth, Nathaniel Ogden Viglucci, Matthew Source A related resource from which the described resource is derived Hedrick, U.P. The Grapes of New York. Albany, NY: J.B. Lyon Company, 1908. Print. Format The file format, physical medium, or dimensions of the resource jpeg, 2.6-3.9 MB Type The nature or genre of the resource Still image Finger Lakes sacramental wine Underground Atlas https://openvalley.org/files/original/49396f57d85aa9805d005995f2c06a25.jpg 4b247c05a915260298a2cd42948cc1da https://openvalley.org/files/original/750a1114535c72a7724647594e1c1503.jpg e5e0ead98558e6a8daf7541a2879d92b 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 Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History 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 Postcard Physical Dimensions The actual physical size of the original image 3.5 x 5.5 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 New York State Hatchery and Fish Ponds, Caledonia NY Description An account of the resource Postcard shows the nationally recognized operation created by Seth Green in 1864 and eventually taken over as a state operation in 1875. Despite this source of funding, the hatchery still depended upon publicity--thus the sizable text both on its roof and on the side of building facing road. Printed in Germany by the American News Company, the postcard was created at the behest of John Boorman's Pharmacy for tourist purchases. Creator An entity primarily responsible for making the resource American News Company Date A point or period of time associated with an event in the lifecycle of the resource 1909-04-11 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy Ken Cooper Format The file format, physical medium, or dimensions of the resource 1. jpeg, 741 KB 2. jpeg, 428 KB Publisher An entity responsible for making the resource available Boorman's Pharmacy, Caledonia NY Type The nature or genre of the resource Postcard Burleigh Litho Co Caledonia, NY fish hatchery John Boorman Post Card Seth Green https://openvalley.org/files/original/dea57e12ce4ff050aa649fa0c24a1b1e.jpg e7de87dfd78fe10abe8f03d27df5de7d 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 York State Watersheds Description An account of the resource New York Department of Conservation Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Image used courtesy of New York Department of Conservation Format The file format, physical medium, or dimensions of the resource jpeg, 35 KB Type The nature or genre of the resource Map https://openvalley.org/files/original/ee0acae9a3579b3093d0526af7c7f165.jpg ed3d055f03ce0a5ec9d4ec32c5318993 https://openvalley.org/files/original/72ed9673e27d5b67239aaa477a68d75e.jpg 78a5595dd6650c5e62137aab969d04b6 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 53 x 41 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 New York: The Empire State Description An account of the resource Advertising map created by the Mentholatum Company promises the "romantic epochs of of New York history paraded before us in picturesque array." Although its text narrative and dates address the state's history, there also are many features of the tourist or "romance" map genre: figures in stylized period costume; winter activities in the Adirondacks; the Empire State Building located wherever it will fit; several sites of business and industry, including a Mentholatum factory located in Buffalo, NY. The map also is interesting for its division of the state into four cultural "influences" indicated by color: French, English, Dutch, and Neutral. The Adirondack Mountains resemble a leaf in fall color. Creator An entity primarily responsible for making the resource Mentholatum Company Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of David Rumsey Historical Map Collection Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 7.9 MB Type The nature or genre of the resource Map advertising Map Mentholatum Company New York State Romance Map https://openvalley.org/files/original/f5c730ae380fad6bcb3c5641a9bf7cc6.jpg f90b23e5f98e1d3f3223ac2ae251061b 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 Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 9 1/2 x 12 in. Frame: 15 x 18 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 News Description An account of the resource A man and a woman are peering at a newspaper. The woman stands behind the seated man as she softly holds his shoulder; by comparison, he grips the newspaper tightly. The print is a high-contrast black-and-white charcoal portrait that uses value and shading to create naturalistic shapes. Anchel creates texture in his piece by changing the direction and pattern of his lines—for example, modeling the shape of a shoulder. The newspaper is extremely bright and stands in star stark contrast to most of the print, making the man appear gloomier and darker. The source of the light could have been coming from a dim floor lamp based on its shadow.  We can infer that Anchel sought to convey intense emotion and deep concern from what is learned in the daily newspaper, probably a common experience during the Great Depression: it was a time when people truly never knew what was coming next.  Another thing to notice is the expression on the couple’s faces, and the way the man’s eyebrows curl in disbelief with a slight frown. The woman also seems distressed, yet calmer, offering support to the man with a kind, soft hand on his shoulder, firm yet comforting. She may be looking at him instead of the page. This body language can be seen as a nod to how women were expected to stay calm and offer emotional support to men, regardless of their own anxieties. Anchel’s print was extremely emotional for its time, acknowledging fears beneath New Deal optimism. About the Artist Anchel Harold Rosenberg was born in 1912 on the lower east side of Manhattan, New York City. He was artistic from a young age, creating many pieces for his mother as a teenager before attending the National Academy of Design, 1930-32. Anchel joined the innovative <a href="https://www.americandanceguild.org/ndghistory" target="_blank" rel="noopener">New Dance Group</a> in 1932, founded by six Jewish women whose motto became “Dance is a Weapon of the Class Struggle.” He performed in pieces with titles like On the Barricade and Hunger. Anchel joined the WPA in 1937, forced to drop his last name and switch the others since only two family members could apply: thereafter, he was Harold Anchel. He joined as one of the youngest employees at the FAP’s Graphic Arts Division, developing a dramatically composed, high-contrast style for depicting ordinary people in works like “Cafeteria”, “City Playground” and “Summer Afternoon.” His background in dance made him especially sensitive to the power of physical gesture. Anchel also executed at least one work for the FAP’s Index of American Design, entitled “Hitching Post.” In 1943, Anchel was drafted for the Second World War, assigned to paint insignias on buildings and planes. He was later relocated to Walterboro, SC where he utilized puppets to teach camouflage techniques. After WWII his style transformed from stark, black-and-white lithographs to<a href="https://david-anchel.format.com/5754895-40-s-and-50-s-paintings" target="_blank" rel="noopener"> abstract paintings</a>. Anchel’s works were exhibited in the Miami Museum of Modern Art, the Metropolitan Museum of Modern Art and the Riverside Museum in New York throughout the 1960’s. Anchel passed in 1980. 63 works at <a href="https://art.gsa.gov/artists/824/harold-anchel/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 17 works at <a href="https://www.metmuseum.org/art/collection/search?q=Harold+Anchel&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/harold-anchel-89" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-25" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/people/824/harold-anchel/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Also Anchel Abstracts: Neijna Sculpture Exhibit Opening” Miami Herald 8 Nov. 1959: 121. A special thank you to David Anchel for his website <a href="https://david-anchel.format.com/homepage-gallery" target="_blank" rel="noopener">The Art of Harold Anchel</a>. Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB 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 c. 1935 Contributor An entity responsible for making contributions to the resource Drexler, Nora (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Object #FA 276 Type The nature or genre of the resource Still image Federal Art Project Great Depression Harold Anchel lithograph New Deal Gallery https://openvalley.org/files/original/4d8a58384780bae2715598a44f3894a0.png fe1bf71bec6294388aa785d7a9b52569 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. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Article 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 Newspaper article written by Daily News about migrant farmworkers - "Voices of Harvest tell striking tales." Description An account of the resource A newspaper article written by Daily News tells the story about how migrant workers who pick potatoes in Wyoming Country may be replaced by machines. The paper then goes on to state just how dangerous migrant workers' jobs are and how it is probably better that the machines do this type of work instead of humans. Sylvia Kelly - coordinator of the Geneseo Migrant Center was interviewed in this article as well, where she states her first-hand experience with how migrant workers are treated. Kelly then goes on to talk about the work she has done with the migrant farmworkers and expresses the immense talent that they have. Creator An entity primarily responsible for making the resource Written by Tessie Dubois - worker at Daily News 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 Michalkow, Nikolete Source A related resource from which the described resource is derived Geneseo Migrant Center Format The file format, physical medium, or dimensions of the resource png, 2.6MB Geneseo Migrant Center migrant workers Sylvia Kelly https://openvalley.org/files/original/48bbc885d104c29f68558a98afb03926.png 0136fd42a19e4cec981b53b2ceb5d6ad 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 Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. 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. 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. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. 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. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. 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. 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 Newspaper Clipping PKC Description An account of the resource An excerpt from an article titled "Nitey Nite Sets Pace In Industry" in The Perry Knitting Company News on including a local committee of mothers to help their production of Niteys. Date A point or period of time associated with an event in the lifecycle of the resource 1954-12-30 Contributor An entity responsible for making contributions to the resource Cobo, Meghan Source A related resource from which the described resource is derived The Perry Knitting Company News Format The file format, physical medium, or dimensions of the resource 99 KB Clark Rice Photography Collection mothers Nitey Nite Perry Knitting Co. https://openvalley.org/files/original/6f8dbb5411c47bee773b11048b0f3c9c.jpg 880db055b7d1c8161f9a72d30dd545d9 https://openvalley.org/files/original/3eb00123cc8441e5859dd027ae731d9d.jpg 593633f098259a0d83033f03c73ba2a9 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 40 x 95.5 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 Niagara Falls Creator An entity primarily responsible for making the resource Church, Frederic Edwin (1826-1900) 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.nga.gov/collection/art-object-page.166436.html">Corcoran Collection, National Gallery of Art</a> Via Wikimedia Format The file format, physical medium, or dimensions of the resource jpeg, 632 KB jpeg, 4.6 MB Type The nature or genre of the resource Oil painting Date A point or period of time associated with an event in the lifecycle of the resource 1857 Description An account of the resource One of the most famous American paintings of the 19th century, Church prepared for his work via numerous studies and the innovative decision to adapt his aspect ratio to the Falls' width--probably borrowed from murals and panoramic paintings. The result was wildly popular with critics and audiences. "Niagara Falls" attracted some 100,000 visitors during its debut show in New York, each paying 25 cents and often bringing binoculars to admire its minute detail. It traveled to major cities in the eastern US, then to England and eventually the 1867 Exposition Universelle in Paris. Frederic Edwin Church Niagara Falls, NY Niagara River painting Watersheds