80 10 1402 https://openvalley.org/files/original/71553f02079deb4726816ca34258fd82.jpg fe7ef8c3f353380545e2e6f9ae9d65e7 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 Gouache painting Physical Dimensions The actual physical size of the original image 14.5 x 20 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 The Gift Description An account of the resource Four children encounter each other upon a path in Central Park, the city skyline silhouetted against a colorful sky. Two older—and, judging from their clothing, apparently wealthier—children accept a flower offered by a young girl holding a larger bunch in her arms. Her own socioeconomic status is not clear; rather, Myers offers a parable of “natural” generosity in humans before social inculcation. At left is a figure resembling a statue of St. Francis, or simply an adult standing in a field. 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>). Widespread fame eluded Myers during his lifetime, but his paintings are held by dozens of museums, among them: 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 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 #FA18214 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still image Federal Art Project Gouache Jerome Myers New Deal Gallery https://openvalley.org/files/original/debca70344efd902dca22aa6aa71ffbb.jpg e1e16398e438eb125da32eea5438a0e1 https://openvalley.org/files/original/eee809af0ba33f22234be649bcf99314.JPG 34b8c97715b60b650feb038dc7a7c519 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 Physical Dimensions The actual physical size of the original image 19.5 x 23.5 in. Painting condition: paper buckled 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 High in the Tree Tops Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 15.2 MB Description An account of the resource We’re asked to adopt a perspective almost never accessible to humans: near the top of a tree, at close proximity to parrots. A light wash of cloudy white and blue in the background encloses the birds; their distinctive colors echo those of the tree’s leaftips and berries. An earlier New Deal Gallery inventory speculates that this is a rubber tree, and it does appear to be a Ficus of some variety. Patterson’s watercolor bears resemblance in its design to his <a href="https://openvalley.org/items/show/1216">Orioles</a>: a simplified canopy to better frame the birds, an emphasis upon their bright colors, and a use of foreshortening to bunch several birds closer together. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, the in 1913 he teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 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 #FA18378 Type The nature or genre of the resource Still image Claude A. Patterson Federal Art Project New Deal Gallery Watercolor https://openvalley.org/files/original/3a0a9c1a12710225725d55baa540f828.jpg 7878770b1ae3c8e766f595753f876fdb https://openvalley.org/files/original/dd68c59dc80bb5ebc81dab21d0f10fb4.jpg 3e221e642c96d2407e95dd76b24eaacc 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 Digital image 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 Le Ranz des Vaches Format The file format, physical medium, or dimensions of the resource jpeg, 190 KB jpeg, 151 KB Description An account of the resource This excerpt of a Swiss song appeared in a medical study on the phenomenon of nostalgia, usually glossed in English as "homesickness." A researcher named Johannes Hofer had coined the term in his 1688 dissertation, observing that Swiss mercenary troops sometimes fell ill during extended absences from their homeland. Here, Theodore Zwinger in 1710 extends the insight to a folk cowherding tune--Kühe-Reyen--played on an alpenhorn or sung. The power of that music alone was so evocative that it it evoked palpable longing and ennui for the familiar meadows. Publisher An entity responsible for making the resource available Zwinger, Theodore Date A point or period of time associated with an event in the lifecycle of the resource 1710 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://commons.wikimedia.org/wiki/File:Le_Ranz_des_Vaches_de_Zwinger.png" target="_blank" rel="noopener">Wikimedia Commons</a> Type The nature or genre of the resource Still image Music Nostalgia Solastalgia Switzerland https://openvalley.org/files/original/49154db185819c0298f0fe9fed616b9e.jpg 147ac1adb4853a401fe46c448855aff3 https://openvalley.org/files/original/e80a6a10f6c02cd36ad4f0d63ecb9728.jpg 66ccccf74dca36f7126e0d71c743ec7e 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 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 Once a Missouri farmer, now a migratory farm laborer on the Pacific Coast, California Creator An entity primarily responsible for making the resource Lange, Dorothea, 1895-1965 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 1936-02 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.loc.gov/item/2017759832/" target="_blank" rel="noopener">Library of Congress item #2017759832/</a> Description An account of the resource Unidentified couple, displaced perhaps by drought, is one of thousands photographed by Lange during the 1930s. This item consists of the original photo and a cropped version created for the Green New Deal: Solastalgia exhibit. Format The file format, physical medium, or dimensions of the resource jpeg, 307 KB jpeg, 891 KB Climate Refugee Dorothea Lange Dust Bowl Green New Deal Photo https://openvalley.org/files/original/6b086f75804edc6e55c4a37a57b85610.jpg 49adb5cb77f66d816d040edc6717bd93 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 Digital photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Upper Hunter Region, New South Wales Description An account of the resource Photograph in southern Australia shows the ecological impact of open-pit mining and coal-fired power plants. But Albrecht also argues that "changes to the landscape in the Upper Hunter region of NSW severely distressed the people who lived there, a feeling not previously captured in the English language." He therefore proposes the term solastalgia to name this feeling of displacement, defining it as "the homesickness you have when you are still at home." The photo appears in OpenValley to support a timeline created for the New Deal Gallery entitled <a href="https://cdn.knightlab.com/libs/timeline3/latest/embed/index.html?source=1oYnni2nGfehzRnF55P-XlaNXrIeBxgLdKI34Sfo85g4&font=Default&lang=en&initial_zoom=2&height=650" target="_blank" rel="noopener">"Displacements."</a> Creator An entity primarily responsible for making the resource Albrecht, Glenn Publisher An entity responsible for making the resource available <a href="https://theconversation.com/us" target="_blank" rel="noopener">The Conversation</a> Date A point or period of time associated with an event in the lifecycle of the resource 2012 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="http://theconversation.com/the-age-of-solastalgia-8337" target="_blank" rel="noopener">Glenn Albrecht, "The Age of Solastalgia," The Conversation 7 Aug. 2012</a> Creative Commons License Format The file format, physical medium, or dimensions of the resource jpeg, 42 KB Type The nature or genre of the resource Still image Australia Coal Mining Solastalgia https://openvalley.org/files/original/653acc47a59f30cfb5dae4d3ce715533.jpg b5a2bff559a101ad6186e5bd49fe73ae https://openvalley.org/files/original/c0226d981e37a3ff5cd7f8f3c15deec4.jpg 085f608876b196b898fa4fc82cf79371 https://openvalley.org/files/original/87cc883a87812ef8dd6e2a4207421b1d.jpg 24de7e3a3dd61c71d22bfdc46b1a3313 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 Physical Dimensions The actual physical size of the original image 5 x 7 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 Dry Description An account of the resource During the mid-1960s, journalist Cliff Spieler of the Niagara Gazette published a series of articles warning that the American Falls were in danger of "disappearing" due to erosion and rockfall (two major incidents occurring in 1931 and 1954). By 1969, permission was granted to de-water the falls using a cofferdam; geologists drilled a series of exploratory holes and eventually concluded that . In the meantime, surreal images of a de-watered falls were recorded by curious tourist during a period of some five months. The photographs are somewhat ironic in that human intervention already was playing a role at Niagara Falls due to hydroelectric diversion. There are two images here, the second slightly cropped for the purpose of <a href="https://cdn.knightlab.com/libs/juxtapose/latest/embed/index.html?uid=744f0822-2a74-11ea-b9b8-0edaf8f81e27" target="_blank" rel="noopener">a Knight Lab Juxtapose application</a>. Creator An entity primarily responsible for making the resource Bryan, William (Bill) Date A point or period of time associated with an event in the lifecycle of the resource 1969 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://flic.kr/p/939tPb" target="_blank" rel="noopener">Courtesy of Flickr</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB Niagara Falls, NY Niagara River https://openvalley.org/files/original/7c406fc38623aa905c97c0750f832544.jpg 8271662e50f918d2174d216aa083a948 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource World's Highest Standard of Living Description An account of the resource In one of the most famous photographs of the 1930s, White appears to juxtapose a Great Depression unemployment line with the collective dream of an American Way. But her image actually was taken in Louisville, Kentucky after a flood of the Ohio River—which had killed nearly 400 people and displaced a million more across four states. Creator An entity primarily responsible for making the resource Bourke-White, Margaret (1904-1971) Publisher An entity responsible for making the resource available Life Magazine Date A point or period of time associated with an event in the lifecycle of the resource 1937-02-15 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://commons.wikimedia.org/wiki/File:American_way_of_life.jpg" target="_blank" rel="noopener">Courtesy Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource jpeg, 201 KB Type The nature or genre of the resource Still image Billboard flood Great Depression Margaret Bourke-White photograph https://openvalley.org/files/original/91e12e9c04c7d1a2b489d940e9f21f76.jpg 205b28ed6cb3201caff5998e5f753f55 https://openvalley.org/files/original/d4a45b7bbed0fe3cf8c939f5774dc5cf.jpg 50c11fc90cfd6034b9d49053d4e7d9b9 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 Physical Dimensions The actual physical size of the original image 8 x 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 Photographs from Futurama Description An account of the resource Two images show "the world of tomorrow" at General Motors' famous exhibit for the 1939 World's Fair in New York City. Gleaming skyscrapers evoke the recently constructed Chrysler and Empire State Buildings. Its multi-laned highways, however, still were a proposed vision whose fruition came after World War II. These images appear in OpenValley in connection with the <a href="https://cdn.knightlab.com/libs/timeline3/latest/embed/index.html?source=1oYnni2nGfehzRnF55P-XlaNXrIeBxgLdKI34Sfo85g4&font=Default&lang=en&initial_zoom=2&height=650" target="_blank" rel="noopener">"Displacements"</a> timeline created for the New Deal Gallery. Creator An entity primarily responsible for making the resource General Motors Publisher An entity responsible for making the resource available Building Technology Heritage Library Internet Archive Date A point or period of time associated with an event in the lifecycle of the resource 1940 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/details/GeneralMotorsCCA114885" target="_blank" rel="noopener">Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 1.1 MB Type The nature or genre of the resource Still image 1939 World's Fair Automobiles Futurama General Motors Highways https://openvalley.org/files/original/1854e2d46b7c2b116215003584dee2bb.jpg d9aab48afe437f7a6777c942e6b1d78e https://openvalley.org/files/original/cf123b955e857226ce2918c502a7b9fd.jpg a7c6e3d0a4f284c6cd396c51be582619 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 Virginia Canyon Highway, Colorado Description An account of the resource Unofficially known as the "Oh My God" Road, this winding route was created to service silver mines, some of which are visible in the postcard view. It's of interest because this location probably was the basis for New Deal Gallery artist Philip Cheney's painting <a href="https://openvalley.org/items/show/1098" target="_blank" rel="noopener">Rocky Mountain Highway</a>--which probably overstates the amenites of this track without guardrails or other amenities. Creator An entity primarily responsible for making the resource Patterson, C. C. Publisher An entity responsible for making the resource available Patterson Distributing Co. H.S. Crocker Co. Date A point or period of time associated with an event in the lifecycle of the resource 1940-1960 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 jpeg, 852 KB jpeg, 399 KB Type The nature or genre of the resource Still image Mining Philip Cheney Post Card https://openvalley.org/files/original/71c808caf0a2a1d7eb4d6e6de1cd63a7.jpg b56f9446c867f0d40aa0340b19e1ff88 https://openvalley.org/files/original/de2422723f01ea9ae5ea5128eb84189e.jpg c7e8e0b3d26d0e57c4858aaeb1870c58 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 Tourist guide Physical Dimensions The actual physical size of the original image 8.5 x 11, 36 pp + cover 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 in New York State Description An account of the resource Published a year after the conclusion of World War II, the tone of this 36-page travel guide to New York is one of making up for lost time. "With motor travel again unlimited," we are told, "New York's 59,000 miles of improved highways beckon the autoist to enjoy the State's attractions from the vantage-point of his own conveyance." Clearly, the automotive age has begun in earnest. The state is divided into fifteen regional "Vacationlands," including the Genesee Valley and Finger Lakes. There are thematic sections highlighting activities for seemingly any taste: Fishing, Swimming, Hiking, Camping, Motoring, Historic Shrines... even Flowers and Geology make an appearance. It's an intriguing glimpse into the early trajectory of postwar tourism, which still is relatively outdoors-centered in its emphasis. Creator An entity primarily responsible for making the resource Writer, Herbert Publisher An entity responsible for making the resource available Bureau of Information, Division of State Publicity, New York State Department of Commerce Date A point or period of time associated with an event in the lifecycle of the resource 1946-05 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 Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 2.1 MB Automobiles Department of Commerce New York State Recreation Tourism