97 10 1402 https://openvalley.org/files/original/7d91e1950cecc1df270be4a64b977260.png de557e73f1550d431debacb7802c47be 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"x4" 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 North View of the Plant Description An account of the resource A photo of the plant that processed the salt that miners who lived in Little Italy extracted. Creator An entity primarily responsible for making the resource Yasso, J. Marilyn Hannett Date A point or period of time associated with an event in the lifecycle of the resource 1920 Contributor An entity responsible for making contributions to the resource Auld, Mary Source A related resource from which the described resource is derived History of Retsof, New York https://openvalley.org/files/original/9d828cb37fc0016ce86a3a3ff153af72.jpg bd28f138313e761dbced81e2f2356b1b 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 Mills of Genesee Valley Description An account of the resource Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (lumber mill); grinding corn into animal feed or for distilling alcohol (grist mill); grinding wheat or other grains (flour mill); creating boxes and other products from wood pulp (paper mill); fabricating metals (triphammer mill); powering industrial equipment (textile mill); and by the 1880s creating electricity via turbines. This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century. 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 Physical Dimensions The actual physical size of the original image 38.5 x 51 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 Upper Falls of the Genesee at Rochester NY from the East Creator An entity primarily responsible for making the resource Young, John T., 1814-1842 (artist) Bufford, John Henry, 1810-1870 (lithographer) Publisher An entity responsible for making the resource available C & M Morse Date A point or period of time associated with an event in the lifecycle of the resource 1836 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library. "[The upper falls of the Genesee at Rochester N.Y. from the east.]" The New York Public Library Digital Collections. http://digitalcollections.nypl.org/items/510d47d9-7c25-a3d9-e040-e00a18064a99 Format The file format, physical medium, or dimensions of the resource jpeg, 906 KB Type The nature or genre of the resource Still image Description An account of the resource Somewhat idealized view of Rochester's High Falls has cattle grazing peacefully in the foreground of this print. The "Mercury" statue at rear center, however, dates the scene after 1881--which is when the Kimball Tobacco Factory commissioned it. By that point the High Falls area already had many more factories and mills than is pictured; the area had been an industrial center for several decades. Genesee River High Falls Rochester, NY Watersheds https://openvalley.org/files/original/0599b1f4a3d14d934b4ae0de242b1a0c.JPG ca003be989254c7e9515a40bbd3c1742 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 18 x 22 in. Condition: surface dirt, cracked paint, flaking, stained & torn 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 Autumn Bouquet Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Description An account of the resource Against a backdrop of muted, almost murky tones in brown, green, and tan, we see a still life of flowers in an earthenware jar along with various fruits. Their colors likewise are subdued; golds, reds, and oranges are illuminated by autumnal light in this pensive composition. About the Artist: We haven’t been able to locate much reliable information about this artist. Born Sneier Zemachson in Sulwalki, Lithuania, he immigrated to Toledo, OH in 1910 and became a US citizen around 1939. He was the son of respected liturgical composer Simon Zemachson, and his brother Arnold became one in his own right while living in America; Samuel later became a caretaker and editor of their work. He studied at the National Academy of design and was awarded a prize for his still lifes in 1925. His “Still Life” was purchased by the city of Albany, NY in 1936 through the Federal Art Program. For an unexplained reason, there is 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-40" target="_blank" rel="noopener">FAP</a> in the name of his son Paul—who at that time was less than a year old. Creator An entity primarily responsible for making the resource Zemachson, Samuel, 1902-1987 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-04-27 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18375 Federal Art Project New Deal Gallery painting Samuel Zemachson still life https://openvalley.org/files/original/7ad39e4916dddb2172c38734596d051f.jpg 07489431445bb078b497d1e871f2d1df https://openvalley.org/files/original/8bc336c5bcc26cdf717a08a0fbfee6a9.jpg cab449bb51e6cd5254d48652ba17e95a 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 15-3/4 x 20-1/4 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 Postman Creator An entity primarily responsible for making the resource Zilzer, Gyula 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 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1593 Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.7 MB Type The nature or genre of the resource Still image Description An account of the resource In The Postman, a seated man and his instrument take up most of the print. His clothes indicate that he is, indeed, a postman, but his identity as a musician comes first here. His instrument appears to be almost the size of his upper body, and it covers up most of his torso. The detailed hatching on his instrument creates shadows that draw further attention to it, especially in comparison to the lighter, less detailed background. The use of perspective in the background feels a bit warped as well, with the floorboards tilting left but the closet turned toward the right. This off-balanced room draws even more focus to the carefully illustrated postman/musician himself. 11 images at <a href="https://art.gsa.gov/people/2695/gyula-zilzer/objects" target="_blank" rel="noopener">GSA</a>.  Contributor An entity responsible for making contributions to the resource Derrell, Emma (description) Helquist, Morgan (photography) Federal Art Project Gyula Zilzer lithograph Music New Deal Museum https://openvalley.org/files/original/92925cae5d5a2f749888975798ee226a.jpg 2ebb45d05feff337f4ab854d36d23d74 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 Drypoint on paper Physical Dimensions The actual physical size of the original image 9 1/2 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 Two Hoboes Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 1.6 MB Description An account of the resource Two men create a makeshift camp, which seems to have involved chopping wood and heating cans of food. They appear to be worn and tired and dressed in simple clothing. Zilzer’s title alerts us that the pair may be migrant workers who travel by (illegally) hopping trains, distinguished from “tramps” who traveled but didn’t seek work. The older man, at left, is wearing what may be a kepi hat from the Civil War era; his leg is fitted with a prosthetic, whether due to military casualty or a train accident is unknown. The other man’s contribution to an improvised household is music (in the form of a simple flute) and perhaps contact with current events, in the form of a rolled-up paper in his pocket. They’re arranged to be facing each other, creating a loosely circular whole. The scene’s composition is quite strange. Its foreground is very detailed and makes use of drypoint lines to create modeled, tangible objects—deeply worn ones at that. The background, however, shows only the outline of trees and stylized “speed lines”: a passing train? a minimalist backdrop? something more existential? Regardless, Zilzer’s shallow space keeps our focus on the two individuals, emphasizing the dire conditions of their survival. His knack for evoking emotional connection can be experienced by looking at the expression on the older man’s face: weariness personified, yet somehow still affected by music. However briefly, an invisible or reviled class of Americans confronts its viewer in their abandonment and persistence. 11 images at <a href="https://art.gsa.gov/people/2695/gyula-zilzer/objects" target="_blank" rel="noopener">GSA</a>.  Creator An entity primarily responsible for making the resource Zilzer, Gyula (1898 - 1969) 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 Hudson, Timothy (description) Helquist, Morgan (photograph) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1590 Type The nature or genre of the resource Still image Federal Art Project Gyula Zilzer Hobo Homelessness lithograph New Deal Museum https://openvalley.org/files/original/77e199bd7d2806f6e4a4033df710eaee.pdf e804633bc61d12f2e02371876d3975a5 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 21 page stapled pamphlet, 5.5x8.5 inch 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 Teaching In a Migrant Camp: 1994-1995 Journal Notes Description An account of the resource A journal of notes taken by Kathy Zimmer, a worker at the Geneseo Migrant Center. These notes were taken between 1994-1995 at camps including Blue Eagle and Seneca Castle. Creator An entity primarily responsible for making the resource Zimmer, Kathy Date A point or period of time associated with an event in the lifecycle of the resource 1996 Contributor An entity responsible for making contributions to the resource Keenan, Shannon Source A related resource from which the described resource is derived BOCES Geneseo Migrant Center Format The file format, physical medium, or dimensions of the resource PDF, 1.1MB Type The nature or genre of the resource Text Geneseo Migrant Center Journal entry Migrant Children Migrant Education migrant families Migrant Farmer pamphlet https://openvalley.org/files/original/1645b45d6816dfbdfd716a1b285b67fe.JPG b39b4c13aa0c995f9c1721ce133fadd4 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 26 x 20 in. Condition: surface dirt, crayon or pencil marks 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 Fountain, Central Park Description An account of the resource Depicted is the landmark Bethesda Fountain located in New York City's Central Park. The fountain is adorned by a bronze statue with small figures that appear to support the winged figure. Bethesda is a biblical reference to a pool that is believed to have had healing powers, so its use for a fountain's name has great significance. The warm colors and large brush strokes give this painting a sense of importance that is associated with being in Central Park--a location not far from Zucker's home in New York. About the Artist: Born in Radom, Poland, at age thirteen Zucker ran away from home, traveling by himself to study at the Bezalel Art School in Palestine. After serving with the Royal Fusilliers of England during World War I, he spent time in the Paris art scene before immigrating to the US in 1922. Here he first worked as a maker of fine jewelry; eventually, he was successful as a painter with studios in New York and Paris. Zucker counted as influences the French Romantics Pierre-Auguste Renoir and <a href="https://en.wikipedia.org/wiki/Jean-Antoine_Watteau" target="_blank" rel="noopener">Jean-Antoine Watteau</a>, along with contemporaries <a href="https://en.wikipedia.org/wiki/Maurice_Utrillo" target="_blank" rel="noopener">Maurice Utrillo</a> and <a href="https://en.wikipedia.org/wiki/Chaim_Soutine" target="_blank" rel="noopener">Chaim Soutine</a>. He observed that, in Europe, artists know that a landscape has been painted many times, but in America “I feel liberated, unburdened by the weight of artistic precedent” (Salpeter). Zucker’s work was shown at places like the Art Institute of Chicago, the Whitney Museum, and the Cheshire Gallery, as well as the Bonaparte and Paquereau Galleries in Paris. 5 more images at the <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-49" target="_blank" rel="noopener">FAP</a>; 1 statue at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-48" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Harry Salpeter, <a href="http://archive.esquire.com/article/1938/10/1/jacques-zucker-modern-romantic" target="_blank" rel="noopener">“Jacques Zucker: Modern Romantic,”</a> Esquire Oct. 1938: 59+. Dan Wolman, director, <a href="https://youtu.be/BceCvihjQ28" target="_blank" rel="noopener">Jacques Zucker: Modern Romantic</a> (film short). Creator An entity primarily responsible for making the resource Zucker, Jacques, 1900-1981 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) Serbalik, John (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18376 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 Identifier An unambiguous reference to the resource within a given context 204 allocations Central Park Federal Art Project fountain Jacques Zucker New Deal Gallery new york city New York, NY https://openvalley.org/files/original/d64da06808e8e186aaee393e8af273e2.png 07f85772225f1b7cb510b6da6cea8504 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 Excerpt from The Livingston Republican showing Livingston County court decisions Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Newspaper 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 Court Excerpts from "Livingston Republican" Description An account of the resource An excerpt from The Livingston Republican from December 1857 that shows how decisions of local court cases were broadcast to the public. Publisher An entity responsible for making the resource available The Livingston Republican Date A point or period of time associated with an event in the lifecycle of the resource 1857-12 Contributor An entity responsible for making contributions to the resource Valvo, Connor Format The file format, physical medium, or dimensions of the resource .png, 320 KB Type The nature or genre of the resource Text Cases County Court Livingston Newspaper Republican Sheffield Peabody Supreme https://openvalley.org/files/original/1fd0d64d2c8dc87f81c7f240d13124b5.jpg 4ceafe5589c6823c4018b1e6790ed369 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 Photo 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 Livingston County Courthouse Description An account of the resource An image of the old Livingston County Courthouse, which stood 1823-1897 Contributor An entity responsible for making contributions to the resource Argentieri, Liz; Valvo, Connor Source A related resource from which the described resource is derived Livingston County Courthouse. Genesee Valley Historical Collection, Milne Library, SUNY Geneseo. Format The file format, physical medium, or dimensions of the resource .jpg, 737 KB Type The nature or genre of the resource Still Image Court Geneseo House Livingston New York Sheffield Peabody https://openvalley.org/files/original/f86966ebbd1e52b92ab0080e6bc45e04.jpg 09f9e6bc8bb44e56e514d1933bfcaf96 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 Mills of Genesee Valley Description An account of the resource Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (lumber mill); grinding corn into animal feed or for distilling alcohol (grist mill); grinding wheat or other grains (flour mill); creating boxes and other products from wood pulp (paper mill); fabricating metals (triphammer mill); powering industrial equipment (textile mill); and by the 1880s creating electricity via turbines. This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century. 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 4" x 3" 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 Glen Avon Mills Description An account of the resource Ca. 1912 photograph of the flour mill on Conesus Creek in Littleville, NY built by Emme Light in 1878 and subsequently operated by his sons John and William. Glen Avon Mills sold several trademarked varieties of flour, including “Peerless,” “Sweet Violet,” “Daisy,” and “White Rose.” Ownership of the mill passed to Lucy (Light) McDonald who in 1949 leased it to a Dutch miller named George A. Bass. In 1951, the town of Avon purchased the mill for its more valuable Conesus Lake water rights, then sold the property back to Bass. Glen Avon Mills ceased operations sometime around the late 1950s. Date A point or period of time associated with an event in the lifecycle of the resource 1912? Contributor An entity responsible for making contributions to the resource Ken Cooper Source A related resource from which the described resource is derived Avon Board of Trade, Year Book, 1912, Avon N.Y. (Avon, N.Y.: Avon News Print, 1912) Format The file format, physical medium, or dimensions of the resource jpeg, 4.3 MB Type The nature or genre of the resource Photograph Publisher An entity responsible for making the resource available Avon Board of Trade Avon, NY Conesus Creek Glen Avon Mills mills