<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8204">
    <dcterms:title><![CDATA[Provincetown, 1977]]></dcterms:title>
    <dcterms:title><![CDATA[P Town [written on verso]; The Table]]></dcterms:title>
    <dcterms:title><![CDATA[titled by cataloguer]]></dcterms:title>
    <dcterms:subject><![CDATA[seascape; balcony; tables]]></dcterms:subject>
    <dcterms:description><![CDATA[The photograph captures a hot, calm day on Cape Cod. We feel the motionless air in the homogenous band of gray sky above an expanse of flat ocean and the sun reflecting on the bright white balcony and table. The filigree ironwork and glass-top of the table contrast with the rough gray planks of the cottage balcony. The glass table recalls the still ocean with &quot;water as smooth as glass,&quot; a classic Meyerwitz visual pun. This vintage chromogenic print reflects a shift in color that is natural for color photographic works from the early 1980&#039;s. The color shift is recognized as a part of the unique nature of such images. ]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz, Provincetown, 1977 / P Town [in ink]]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz is a nationally and internationally known photographer with over 350 exhibitions and many major awards. He began working as a &quot;street&quot; photographer in the early 1960&#039;s. Born in New York City in 1938, he &quot;began taking photographs in 1962. Although he has always seen himself as a street photographer in the tradition of Henri Cartier-Bresson and Robert Frank (he is the co-author of the standard work on the genre, Bystander: A History of Street Photography, 1994) he transformed the mode with his pioneering use of color.  As an early advocate of color photography (mid-60’s), Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance&quot; (http://www.howardgreenberg.com/artists/joel-meyerowitz). While early in his career he worked in 35mm black and white, he now works exclusively in color with an 8 x 10-inch view camera. Meyerowitz says that his work has gravitated toward two poles, &quot;one using the small camera and instantaneous responses, and the other with a view camera and a slow caring, meditative look at places&quot; (Creating a Sense of Place / Photographs of Joel Meyerowitz, p. 61).  He has authored 21 books, including Cape Light (1978) which is considered a classic work of color photography. His work has been collected by many major public and private collections, including the Museum of Modern Art, New York City; the Metropolitan Museum of Art, New York City; and the Whitney Museum of American Art, New York City.]]></dcterms:description>
    <dcterms:creator><![CDATA[Meyerowitz, Joel]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[born 1938]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[www.joelmeyerowitz.com; http://www.howardgreenberg.com/artists/joel-meyerowitz; Westerbeck, Colin &amp; Meyerowitz, &quot;Bystander: A History of Photography,&quot; Chapter 20, Still Going, pp 373-392. Bullfinch Press: Little Brown and Company, 1994 and 2001; Meyerowitz, Joel; Sullivan, Constance and Susan Weiley, eds. Creating a Sense of Place / Photographs by Joel Meyerowitz. Washington: Smithsonian Institution Press, 1990.]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1977; printed c. 1977]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 1977. Joel Meyerowitz]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5064]]></dcterms:relation>
    <dcterms:extent><![CDATA[27.94 x 35.56 cm (11 x 14 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[19.36 x 24.45 cm (7 5/8 x 9 5/8 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[27.94 x 35.56 cm (11 x 14 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[chromogenic color print]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[chromogenic processes; color photography]]></dcterms:medium>
    <dcterms:type><![CDATA[chromogenic color print; color photograph]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2017.012.028]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.028]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.028.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame);]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art);]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Howard and Ellen Greenberg]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8203">
    <dcterms:title><![CDATA[Provincetown, 1976]]></dcterms:title>
    <dcterms:title><![CDATA[P&#039;Town 1976 [written on verso]]]></dcterms:title>
    <dcterms:title><![CDATA[titled by donor]]></dcterms:title>
    <dcterms:subject><![CDATA[clouds; seascapes; boats; sailboats]]></dcterms:subject>
    <dcterms:description><![CDATA[Cloud and bay study on a calm day. This vintage chromogenic print reflects a shift in color that is natural for color photographic works from the early 1980&#039;s. The color shift is recognized as a part of the unique nature of such images. ]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz, Provincetown, 1976, printed 1977 / PTown 1976 [in ink]]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz is a nationally and internationally known photographer with over 350 exhibitions and many major awards. He began working as a &quot;street&quot; photographer in the early 1960&#039;s. Born in New York City in 1938, he &quot;began taking photographs in 1962. Although he has always seen himself as a street photographer in the tradition of Henri Cartier-Bresson and Robert Frank (he is the co-author of the standard work on the genre, Bystander: A History of Street Photography, 1994) he transformed the mode with his pioneering use of color.  As an early advocate of color photography (mid-60’s), Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance&quot; (http://www.howardgreenberg.com/artists/joel-meyerowitz). While early in his career he worked in 35mm black and white, he now works exclusively in color with an 8 x 10-inch view camera. Meyerowitz says that his work has gravitated toward two poles, &quot;one using the small camera and instantaneous responses, and the other with a view camera and a slow caring, meditative look at places&quot; (Creating a Sense of Place / Photographs of Joel Meyerowitz, p. 61).  He has authored 21 books, including Cape Light (1978) which is considered a classic work of color photography. His work has been collected by many major public and private collections, including the Museum of Modern Art, New York City; the Metropolitan Museum of Art, New York City; and the Whitney Museum of American Art, New York City.]]></dcterms:description>
    <dcterms:creator><![CDATA[Meyerowitz, Joel]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[born 1938]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[www.joelmeyerowitz.com; http://www.howardgreenberg.com/artists/joel-meyerowitz; Westerbeck, Colin &amp; Meyerowitz, &quot;Bystander: A History of Photography,&quot; Chapter 20, Still Going, pp 373-392. Bullfinch Press: Little Brown and Company, 1994 and 2001; Meyerowitz, Joel; Sullivan, Constance and Susan Weiley, eds. Creating a Sense of Place / Photographs by Joel Meyerowitz. Washington: Smithsonian Institution Press, 1990.]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1976; printed 1977]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 1976. Joel Meyerowitz]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5059]]></dcterms:relation>
    <dcterms:extent><![CDATA[27.94 x 35.56 cm (11 x 14 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[19.36 x 24.45 cm (7 5/8 x 9 5/8 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[27.94 x 35.56 cm (11 x 14 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[chromogenic color print]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[chromogenic processes; color photography]]></dcterms:medium>
    <dcterms:type><![CDATA[chromogenic color print; color photograph]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2017.012.015]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.015]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.015.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame);]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art);]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Howard and Ellen Greenberg]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8202">
    <dcterms:title><![CDATA[Man, Gull Pond, 1976]]></dcterms:title>
    <dcterms:title><![CDATA[titled by donor]]></dcterms:title>
    <dcterms:subject><![CDATA[picnics; sports &amp; recreation facilities; eating &amp; drinking]]></dcterms:subject>
    <dcterms:description><![CDATA[A picnicker under pines at Gull Pond, Wellfleet, Cape Cod, MA. The dappled sun and forest glade are reminiscent of 19th century Impressionist picnic scenes of carefree recreation. In this updated beach scene, a man stands with his eyes closed, meditating in the relaxed moment while he guards the sand, strewn with women&#039;s clothing and paraphernalia. This vintage chromogenic print reflects a shift in color that is natural for color photographic works from the early 1980&#039;s. The color shift is recognized as a part of the unique nature of such images. ]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz, Man, Gull Pond, 1976 [in ink]]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz is a nationally and internationally known photographer with over 350 exhibitions and many major awards. He began working as a &quot;street&quot; photographer in the early 1960&#039;s. Born in New York City in 1938, he &quot;began taking photographs in 1962. Although he has always seen himself as a street photographer in the tradition of Henri Cartier-Bresson and Robert Frank (he is the co-author of the standard work on the genre, Bystander: A History of Street Photography, 1994) he transformed the mode with his pioneering use of color.  As an early advocate of color photography (mid-60’s), Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance&quot; (http://www.howardgreenberg.com/artists/joel-meyerowitz). While early in his career he worked in 35mm black and white, he now works exclusively in color with an 8 x 10-inch view camera. Meyerowitz says that his work has gravitated toward two poles, &quot;one using the small camera and instantaneous responses, and the other with a view camera and a slow caring, meditative look at places&quot; (Creating a Sense of Place / Photographs of Joel Meyerowitz, p. 61).  He has authored 21 books, including Cape Light (1978) which is considered a classic work of color photography. His work has been collected by many major public and private collections, including the Museum of Modern Art, New York City; the Metropolitan Museum of Art, New York City; and the Whitney Museum of American Art, New York City.]]></dcterms:description>
    <dcterms:creator><![CDATA[Meyerowitz, Joel]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[born 1938]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[www.joelmeyerowitz.com; http://www.howardgreenberg.com/artists/joel-meyerowitz; Westerbeck, Colin &amp; Meyerowitz, &quot;Bystander: A History of Photography,&quot; Chapter 20, Still Going, pp 373-392. Bullfinch Press: Little Brown and Company, 1994 and 2001; Meyerowitz, Joel; Sullivan, Constance and Susan Weiley, eds. Creating a Sense of Place / Photographs by Joel Meyerowitz. Washington: Smithsonian Institution Press, 1990.]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1976; printed c. 1976]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 1976. Joel Meyerowitz]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5066]]></dcterms:relation>
    <dcterms:extent><![CDATA[35.56 x 27.94 cm (14 x 11 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[ 24.45 x 19.36 cm ( 9 5/8x 7 5/8 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[35.56 x 27.94 cm (14 x 11 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[chromogenic color print]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[chromogenic processes; color photography]]></dcterms:medium>
    <dcterms:type><![CDATA[chromogenic color print; color photograph]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2017.012.027]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.027]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.027.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame);]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art);]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Howard and Ellen Greenberg]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8201">
    <dcterms:title><![CDATA[Longnook Beach, 1976]]></dcterms:title>
    <dcterms:title><![CDATA[titled by donor]]></dcterms:title>
    <dcterms:subject><![CDATA[beaches; sea]]></dcterms:subject>
    <dcterms:description><![CDATA[Longnook Beach in Truro, MA is a popular ocean beach on Cape Cod. Meyerowitz has photographed the beach with the high tide line of sea weed and the sand impressions of innumerable feet left by the day&#039;s crowd. The sand dunes of Truro rise in the hazy background. This vintage chromogenic print reflects a shift in pigments that is natural for color photographic works from the early 1980&#039;s. The color shift is recognized as a part of the unique nature of such images. ]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz, Longnook Beach, 1976, printed 1977 [in ink]]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz is a nationally and internationally known photographer with over 350 exhibitions and many major awards. He began working as a &quot;street&quot; photographer in the early 1960&#039;s. Born in New York City in 1938, he &quot;began taking photographs in 1962. Although he has always seen himself as a street photographer in the tradition of Henri Cartier-Bresson and Robert Frank (he is the co-author of the standard work on the genre, Bystander: A History of Street Photography, 1994) he transformed the mode with his pioneering use of color.  As an early advocate of color photography (mid-60’s), Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance&quot; (http://www.howardgreenberg.com/artists/joel-meyerowitz). While early in his career he worked in 35mm black and white, he now works exclusively in color with an 8 x 10-inch view camera. Meyerowitz says that his work has gravitated toward two poles, &quot;one using the small camera and instantaneous responses, and the other with a view camera and a slow caring, meditative look at places&quot; (Creating a Sense of Place / Photographs of Joel Meyerowitz, p. 61).  He has authored 21 books, including Cape Light (1978) which is considered a classic work of color photography. His work has been collected by many major public and private collections, including the Museum of Modern Art, New York City; the Metropolitan Museum of Art, New York City; and the Whitney Museum of American Art, New York City.]]></dcterms:description>
    <dcterms:creator><![CDATA[Meyerowitz, Joel]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[born 1938]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[www.joelmeyerowitz.com; http://www.howardgreenberg.com/artists/joel-meyerowitz; Westerbeck, Colin &amp; Meyerowitz, &quot;Bystander: A History of Photography,&quot; Chapter 20, Still Going, pp 373-392. Bullfinch Press: Little Brown and Company, 1994 and 2001; Meyerowitz, Joel; Sullivan, Constance and Susan Weiley, eds. Creating a Sense of Place / Photographs by Joel Meyerowitz. Washington: Smithsonian Institution Press, 1990.]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1976; printed 1977]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 1976. Joel Meyerowitz]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5056]]></dcterms:relation>
    <dcterms:extent><![CDATA[27.94 x 35.56 cm (11 x 14 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[19.36 x 24.45 cm (7 5/8 x 9 5/8 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[27.94 x 35.56 cm (11 x 14 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[chromogenic color print]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[chromogenic processes; color photography]]></dcterms:medium>
    <dcterms:type><![CDATA[chromogenic color print; color photograph]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2017.012.017]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.017]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.017.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art)]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Howard and Ellen Greenberg]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8200">
    <dcterms:title><![CDATA[Gull Pond, Wellfleet, 1976]]></dcterms:title>
    <dcterms:title><![CDATA[titled by donor]]></dcterms:title>
    <dcterms:subject><![CDATA[picnics; sports &amp; recreation facilities; eating &amp; drinking]]></dcterms:subject>
    <dcterms:description><![CDATA[Picnickers under pines and swimmers at Gull Pond, Wellfleet, Cape Cod, MA. This vintage chromogenic print reflects a shift in color that is natural for color photographic works from the early 1980&#039;s. The color shift is recognized as a part of the unique nature of such images. ]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz, Gull Pond, Wellfleet, 1976 [in ink]]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz is a nationally and internationally known photographer with over 350 exhibitions and many major awards. He began working as a &quot;street&quot; photographer in the early 1960&#039;s. Born in New York City in 1938, he &quot;began taking photographs in 1962. Although he has always seen himself as a street photographer in the tradition of Henri Cartier-Bresson and Robert Frank (he is the co-author of the standard work on the genre, Bystander: A History of Street Photography, 1994) he transformed the mode with his pioneering use of color.  As an early advocate of color photography (mid-60’s), Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance&quot; (http://www.howardgreenberg.com/artists/joel-meyerowitz). While early in his career he worked in 35mm black and white, he now works exclusively in color with an 8 x 10-inch view camera. Meyerowitz says that his work has gravitated toward two poles, &quot;one using the small camera and instantaneous responses, and the other with a view camera and a slow caring, meditative look at places&quot; (Creating a Sense of Place / Photographs of Joel Meyerowitz, p. 61).  He has authored 21 books, including Cape Light (1978) which is considered a classic work of color photography. His work has been collected by many major public and private collections, including the Museum of Modern Art, New York City; the Metropolitan Museum of Art, New York City; and the Whitney Museum of American Art, New York City.]]></dcterms:description>
    <dcterms:creator><![CDATA[Meyerowitz, Joel]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[born 1938]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[www.joelmeyerowitz.com; http://www.howardgreenberg.com/artists/joel-meyerowitz; Westerbeck, Colin &amp; Meyerowitz, &quot;Bystander: A History of Photography,&quot; Chapter 20, Still Going, pp 373-392. Bullfinch Press: Little Brown and Company, 1994 and 2001; Meyerowitz, Joel; Sullivan, Constance and Susan Weiley, eds. Creating a Sense of Place / Photographs by Joel Meyerowitz. Washington: Smithsonian Institution Press, 1990.]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1976; printed c. 1976]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 1976. Joel Meyerowitz]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5068]]></dcterms:relation>
    <dcterms:extent><![CDATA[27.94 x 35.56 cm (11 x 14 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[19.36 x 24.45 cm (7 5/8 x 9 5/8 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[27.94 x 35.56 cm (11 x 14 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[chromogenic color print]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[chromogenic processes; color photography]]></dcterms:medium>
    <dcterms:type><![CDATA[chromogenic color print; color photograph]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2017.012.025]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.025]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.025.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame);]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art);]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Howard and Ellen Greenberg]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8199">
    <dcterms:title><![CDATA[Gull Pond, 2 Women, VW, 1976]]></dcterms:title>
    <dcterms:title><![CDATA[titled by donor]]></dcterms:title>
    <dcterms:subject><![CDATA[sports &amp; recreation facilities]]></dcterms:subject>
    <dcterms:description><![CDATA[Women sunbathe on the beach beside a Volkswagon carrying a canoe. One woman looks back into the landscape while the other looks out towards the viewer, enlarging the picture space and bringing the viewer into the scene. Meyerowitz enjoys capturing the humorous moment in his photos, as with this little, turtle-like Volkswagon carrying a long canoe. This vintage chromogenic print reflects a shift in color that is natural for color photographic works from the early 1980&#039;s. The color shift is recognized as a part of the unique nature of such images. ]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz, Gulf Pond, 2 Women, VW, 1976 [in ink]]]></dcterms:description>
    <dcterms:description><![CDATA[verso]]></dcterms:description>
    <dcterms:description><![CDATA[Joel Meyerowitz is a nationally and internationally known photographer with over 350 exhibitions and many major awards. He began working as a &quot;street&quot; photographer in the early 1960&#039;s. Born in New York City in 1938, he &quot;began taking photographs in 1962. Although he has always seen himself as a street photographer in the tradition of Henri Cartier-Bresson and Robert Frank (he is the co-author of the standard work on the genre, Bystander: A History of Street Photography, 1994) he transformed the mode with his pioneering use of color.  As an early advocate of color photography (mid-60’s), Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance&quot; (http://www.howardgreenberg.com/artists/joel-meyerowitz). While early in his career he worked in 35mm black and white, he now works exclusively in color with an 8 x 10-inch view camera. Meyerowitz says that his work has gravitated toward two poles, &quot;one using the small camera and instantaneous responses, and the other with a view camera and a slow caring, meditative look at places&quot; (Creating a Sense of Place / Photographs of Joel Meyerowitz, p. 61).  He has authored 21 books, including Cape Light (1978) which is considered a classic work of color photography. His work has been collected by many major public and private collections, including the Museum of Modern Art, New York City; the Metropolitan Museum of Art, New York City; and the Whitney Museum of American Art, New York City.]]></dcterms:description>
    <dcterms:creator><![CDATA[Meyerowitz, Joel]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[born 1938]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[www.joelmeyerowitz.com; http://www.howardgreenberg.com/artists/joel-meyerowitz; Westerbeck, Colin &amp; Meyerowitz, &quot;Bystander: A History of Photography,&quot; Chapter 20, Still Going, pp 373-392. Bullfinch Press: Little Brown and Company, 1994 and 2001; Meyerowitz, Joel; Sullivan, Constance and Susan Weiley, eds. Creating a Sense of Place / Photographs by Joel Meyerowitz. Washington: Smithsonian Institution Press, 1990.]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1976; printed c. 1976]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 1976. Joel Meyerowitz]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5067]]></dcterms:relation>
    <dcterms:extent><![CDATA[27.94 x 35.56 cm (11 x 14 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[19.36 x 24.45 cm (7 5/8 x 9 5/8 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[27.94 x 35.56 cm (11 x 14 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[chromogenic color print]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[chromogenic processes; color photography]]></dcterms:medium>
    <dcterms:type><![CDATA[chromogenic color print; color photograph]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2017.012.026]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.026]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.026.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame);]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art);]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Howard and Ellen Greenberg]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8198">
    <dcterms:title><![CDATA[Street Scene 4, Harlem, 1937]]></dcterms:title>
    <dcterms:subject><![CDATA[citiscapes; streets--New York--1930-1940; street vendors; black-and-white photographs]]></dcterms:subject>
    <dcterms:description><![CDATA[The photograph, part of a documentary series focusing on the social and economic conditions of Harlem, shows a bird&#039;s eye view of a street in Harlem, New York. The sidewalk cuts a diagonal through the middle of the scene, showing a line of shoeshine stands and pedestrians; a street signpost and steel columns of the elevated subway, the &quot;el,&quot; provide vertical markers defining the height of the space. ]]></dcterms:description>
    <dcterms:description><![CDATA[Aaron Siskind]]></dcterms:description>
    <dcterms:description><![CDATA[margin, verso]]></dcterms:description>
    <dcterms:description><![CDATA[Street Scene 4, Harlem, 1937]]></dcterms:description>
    <dcterms:description><![CDATA[verso [in pencil, in unknown hand]]]></dcterms:description>
    <dcterms:description><![CDATA[Siskind, Aaron; Ann Banks, ed. Harlem Document: Photographs 1932-1940: Aaron Siskind, p20. Providence, RI: Matrix Publications, Inc., April 25, 1981.]]></dcterms:description>
    <dcterms:description><![CDATA[Aaron Siskind was born on December 4, 1903, in New York City. He attended City College, earning his BSS in Literature in 1926. After college, he taught English in the New York City public school system from 1926 to 1947. In 1929, he married Sidonie Glaller, and received his first camera as a wedding gift. Throughout the 1930s, he was active in the New York Photo League and formed Feature Group, a documentary production unit as a part of the Photo League School.  The photographs produced by Siskind and his associates were published as ‘The Feature Group’ in Photo Notes in 1940, most of them featuring scenes of city life. In the 1940s, Siskind developed ties with several New York School artists, and his work became increasingly abstract and symbolic. In 1945, he published ‘The Drama of Objects’, a series of photographs featuring compositions comprised of objects he found around Martha’s Vineyard, MA.  During this period and into the 1950s, his work was regularly exhibited in New York City, particularly at the Charles Egan Gallery. In addition to his ongoing photography career, Siskind  taught photography at Trenton Junior College in New Jersey from 1947 to 1949; the Illinois Institute of Technology, Institute of Design in Chicago from 1951 to 1971, also serving as head of the Photographic Department from 1959 to 1971; and the Rhode Island School of Design from 1971 to 1976. He had a close connection with fellow photographer Harry Callahan, whom he met while teaching at Black Mountain College in the summer of 1951; the two taught and worked together for most of Siskind’s later career.  From 1960 to 1970, he served as co-editor of Choice Magazine. He was a founding member of both the Society for Photographic Education and the Visual Studies Workshop in Rochester, New York and served as a board member for the Gallery of Contemporary Art in Chicago. He maintained an active photography career until his death in Providence, Rhode Island in February, 1991.]]></dcterms:description>
    <dcterms:creator><![CDATA[Siskind, Aaron]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[1903 - 1991]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[http://www.howardgreenberg.com/; http://aaronsiskind.org/chronology.html]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1937; printed 1981]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 1937. Estate of Aaron Siskind]]></dcterms:rights>
    <dcterms:relation><![CDATA[https://collections.hvvacc.org/cdm/singleitem/collection/sdma/id/5052]]></dcterms:relation>
    <dcterms:extent><![CDATA[35.56 x 27.94 cm (14 x 11 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[26.35 x 19.68 cm (10 3/8 x 7 3/4 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[35.56 x 27.94 cm (14 x 11 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[gelatin silver print]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[photography (process); gelatin silver process]]></dcterms:medium>
    <dcterms:type><![CDATA[photograph; gelatin silver print]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2017.012.014]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.014]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.014_Siskind_LR.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Photo League of New York]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Howard and Ellen Greenberg]]></dcterms:provenance>
    <dcterms:provenance><![CDATA[Estate of Tennyson Schad]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8197">
    <dcterms:title><![CDATA[Street Scene 2, Harlem, 1940]]></dcterms:title>
    <dcterms:subject><![CDATA[citiscapes; streets--New York--1930-1940; apartment house; tenement house; black-and-white photographs]]></dcterms:subject>
    <dcterms:description><![CDATA[The photograph, part of a documentary series focusing on the social and economic conditions of Harlem, captures the contrasts of a Harlem street. In this street vignette, a neatly dressed woman and child talk in front of a run down building; the face of another person, also listening to the child, can just barely be seen in the open window, revealing the neighborhood community dynamic of interior spaces connecting with the exterior sidewalk space. The beautiful geometry of the architecture shows the dilapidation of time and negligent maintenance. Although this is part of the &quot;Harlem Document&quot; group of photos taken by Siskind in the 1930s, it was not included in the 1981 book, Harlem Document: Photographs 1932-1940: Aaron Siskind (Banks, Ann, and Charles Traub, eds. Harlem Document: Photographs 1932-1940: Aaron Siskind.  Providence: Matrix Publication, 1981).<br />
]]></dcterms:description>
    <dcterms:description><![CDATA[Aaron Siskind]]></dcterms:description>
    <dcterms:description><![CDATA[margin, verso]]></dcterms:description>
    <dcterms:description><![CDATA[Street Scene 2, Harlem, 1940]]></dcterms:description>
    <dcterms:description><![CDATA[verso [in pencil, in unknown hand]]]></dcterms:description>
    <dcterms:description><![CDATA[Aaron Siskind was born on December 4, 1903, in New York City. He attended City College, earning his BSS in Literature in 1926. After college, he taught English in the New York City public school system from 1926 to 1947. In 1929, he married Sidonie Glaller, and received his first camera as a wedding gift. Throughout the 1930s, he was active in the New York Photo League and formed Feature Group, a documentary production unit as a part of the Photo League School.  The photographs produced by Siskind and his associates were published as ‘The Feature Group’ in Photo Notes in 1940, most of them featuring scenes of city life. In the 1940s, Siskind developed ties with several New York School artists, and his work became increasingly abstract and symbolic. In 1945, he published ‘The Drama of Objects’, a series of photographs featuring compositions comprised of objects he found around Martha’s Vineyard, MA.  During this period and into the 1950s, his work was regularly exhibited in New York City, particularly at the Charles Egan Gallery. In addition to his ongoing photography career, Siskind  taught photography at Trenton Junior College in New Jersey from 1947 to 1949; the Illinois Institute of Technology, Institute of Design in Chicago from 1951 to 1971, also serving as head of the Photographic Department from 1959 to 1971; and the Rhode Island School of Design from 1971 to 1976. He had a close connection with fellow photographer Harry Callahan, whom he met while teaching at Black Mountain College in the summer of 1951; the two taught and worked together for most of Siskind’s later career.  From 1960 to 1970, he served as co-editor of Choice Magazine. He was a founding member of both the Society for Photographic Education and the Visual Studies Workshop in Rochester, New York and served as a board member for the Gallery of Contemporary Art in Chicago. He maintained an active photography career until his death in Providence, Rhode Island in February, 1991.]]></dcterms:description>
    <dcterms:creator><![CDATA[Siskind, Aaron]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[1903 - 1991]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[http://www.howardgreenberg.com/; http://aaronsiskind.org/chronology.html]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1940; printed 1981]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 1940. Estate of Aaron Siskind]]></dcterms:rights>
    <dcterms:relation><![CDATA[https://collections.hvvacc.org/cdm/singleitem/collection/sdma/id/5053]]></dcterms:relation>
    <dcterms:extent><![CDATA[35.56 x 27.94 cm (14 x 11 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[24.45 x 21.59 cm (9 5/8 x 8 1/2 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[gelatin silver print]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[photography (process); gelatin silver process]]></dcterms:medium>
    <dcterms:type><![CDATA[photograph; gelatin silver print]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2017.012.013]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.013]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.013_Siskind_LR.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Photo League of New York]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Howard and Ellen Greenberg]]></dcterms:provenance>
    <dcterms:provenance><![CDATA[Estate of Tennyson Schad]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8196">
    <dcterms:title><![CDATA[Man by Bed, Harlem, 1940]]></dcterms:title>
    <dcterms:subject><![CDATA[cities; portrait; interiors; apartment house; black-and-white photographs]]></dcterms:subject>
    <dcterms:description><![CDATA[The interior shot of a young man sitting in a meticulously ordered bedroom is part of a documentary series focusing on the social and economic conditions of Harlem. He sits in a chair pulled close beside the bed, holding a crutch, and stares obliquely into the room. Although this is part of the &quot;Harlem Document&quot; group of photos taken by Siskind in the 1930s, it was not included in the 1981 book, Harlem Document: Photographs 1932-1940: Aaron Siskind (Banks, Ann, and Charles Traub, eds. Harlem Document: Photographs 1932-1940: Aaron Siskind.  Providence: Matrix Publication, 1981).<br />
]]></dcterms:description>
    <dcterms:description><![CDATA[Aaron Siskind]]></dcterms:description>
    <dcterms:description><![CDATA[margin, verso]]></dcterms:description>
    <dcterms:description><![CDATA[Man by Bed, Harlem, 1940]]></dcterms:description>
    <dcterms:description><![CDATA[verso [in pencil, in unknown hand]]]></dcterms:description>
    <dcterms:description><![CDATA[Aaron Siskind was born on December 4, 1903, in New York City. He attended City College, earning his BSS in Literature in 1926. After college, he taught English in the New York City public school system from 1926 to 1947. In 1929, he married Sidonie Glaller, and received his first camera as a wedding gift. Throughout the 1930s, he was active in the New York Photo League and formed Feature Group, a documentary production unit as a part of the Photo League School.  The photographs produced by Siskind and his associates were published as ‘The Feature Group’ in Photo Notes in 1940, most of them featuring scenes of city life. In the 1940s, Siskind developed ties with several New York School artists, and his work became increasingly abstract and symbolic. In 1945, he published ‘The Drama of Objects’, a series of photographs featuring compositions comprised of objects he found around Martha’s Vineyard, MA.  During this period and into the 1950s, his work was regularly exhibited in New York City, particularly at the Charles Egan Gallery. In addition to his ongoing photography career, Siskind  taught photography at Trenton Junior College in New Jersey from 1947 to 1949; the Illinois Institute of Technology, Institute of Design in Chicago from 1951 to 1971, also serving as head of the Photographic Department from 1959 to 1971; and the Rhode Island School of Design from 1971 to 1976. He had a close connection with fellow photographer Harry Callahan, whom he met while teaching at Black Mountain College in the summer of 1951; the two taught and worked together for most of Siskind’s later career.  From 1960 to 1970, he served as co-editor of Choice Magazine. He was a founding member of both the Society for Photographic Education and the Visual Studies Workshop in Rochester, New York and served as a board member for the Gallery of Contemporary Art in Chicago. He maintained an active photography career until his death in Providence, Rhode Island in February, 1991.]]></dcterms:description>
    <dcterms:creator><![CDATA[Siskind, Aaron]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[1903 - 1991]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[http://www.howardgreenberg.com/; http://aaronsiskind.org/chronology.html]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1940; printed 1981]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 1940. Estate of Aaron Siskind]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5055]]></dcterms:relation>
    <dcterms:extent><![CDATA[35.56 x 27.94 cm (14 x 11 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[24.13 x 21.59 cm (9 1/2 x 8 1/2 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[gelatin silver print]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[photography (process); gelatin silver process]]></dcterms:medium>
    <dcterms:type><![CDATA[photograph; gelatin silver print]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2017.012.012]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.012]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.012_Siskind_LR.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Photo League of New York]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Estate of Tennyson Schad]]></dcterms:provenance>
    <dcterms:provenance><![CDATA[Gift of Howard and Ellen Greenberg]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8195">
    <dcterms:title><![CDATA[Lafayette Theater 2, Harlem, 1938]]></dcterms:title>
    <dcterms:subject><![CDATA[cities; theatres; black-and-white photographs]]></dcterms:subject>
    <dcterms:description><![CDATA[An actor prepares backstage before a performance at the Lafayette Theater. He is dressed in full, 19th century military regalia that is adorned with cartoonish epaulettes and wrist cuffs. The actor leans with his back against a concrete wall and clasps a black cane in his gloved hands. As he concentrates on the task ahead, his intense eyes fixate on a spot above him. In a recess behind the actor, a man sits at a mirror with his back to viewer. The costumes, hat, and hangers that surround this man are suggestive of backstage dressing room.<br />
]]></dcterms:description>
    <dcterms:description><![CDATA[Aaron Siskind]]></dcterms:description>
    <dcterms:description><![CDATA[margin, verso]]></dcterms:description>
    <dcterms:description><![CDATA[Lafayette Theater 2, Harlem, 1938, &quot;HD&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[verso [in pencil, in unknown hand]]]></dcterms:description>
    <dcterms:description><![CDATA[Banks, Ann, and Charles Traub, eds. Harlem Document: Photographs 1932-1940: Aaron Siskind, p. 45. Providence: Matrix Publication, 1981.]]></dcterms:description>
    <dcterms:description><![CDATA[Aaron Siskind was born on December 4, 1903, in New York City. He attended City College, earning his BSS in Literature in 1926. After college, he taught English in the New York City public school system from 1926 to 1947. In 1929, he married Sidonie Glaller, and received his first camera as a wedding gift. Throughout the 1930s, he was active in the New York Photo League and formed Feature Group, a documentary production unit as a part of the Photo League School.  The photographs produced by Siskind and his associates were published as ‘The Feature Group’ in Photo Notes in 1940, most of them featuring scenes of city life. In the 1940s, Siskind developed ties with several New York School artists, and his work became increasingly abstract and symbolic. In 1945, he published ‘The Drama of Objects’, a series of photographs featuring compositions comprised of objects he found around Martha’s Vineyard, MA.  During this period and into the 1950s, his work was regularly exhibited in New York City, particularly at the Charles Egan Gallery. In addition to his ongoing photography career, Siskind  taught photography at Trenton Junior College in New Jersey from 1947 to 1949; the Illinois Institute of Technology, Institute of Design in Chicago from 1951 to 1971, also serving as head of the Photographic Department from 1959 to 1971; and the Rhode Island School of Design from 1971 to 1976. He had a close connection with fellow photographer Harry Callahan, whom he met while teaching at Black Mountain College in the summer of 1951; the two taught and worked together for most of Siskind’s later career.  From 1960 to 1970, he served as co-editor of Choice Magazine. He was a founding member of both the Society for Photographic Education and the Visual Studies Workshop in Rochester, New York and served as a board member for the Gallery of Contemporary Art in Chicago. He maintained an active photography career until his death in Providence, Rhode Island in February, 1991.]]></dcterms:description>
    <dcterms:creator><![CDATA[Siskind, Aaron]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[1903 - 1991]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[http://www.howardgreenberg.com/; http://aaronsiskind.org/chronology.html]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1938; printed 1981]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 1938. Estate of Aaron Siskind]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5051]]></dcterms:relation>
    <dcterms:extent><![CDATA[35.56 x 27.94 cm (14 x 11 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[29.84 x 22.22 cm (11 3/4 x 8 3/4 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[gelatin silver print]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[photography (process); gelatin silver process]]></dcterms:medium>
    <dcterms:type><![CDATA[photograph; gelatin silver print]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2017.012.011]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.011]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2017.012.011]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Photo League of New York]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Estate of Tennyson Schad]]></dcterms:provenance>
    <dcterms:provenance><![CDATA[Gift of Howard and Ellen Greenberg]]></dcterms:provenance>
</rdf:Description></rdf:RDF>