{ "objects" : [ { "embark_ID" : 3396, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3396", "Disp_Access_No" : "1978.127", "_AccNumSort1" : "", "Disp_Create_DT" : "1955", "_Disp_Start_Dat" : "1955", "_Disp_End_Date" : "1955", "Disp_Title" : "Trolley -- New Orleans", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Frank", "Sort_Artist" : "Frank, Robert", "Disp_Dimen" : "10 7/8 x 14 in. (27.7 x 35.5 cm)", "Disp_Height" : "10 7/8 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "sheet", "Medium" : "Gelatin silver print", "Support" : "paper", "Disp_Medium" : "Gelatin silver print on paper", "Info_Page_Comm" : "This now-iconic image of anonymous people riding a trolley car in New Orleans was originally published in Robert Frank’s most notable work, the book <em>The Americans</em> (1958). Frank took the photo just a few weeks before Rosa Parks refused to give up her bus seat in Montgomery, Alabama, ultimately leading to the 1956 Supreme Court ruling that outlawed segregation on public transportation. The power that trolley cars and other forms of public transportation had to expand and transform the urban landscape was unfortunately equaled by its power to segregate and reinforce oppressive racial and social inequities. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Gift of the Genesee Valley School Development Association", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.127_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.127_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.127_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.127_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37630", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3438, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3438", "Disp_Access_No" : "1970.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "Fan, New York, 1937", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "André Kertész", "Sort_Artist" : "Kertész, André", "Disp_Dimen" : "13 15/16 x 11 in. (35.4 x 27.9 cm)", "Disp_Height" : "13 15/16 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "sheet", "Medium" : "Gelatin silver print", "Support" : "paper", "Disp_Medium" : "Gelatin silver print", "Info_Page_Comm" : "André Kertész’s photo of an arm threaded through a fan hints at the vulnerability of the human body to the awesome power of the machine. During what is now called the “machine age” (1918-1941), American culture was preoccupied with innovations in technology and industrialization. While machines offered the average individual unprecedented lifestyle improvements, a threat hovered beneath the promise—the machine needed to be controlled. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Gift of the Genesee Valley School Development Assocation", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.12_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.12_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.12_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.12_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37619", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }