7 10 420 https://digitalprojects.carlos.emory.edu/files/original/3b9bd4d10d50dc1845edf7be09783d2d.tif 0d2e7d7a86419fac9c7d76b7725dad20 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/. Contributor An entity responsible for making contributions to the resource Museum purchase Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant India, Kishangarh Indian Date A point or period of time associated with an event in the lifecycle of the resource 19th Century Description An account of the resource Ravana’s sister Shurpanakha fell deeply in love with Rama when she encountered him in the forest. Rama, faithful to his wife, Sita, rejected the demoness’s advances and incited Lakshmana to punish her by cutting off her ears and nose. This manuscript illustrates the aftermath of these events. In the upper left, a wounded Shurpanakha, seeking revenge, enlists the help of her brother Khara, flanked by two demons, who leads an army to kill the heroes (center). Below, after Rama directs his brother and wife to seek refuge, Rama valiantly prepares for battle. This manuscript shows Shurpanakha as a fair-faced, beautiful maiden wearing a sari identical to Sita’s. This depiction contrasts with Valmiki’s portrayal of her as a hideous-looking demoness and humanizes Shurpanakha, especially in comparison to her animal-faced demon brothers Format The file format, physical medium, or dimensions of the resource Opaque watercolor and ink on paper Image: 16 1/8 x 11 1/8 in. (41 x 28.3 cm) Identifier An unambiguous reference to the resource within a given context 2013.011.002 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Permanent Collection Reinstallation, April 1 - October 27, 2014 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 59178 Title A name given to the resource The Mutilation of Shurpanakha Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/431025c49ba08f7c17a1735e029fd61e.tif 8a3b99ef0df526ed55988071460b1c17 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/. Contributor An entity responsible for making contributions to the resource Gift of William E. Torres Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant India, Mewar Date A point or period of time associated with an event in the lifecycle of the resource ca. 1710 Description An account of the resource It could be said that the Ramayana begins with a failure: Rama should be king, but his rightful claim to the throne is denied. Here king Dasharatha, having joyously resolved on the succession of his eldest son Rama, has sent the charioteer Sumantra to summon him. As is typical of Mewari style, the painting tells a sequential narrative, with individual scenes separated by architectural motifs and blocks of color. It centers on Rama’s brief chariot journey, across a sparse, stylized field, from his private but majestic home (right) to Dasharatha’s palace (left), its lofty height indicated by a short set of stairs. In the assembly, Rama, seated reverently below three brahmin advisors and the enthroned king himself, learns of his imminent coronation. The coronation, however, will soon be interrupted by the plotting of Kaikeyi, one of Dasharatha’s three wives. Invoking two royal boons promised to her years earlier, she demands that the king banish Rama to a life of asceticism in the forest, and consecrate her son, Bharata, in his place. Bound by oath, Dasharatha complies, before dying of grief over this perversion of natural succession. Format The file format, physical medium, or dimensions of the resource Opaque watercolor and gold on paper Image: 10 1/2 x 16 1/2 in. (26.7 x 41.9 cm) Identifier An unambiguous reference to the resource within a given context 2013.012.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Permanent Collection Reinstallation, April 1 - October 27, 2014 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 59185 Title A name given to the resource Rama Shall be King? Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/36f83b7e1ecb4eea08bb18c82b2c9811.tif 02872239e8e7f27e7d197b8dab74936f 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/. Contributor An entity responsible for making contributions to the resource Museum purchase in memory of Clarence Haverty Ridley from Eleanor Horsey Ridley Creator An entity primarily responsible for making the resource Albrecht Durer, German, 1471 - 1528 Date A point or period of time associated with an event in the lifecycle of the resource 1511 Description An account of the resource from the Small Woodcut Passion, a series of 36 Format The file format, physical medium, or dimensions of the resource Woodcut Image: 5 x 3 7/8 in. (12.7 x 9.8 cm) Identifier An unambiguous reference to the resource within a given context 2013.045.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2014. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 48161 Subject The topic of the resource Print German, Bible, Renaissance, 16th Century Title A name given to the resource Christ before Herod Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/1eb944faa11d0d003a0bedca4607870f.jpg 6d0eb937cfb0cb9e2480534ab0c16af3 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 Avatars of Vishnu Description An account of the resource Objects included in the exhibition The Avatars of Vishnu, on view April 24, 2021 - July 18, 2021 Rights Information about rights held in and over the resource Images © Michael C. Carlos Museum, Emory University. Special thanks to Jayantilal K. and Geeta J. Patel & Family, Harshna and Pyush Patel, the Nathan Rubin Ida Ladd Foundation, and William Torres for helping the museum enhance its collection of South Asian art through gifts and loans. 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. Physical Dimensions The actual physical size of the original image 8 5/8 in High x 11 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 Rama's coronation Date A point or period of time associated with an event in the lifecycle of the resource ca. 1840 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant India, Himachal Pradesh, Guler Format The file format, physical medium, or dimensions of the resource Opaque watercolor with gold Identifier An unambiguous reference to the resource within a given context 2013.10.1 Contributor An entity responsible for making contributions to the resource Gift of the Jayantilal K. and Geeta J. Patel family to further the study of Hinduism. Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015 https://digitalprojects.carlos.emory.edu/files/original/5002e881c04d7e77fc8dd172689452ea.jpg 8283e9f1a33f9235c643eea1cb368d30 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Chimera: Andy Warhol through the 1980s - Loan Objects Subject The topic of the resource Objects from the permanent collection of the Michael C. Carlos Museum and loans for the exhibition Chimera: Andy Warhol through the 1980s Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Andy Warhol (American, 1928-1987) Title A name given to the resource Sunset Date A point or period of time associated with an event in the lifecycle of the resource 1972 Format The file format, physical medium, or dimensions of the resource Screen print Identifier An unambiguous reference to the resource within a given context 2013.50.2 Description An account of the resource In 1972, the architectural firm Johnson & Burgee commissioned Warhol to create a series of sunset prints to decorate the Hotel Marquette in Minneapolis. The resulting 632 prints, each one different and unique, exemplify Warhol’s utilization of the mechanized screen printing process, his obsessive production, and his fearless, sometimes counterintuitive, yet always dazzling color combinations. Also referred to as silkscreens or serigraphs, screen prints are created by stretching a porous material over a frame, blocking out portions using a stencil or a grease-like liquid ground, then forcing ink through the permeable spaces to create an image. The process can be repeated with multiple screens to create additional layers of ink. Warhol’s Sunset prints were created using only three screens. One screen formed the sun, another the sinuous bands of background color, and the third a single-color overlaying dot pattern. By adjusting the color combinations of ink and the registration (the positioning of the screen in relation to already applied layers), Warhol created an astounding number of unique color patterns. This series is widely considered one of Warhol’s most expressive projects. In some Sunset prints, the sun glows red-orange, almost blinding. In others, muted purples and greens dominate the color palette. Of these prints, 472 were used to decorate the hotel, while 160 were sold in portfolios of four. This print, likely a trial proof, was in Warhol’s possession at the time of his death in 1987. Contributor An entity responsible for making contributions to the resource Extra, out of the edition. Designated for research and educational purposes only. The Andy Warhol Foundation for the Visual Arts, Inc. Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Photo by Bruce M. White 2018. https://digitalprojects.carlos.emory.edu/files/original/bcf6a1435b7a0f487fdf3a7ac6c050c3.jpg 2f3435a2f79a47813a3bb8afd98d444a 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Chimera: Andy Warhol through the 1980s - Loan Objects Subject The topic of the resource Objects from the permanent collection of the Michael C. Carlos Museum and loans for the exhibition Chimera: Andy Warhol through the 1980s Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Andy Warhol (American, 1928-1987) Title A name given to the resource Joseph Beuys Date A point or period of time associated with an event in the lifecycle of the resource 1980-1983 Format The file format, physical medium, or dimensions of the resource Screen print with rayon flocking Identifier An unambiguous reference to the resource within a given context 2013.50.3 Description An account of the resource Despite the financial hardships of his Depression era youth, Warhol’s parents, Andrej and Julia, bought his first camera at the age of eight. This gift would lead to a lifetime of observing and documenting his surroundings and relationships that influenced his compositional sense and inspired the working method for some of his most well-known prints. For example, the photograph at the left reveals his affinity for the repetition of shapes, here in the form of stacked boxes. This type of composition also appears in his many of his finished portraits, such as this vivid screen print of German artist Joseph Beuys. Warhol first met Beuys in 1979 at an art opening in Düsseldorf, Germany. Mere moments after meeting Beuys, Warhol asked to photograph him. Perhaps because of the public setting, Warhol only took one shot of Beuys, rather than his typical multitude of poses per subject (like the Polaroids of artist Sandro Chia in the center case). The photograph of Beuys, which served as a “sketch,” became the basis for a series of screen print portraits with many variations. Some held only a single, monochromatic image of Beuys. Others, like this one, bear Warhol’s recognizable multiplicity of brightly-colored images. In a nod to Beuys’ own preferred materials, one of which was felt, Warhol covered this portrait of the artist with rayon flocking. Warhol’s humorous diary entry from a later encounter with Beuys demonstrates both his respect for the artist and his openness regarding what constitutes finished work of art. Sunday, March 8, 1981 Düsseldorf—“We had breakfast with Joseph Beuys, he insisted that I come to his house and see his studio and the way he lives and have tea and cake, it was really nice. He gave me a work of art which was two bottles of effervescent water which ended up exploding in my suitcase and damaging everything I have, so I can’t open the box now, because I don’t know if it’s a work of art anymore or just broken bottles. So if he comes to New York I’ve got to get him to come sign the box because it’s just a real muck.” Contributor An entity responsible for making contributions to the resource Extra, out of the edition. Designated for research and educational purposes only. The Andy Warhol Foundation for the Visual Arts, Inc. Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Photo by Bruce M. White, 2018. https://digitalprojects.carlos.emory.edu/files/original/765bc4f51a77851aa92d0c267d1c08a9.jpg bdecf6089dd5a1a984a6d8405e2664f9 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Chimera: Andy Warhol through the 1980s - Loan Objects Subject The topic of the resource Objects from the permanent collection of the Michael C. Carlos Museum and loans for the exhibition Chimera: Andy Warhol through the 1980s Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Andy Warhol (American, 1928-1987) Title A name given to the resource Queen Ntombi from Reigning Queens Date A point or period of time associated with an event in the lifecycle of the resource 1985 Format The file format, physical medium, or dimensions of the resource Screen print with diamond dust Identifier An unambiguous reference to the resource within a given context 2013.50.4 Description An account of the resource Andy Warhol, prodigy of American Pop Art, was born Andrew Warhola in 1928. As a child, he suffered from a rare neurological disorder typified by uncontrollable movements, requiring him to miss school frequently. He escaped boredom during these times through comic books and magazines, immersing himself in the worlds of both heroes and Hollywood glamour. From these publications, he made paper cutouts of advertisements and photographs. This childhood hobby likely inspired his distinctive silkscreen technique—the repetitive recreation of emblematic figures and familiar products for a consumer-driven and celebrity-obsessed audience. The themes of repetition, celebrity, and glamour became synonymous with Warhol, not only in his screen prints, but also in his documentation of life. The photograph at the right, Table, encapsulates these themes in a single frame. The composition revolves around the repeated table settings, the reflection of the camera’s flash, and the empty chairs holding the promise of prominent and glamorous event attendees. The screen print of Queen Ntombi Twala of Swaziland comes from Warhol’s Reigning Queens series, which also included portraits of Queen Elizabeth II of England, Queen Beatrix of the Netherlands, and Queen Magrethe II of Denmark. Warhol based the images on existing photographs of the queens, but used abstract shapes and large blocks of color to achieve a collaged effect in a screen print medium. He enhanced the effect by adding diamond dust, tiny bits of cut glass designed to catch and reflect light, to the surface layer of ink. This sparkle also lends a sense of opulence to the queens, each of whom ruled in her own right rather than through a male relative. Contributor An entity responsible for making contributions to the resource Extra, out of the edition. Designated for research and educational purposes only. The Andy Warhol Foundation for the Visual Arts, Inc. Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Photo by Bruce M. White, 2018. https://digitalprojects.carlos.emory.edu/files/original/907e161fea7ade497d56e1ef8c11c41f.jpg e3cd6b2f07b5055d38bac32e5787b823 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Chimera: Andy Warhol through the 1980s - Loan Objects Subject The topic of the resource Objects from the permanent collection of the Michael C. Carlos Museum and loans for the exhibition Chimera: Andy Warhol through the 1980s Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Andy Warhol (American, 1928-1987) Title A name given to the resource Buffalo Nickel from Cowboys and Indians Date A point or period of time associated with an event in the lifecycle of the resource 1986 Format The file format, physical medium, or dimensions of the resource Screen print Identifier An unambiguous reference to the resource within a given context 2013.50.5 Description An account of the resource The screen prints and photographs seen here illustrate the breadth of Warhol’s documentation of American culture, from a surreptitious beach shot to the glitz of the high-fashion runway to his more reflective late works that forefront romanticized prototypes of the American West. From the original 36 trial proofs of the Cowboys and Indians portfolio, comprised of 14 images each, Warhol chose only 10 for his final portfolio. Buffalo Nickel and Sitting Bull, seen here, were two of the four images removed. Buffalo Nickel depicts the reverse of the coin designed by sculptor James Earle Fraser and struck by the US Mint from 1913-1938. The coin was also known as the Indian Head nickel because of the profile image of a Native American seen on the coin’s face. The Latin phrase e pluribus unum (“out of many, one”), appears on the coin and in the screen print. The motto is generally understood as representing the many states that form the United States of America or, alternately, many different people united under one flag. The phrase takes on a complicated, tragic meaning when applied to a coin that commemorates Native Americans, who suffered horrific loss of life during the late nineteenth-century American westward expansion. Likewise, the buffalo that had once been ubiquitous to the North American plains had been hunted to near extinction by the time the coin was produced. Contributor An entity responsible for making contributions to the resource Extra, out of the edition. Designated for research and educational purposes only. The Andy Warhol Foundation for the Visual Arts, Inc. Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Photo by Bruce M. White, 2018. https://digitalprojects.carlos.emory.edu/files/original/ecd23ab18b9fd7ee7439569a8ad67dee.jpg 18431696ff592d00c750b7ebdae9352c 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Chimera: Andy Warhol through the 1980s - Loan Objects Subject The topic of the resource Objects from the permanent collection of the Michael C. Carlos Museum and loans for the exhibition Chimera: Andy Warhol through the 1980s Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Andy Warhol (American, 1928-1987) Title A name given to the resource Annie Oakley from Cowboys and Indians Date A point or period of time associated with an event in the lifecycle of the resource 1986 Format The file format, physical medium, or dimensions of the resource Screen print Identifier An unambiguous reference to the resource within a given context 2013.50.6 Description An account of the resource IIn 1986, Andy Warhol produced Cowboys and Indians, a series of ten prints depicting legendary figures of the American West—General Custer, pop culture’s eternal cowboy John Wayne, and Geronimo—along with a romanticized portrait of a Native American mother and child and renderings of Native American objects, including a Northwest Coast mask and a Plains Indian shield. Annie Oakley, a sharpshooter in Buffalo Bill Cody’s live performance troupe, was also included. Like other portraits in the series, the image of Annie Oakley was based on a popular photograph, in this case one that had originally appeared as an advertisement for Buffalo Bill’s German tour. To create Cowboys and Indians, Warhol and his Factory studio assistants produced 36 trial proofs of 14 images in various colors, tonalities, and positions. From these, Warhol selected his favorite versions of the 10 images that constituted the final series and ran an edition (a series of multiple originals) of 250 prints for each image. The Annie Oakley screen print at left was included in the edition, while the print at the right is an unfinished or perhaps discarded version that remained in Warhol’s possession. The editioned print is replete with detail, from the inticate medals pinned to Oakley’s shirt to her individual strands of hair. The unfinished print displays fewer layers of ink than the finished version, most obviously lacking Warhol’s characteristic photo reproduction layer. The result is striking. Simple outlines form Oakley’s face and subtly suggest the medals on her shirt, allowing the viewer to fill in detail or simply appreciate the unrestrained, yet minimalistic, composition of color and line. Contributor An entity responsible for making contributions to the resource Extra, out of the edition. Designated for research and educational purposes only. The Andy Warhol Foundation for the Visual Arts, Inc. Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Photo by Bruce M. White, 2018. https://digitalprojects.carlos.emory.edu/files/original/b9baacff3a5e2c8a2bbddf21c64ab9c1.jpg 8b1d5ce7f1464335cc22af775b955273 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Chimera: Andy Warhol through the 1980s - Loan Objects Subject The topic of the resource Objects from the permanent collection of the Michael C. Carlos Museum and loans for the exhibition Chimera: Andy Warhol through the 1980s Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Andy Warhol (American, 1928-1987) Title A name given to the resource Sitting Bull from Cowboys and Indians Date A point or period of time associated with an event in the lifecycle of the resource ca. 1986 Format The file format, physical medium, or dimensions of the resource Screen print Identifier An unambiguous reference to the resource within a given context 2013.50.7 Contributor An entity responsible for making contributions to the resource Extra, out of the edition. Designated for research and educational purposes only. The Andy Warhol Foundation for the Visual Arts, Inc. Rights Information about rights held in and over the resource © The Andy Warhol Foundation for the Visual Arts, Inc. Photo by Bruce M. White, 2018. Description An account of the resource The screen print of Sitting Bull was based on a well-known 1881 photograph of the Hunkapapa Lakota Sioux chief taken by Orlando Scott Goff in Bismarck, North Dakota. In 1876, Sitting Bull led a united confederation of Lakota tribes to defeat General George Armstrong Custer at the Battle of Little Bighorn. He was forced to surrender several years later after his forces were nearly decimated by starvation and the inhospitable conditions of the Saskatchewan territory to which they fled in the years following the battle. This photograph was taken shortly after his surrender. It has been argued that depicting Native American leaders in the style of Pop Art trivialized their resistance to American expansion and the government’s appropriation of lands previously held by indigenous groups. While Warhol himself never made a definitive statement on Native American activism, his Cowboys and Indians series encourages the viewer to consider the dissonance created by pairing images of Native American leaders with celebrity heroes like John Wayne and Annie Oakley.