11. Cowboys and Indians (Sitting Bull)
Notice bibliographique
Résumé
Andy Warhol (1928 - 1987), American\nCowboys and Indians (Sitting Bull), 1986\nScreen Print on Lenox Museum Board \nExtra, out of edition, designated for research and education purposes only\nGift of The Andy Warhol Foundation for the Visual Arts\nCollection of La Salle University Art Museum, 13-G-3573\nKnown as the “Pope” of Pop Art, Andy Warhol is admired for his fun, bright, colorful images that blur the boundaries between high and low art, fine art and commercial illustration. Obsessed with celebrity and consumer culture, Warhol represented the rich and famous, including popular and political icons from Marilyn Monroe and Elvis Presley to Chairman Mao and Sitting Bull. Sitting Bull was a Teton Dakota Indian Chief known for his bravery in battle and his leadership role in attacks on U.S. forts in the West. His resistance to the U.S. government led him to exile in Canada and eventual relocation to a reservation in the Dakota Territory. Later, in the 1880s, after befriending Annie Oakley, Sitting Bull joined Buffalo Bill Cody’s Wild West Show. Sitting Bull lent these spectacles of “Cowboys and Indians” an exotic element as well as an aura of authenticity. In 1890, U.S. officials ordered his arrest for his involvement with the Ghost Dance resistance ceremony. When Sitting Bull refused, a skirmish ensued, and he was killed by U.S. officers.\nSitting Bull is one of 10 screen prints from Warhol’s Cowboys and Indians series. Portraits of Annie Oakley, Teddy Roosevelt, General George Custer, and others are included in this collective mythology of the historic American West. As with other representations of cultural icons, Warhol does not portray a naturalistic representation, but rather a flattened, hard-edged, vibrant image that emphasizes the artifice and construction of identity, and the stereotypes that proliferate through mass media and popular culture.\nIn a course titled Art and Identity in a Global World, students observe various artworks in the Art Museum that portray Native American people, history, and culture. Students are asked to contemplate how these artworks foster conversations about authenticity, cultural appropriation, Other/Othering, hybridity, stereotypes/typecasting, and dislocation. How does Warhol portray Sitting Bull? Do you think this is an “authentic” or “stereotypical” portrayal of Sitting Bull? Does Warhol challenge and expose the controversies surrounding our perception of Native American Indians, or contribute to the sentimentality of the romanticized “Wild West”?\nMey-Yen Moriuchi, Ph.D.\nAssistant Professor of Art History, Department of Art\nBroader Identity 1. Understanding Diverse Perspectives \nEffective Expression 9. Creative and Artistic Expression \nActive Responsibility 11. Cultural and Global Awareness and Sensitivity \nSee this object in the Art Museum Online Collections Database:\nhttp://artcollection.lasalle.edu/Obj959
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,001 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,001 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,005 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».