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2 10 91 https://physiology.oberlincollegelibrary.org/files/original/3c4f39ce7e3967e3cd667eb1dc313551.png 991e27ca8d2f8048a0cf127f54fba614 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 Proposed Epiglottis (Added Nerve) Creator An entity primarily responsible for making the resource Lexi Reed Fiona Brennan Zoe Swann Contributor An entity responsible for making contributions to the resource Lexi Reed Format The file format, physical medium, or dimensions of the resource image Type The nature or genre of the resource photograph Date A point or period of time associated with an event in the lifecycle of the resource 2016 https://physiology.oberlincollegelibrary.org/files/original/e1a5516243c4ed541baa61bf1d61846c.png 7cc4d5dc04eb69837754b025d3e374fa 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 Proposed Epiglottis (Respiratory & Digestive Systems) Creator An entity primarily responsible for making the resource Lexi Reed Fiona Brennan Zoe Swann Date A point or period of time associated with an event in the lifecycle of the resource 2016 Format The file format, physical medium, or dimensions of the resource image Type The nature or genre of the resource photograph Contributor An entity responsible for making contributions to the resource Lexi Reed https://physiology.oberlincollegelibrary.org/files/original/762738769ad3450aa6bd58debeb72de5.png c3293019687d656950837009a37a6e4d 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 Modern Adult Epiglottis Creator An entity primarily responsible for making the resource Lexi Reed Fiona Brennan Zoe Swann Format The file format, physical medium, or dimensions of the resource image Type The nature or genre of the resource photograph Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Lexi Reed https://physiology.oberlincollegelibrary.org/files/original/a9ade251e5126c64b4345174b3b5ce10.png 932f7f0703cc383224a3bf8375f2eaed 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 Human Infant and Non-Human Primate Epiglottis Anatomy Creator An entity primarily responsible for making the resource Lexi Reed Fiona Brennan Zoe Swann Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Lexi Reed Format The file format, physical medium, or dimensions of the resource image Type The nature or genre of the resource photograph https://physiology.oberlincollegelibrary.org/files/original/b1b223d361e3e1f83393327936ff6a04.jpg 63c52a1d965f5e119a6c77a8dbef6bea 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 St. Sebastian Description An account of the resource Lifelike-and nearly life-size-statues such as this arresting Saint Sebastian were prevalent in churches in Renaissance Italy. It is carved in inexpensive wood, which was more easily worked than marble or bronze, and allowed for an easy naturalism. The unknown sculptor was concerned with verisimilitude, carving small white teeth between gently parted lips, and accentuating the saint's realistic ribcage, as well as depicting subtly bluish veins with red blood dripping from wounds-all of which contribute to the statue's striking realism. The arms were separately carved and joined to the torso, and there are numerous joins of the wood on the back and rear thighs. The work was likely once attached to a column or fictive tree trunk, but has been fully finished in the round. Consistent with other known similar wooden statues of the saint, the now-filled holes that once held arrows are only present on the front of the work. The saint's crossed legs impart both a sense of reality, as well as one of nonchalance, in defiance of his would-be assassins. Because of his many wounds, Saint Sebastian was seen as an important intercessor for victims of the plague, and was certainly one of the most popular saints of the age. The AMAM possesses two other striking representations of the saint, Hendrick ter Brugghen's Saint Sebastian Tended by Irene of 1625 and Giovanni Boccati's altarpiece fragment showing Saint John the Baptist and Saint Sebastian of around 1460 Creator An entity primarily responsible for making the resource Unknown Artist Italian Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/14427">Allen Memorial Art Museum</a>, <span>R. T. Miller Jr. Fund and Mrs. F. F. Prentiss Fund</span> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1500 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Polychromed poplar and spruce wood Overall (with base): 75 1/2 × 20 × 19 in. (191.8 × 50.8 × 48.3 cm) Type The nature or genre of the resource Statue Identifier An unambiguous reference to the resource within a given context 1961.77 https://physiology.oberlincollegelibrary.org/files/original/83c34c2ca2e73401f11822dd54a7d131.jpg b61f49ded7d49eed9cef22b2b0e8c958 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 Touch Me Description An account of the resource As an associate of the Fluxus movement during the 1960s, Yoko Ono staged provocative performance events that encouraged audience participation, such as her Cut Piece (1964) in which audience members were asked to snip away pieces of Ono’s clothing until she was left naked. Ono has continued to promote interactivity in her later works. In Touch Me, Ono instructs the participant to “add [a] colour painting” to the blank canvas, and then invites him or her to touch its painted surface through the text-shaped openings in the plexi layer. Touch Me playfully addresses the taboo nature of touch in an art museum setting. Creator An entity primarily responsible for making the resource Yōko Ono (Ono Yōko 小野洋子) Japanese, b. 1933 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/36096">Allen Memorial Art Museum</a>, <span>Gift of Douglas Baxter (OC 1972) in honor of the artist's grandfather Eijiro Ono (OC 1887)</span> Date A point or period of time associated with an event in the lifecycle of the resource 2007 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Die-cut plexiglass on canvas Overall: 13 × 17 3/4 × 1 1/4 in. (33 × 45.1 × 3.2 cm) Overall (White Storage Box): 13 1/2 × 18 3/8 × 1 1/2 in. (34.3 × 46.7 × 3.8 cm) Type The nature or genre of the resource Painting Rights Information about rights held in and over the resource Yoko Ono Identifier An unambiguous reference to the resource within a given context 2011.27.1 https://physiology.oberlincollegelibrary.org/files/original/41d2de7074d6cff0d4876962b47a9af1.jpg 3082e77a44ff649c20482b7c2e36a389 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 Jonathan with Eyes Closed Creator An entity primarily responsible for making the resource Rashid Johnson American, b. 1977 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/14103">Allen Memorial Art Museum</a>, Ruth C. Roush Contemporary Art Fund Date A point or period of time associated with an event in the lifecycle of the resource 1998–99 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Van Dyke brownprint Image: 38 1/2 × 49 1/2 in. (97.8 × 125.7 cm) Frame: 41 7/8 × 53 3/4 × 1 3/4 in. (106.4 × 136.5 × 4.4 cm) Type The nature or genre of the resource Print Rights Information about rights held in and over the resource Rashid Johnson Identifier An unambiguous reference to the resource within a given context 2001.15 https://physiology.oberlincollegelibrary.org/files/original/7ea223cd3da1654b6a3773ac901a25ab.png fed834f06736ce8a80d79430af0bc9a1 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 Hoi An from East of Eden: Vietnam Subject The topic of the resource Description An account of the resource Entitled East of Eden: Vietnam, this chapter became a documentation of people who were physically maimed by the war that officially ended over thirty years ago. East of Eden: Vietnam was partly inspired by my experience growing up in Vietnam with my brother, an amputee, who lost his right arm while serving as a South Vietnamese soldier in the battlefield of Cambodia. It is was my intention to use the camera to create visual documentations that will serve as a reminder of the horrors of war and also as a proof of the survivors' strength, courage and acceptance.. East of Eden: Vietnam was an attempt to come to terms with my past and to offer those of whom that are violently marked by the war the opportunity to tell their stories. Creator An entity primarily responsible for making the resource Pipo Nguyen-Duy Source A related resource from which the described resource is derived <a href="https://www.piponguyen-duy.com/copy-of-projects-1?lightbox=dataItem-j4vyjnx32">Pipo Nguyen-Duy's Online Gallery</a> Date A point or period of time associated with an event in the lifecycle of the resource 2005 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Inkjet print photograph Type The nature or genre of the resource Photograph https://physiology.oberlincollegelibrary.org/files/original/897677a56e50b6ef46a0576d4028bfd4.jpg 4f2fa004b4e2f05b9ccabbd49d21c690 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 Lucretia Description An account of the resource This painting by Domenico Beccafumi is probably a fragment of a full-length figure of the Roman heroine Lucretia, it has been cut down on all sides. The ancient historian Livy originally told the story of Lucretia, wife of a Roman nobleman, who was violated by a son of the Etruscan king. Shamed by the loss of her honor, Lucretia killed herself, but not before calling on her husband, father, and brothers to avenge her. The result was the expulsion of the kings from Rome and the establishment of the Republic. Creator An entity primarily responsible for making the resource Domenico Beccafumi Italian, 1484–1551 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/9357">Allen Memorial Art Museum</a>, Gift of the Samuel H. Kress Foundation Date A point or period of time associated with an event in the lifecycle of the resource ca. 1515-18 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Oil on panel Overall: 16 1/4 × 12 7/8 in. (41.3 × 32.7 cm) Frame: 22 × 18 5/8 × 3 in. (55.9 × 47.3 × 7.6 cm) Type The nature or genre of the resource Painting Identifier An unambiguous reference to the resource within a given context 1961.82 https://physiology.oberlincollegelibrary.org/files/original/c2d9750bd49476e5f407d751c1add152.jpg afa667cb65280be0ed8715cb65133a20 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 Conjur Woman Description An account of the resource Romare Bearden's collages are some of his most powerful and expressive works. Stylistically, they reference the Cubist works of Picasso and Braque, whom Bearden met in Paris in 1950, and the photomontages of the Berlin Dadaists whom Bearden was introduced to by his teacher, artist George Grosz, as well as African American folk collage. The subject matter, however, is all Bearden's, including references to his African American heritage and the black experience in the United States. Bearden began making his collages around 1963, cutting images from popular magazines, combining them with colored papers, and adding paint or other media to weave the compositions together. He used photostats (early photocopies) to create an overall unity within his compositions and to produce large works that in many cases-including the AMAM's Conjur Woman-have the scale and impact of a painting. After moving to the Antilles in 1973, Bearden's work frequently incorporated the brilliant colors of the Caribbean. The bright green of the AMAM collage, for ex ample, serves as a lush backdrop for a conjure woman-spelled "conjur" by Bearden-dressed in deep blue with a pink snake spiraling around her outstretched right arm. Bearden was fascinated by the conjure woman and her Caribbean counterpart, the Obeah woman-spiritual healers who were respected and feared for their traditional knowledge from Africa-and he depicted them throughout his career. Creator An entity primarily responsible for making the resource Romare Bearden American, 1911–1988 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/10404">Allen Memorial Art Museum</a>, <span>R. T. Miller Jr. Fund</span> Date A point or period of time associated with an event in the lifecycle of the resource 1975 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Collage with spray paint on paper Overall: 46 × 36 in. (116.8 × 91.4 cm) Frame: 48 × 38 × 3 in. (121.9 × 96.5 × 7.6 cm) Type The nature or genre of the resource Collage Rights Information about rights held in and over the resource Romare Bearden Foundation / Visual Artists and Galleries Association (VAGA), New York, NY Identifier An unambiguous reference to the resource within a given context 2001.3