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1 10 91 https://physiology.oberlincollegelibrary.org/files/original/901487682adfa5d40ebde61d50a2ab1d.pdf 7d004c76976ed1cb5e17ba2c3b5d4c98 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 Life Course Perspectives on Women's Autonomy and Health Outcomes Source A related resource from which the described resource is derived <a href="https://www.jstor.org/stable/pdf/683268.pdf">Health Transition Review</a>, Vol. 6, Supplement, 1996, pp. 213-231 Creator An entity primarily responsible for making the resource Monica Das Gupta Date A point or period of time associated with an event in the lifecycle of the resource 1996 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Journal Article https://physiology.oberlincollegelibrary.org/files/original/2ede4d3cbd522c044bbfbd1d9ea17628.jpg dff33647e7c2f925dec9e7708003e3b3 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 Rape of Persephone Description An account of the resource This painting, together with Rothko's "The Syrian Bull," was exhibited in 1943 at the Third Annual Exhibition of Modern Painters and Sculptors at Wildenstein Gallery in New York City, where they attracted the attention of Edward Alden Jewell of the New York Times. Jewell singled them out as incomprehensible in a review in that paper, writing, "You will have to make of Marcus Rothko's 'The Syrian Bull' what you can; nor is this department prepared to shed the slightest enlightenment when it comes to Adolph Gottlieb's 'Rape of Persephone.' " Both paintings show the influence of European surrealism, the dominant aesthetic of the day. Rothko's work prefigures his later Color Field paintings, in its glowing colors, rectilinear organization, and ambiguous forms, while Gottlieb's is clearly part of his use of what he called "pictographs": flat forms, often floating on an undefined background, and influenced by tribal and archaic art. Gottlieb and Rothko asked their friend Barnett Newman to assist them in responding to Jewell's review; their letter was published on June 13, 1943. It is a compendium of the principles under which the artists would work for much of the decade, and effectively laid out a first manifesto relating to the painting of the nascent New York School, which developed into Abstract Expressionism. They declared that abstract forms are the "simple expression of the complex thought," their commitment to "subject matter which is tragic and timeless," their "spiritual kinship with primitive and archaic art," and that the meaning of a painting must come about through a "consummated experience between picture and onlooker." For his assistance in crafting the response, Gottlieb and Rothko gave their paintings to Newman, whose wife Annalee Newman subsequently donated them to the AMAM in honor of Professor Ellen Johnson. Johnson's relationships with many New York artists, particularly in the 1960s and '70s, were fundamental for the enlargement and quality of the AMAM's late twentieth century art collection. Creator An entity primarily responsible for making the resource Adolph Gottlieb American, 1903–1974 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/11918">Allen Memorial Art Museum</a>, Gift of Annalee Newman in honor of Ellen H. Johnson Date A point or period of time associated with an event in the lifecycle of the resource 1943 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 canvas Overall: 34 3/16 × 26 1/8 in. (86.8 × 66.4 cm) Frame: 41 1/4 × 33 1/4 × 1 5/8 in. (104.8 × 84.5 × 4.1 cm) Type The nature or genre of the resource Painting Rights Information about rights held in and over the resource Adolph and Esther Gottlieb Foundation / Visual Artists and Galleries Association (VAGA), New York, NY Identifier An unambiguous reference to the resource within a given context 1991.41.2 https://physiology.oberlincollegelibrary.org/files/original/b7a740d7e802d3a11cdd5ee275c78bca.jpg d129c95976d42b5eefaae70f306f5bea 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 Biology of Human Starvation Description An account of the resource Dr. Keys' account of the experiment. Creator An entity primarily responsible for making the resource Ancel Keys Josef Brozek, Contributor Austin Henschel, Contributor Source A related resource from which the described resource is derived The Biology of Human Starvation, vol. 1 & 2 Publisher An entity responsible for making the resource available University of Minnesota Press Date A point or period of time associated with an event in the lifecycle of the resource 1950 Contributor An entity responsible for making contributions to the resource Elliot Greenberg Format The file format, physical medium, or dimensions of the resource Book Language A language of the resource English Type The nature or genre of the resource Book Minnesota Starvation Experiment https://physiology.oberlincollegelibrary.org/files/original/c40b2477df68c90944ec4642496b9231.jpg fa5192a17d7eb8233a793ee094d0a229 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 Untitled Creator An entity primarily responsible for making the resource Anonymous Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/38399">The Allen Memorial Art Museum</a>, Gift of Peter J. Cohen Date A point or period of time associated with an event in the lifecycle of the resource 1967 Format The file format, physical medium, or dimensions of the resource Black and white photograph Image: 3 5/16 × 3 1/16 in. (8.4 × 7.8 cm) Sheet: 3 1/2 × 3 1/2 in. (8.9 × 8.9 cm) Identifier An unambiguous reference to the resource within a given context 2018.5.22 https://physiology.oberlincollegelibrary.org/files/original/43765862028405a0cadae242641d87cc.jpg a742e0d46f03836878a66123aaa90bac 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 Macarena Esperanza Description An account of the resource Audrey Flack depicts a celebrated statue of the Virgin Mary made by the Spanish Baroque sculptor Luisa Roldán (1652–1706), venerated to this day in Seville. Borne by penitents and accompanied by hymns of sorrow, the statue Macarena Esperanza (Our Lady of Hope of Macarena) is paraded as part of Holy Week celebrations. Devotees believe the statue is the Virgin Mary herself and attribute miraculous capacities to it. Through devotion to wooden statues like Roldàn’s, believers hope to bring about positive change in their lives. Flack highlights the precious jewels, lace, and gold that have been added to the sculpture over time, representing them as if they are apart from the figure, suggesting that the Macarena’s power emanates from within. Flack’s work, though large, resembles the qualities of a postcard (the way in which Flack was first introduced to the sculpture). Through its mode of reproduction, Flack effectively demonstrates a widely held Catholic belief: that replication enhances, rather than detracts from, the power of miraculous objects. Creator An entity primarily responsible for making the resource Audrey Flack American, b. 1931 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/14656">Allen Memorial Art Museum</a>, Fund for Contemporary Art Date A point or period of time associated with an event in the lifecycle of the resource 1972 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Color lithograph and gold leaf Image/Sheet: 33 1/16 × 23 11/16 in. (84 × 60.2 cm) Type The nature or genre of the resource Lithograph Rights Information about rights held in and over the resource Audrey Flack Identifier An unambiguous reference to the resource within a given context 1973.39 https://physiology.oberlincollegelibrary.org/files/original/599dcdd0fd64ab1dee4ce0f7680b84e2.jpg abf4b33ab7cdb74de6f63780f24573b0 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 Power Figure (Nkisi Nkondi) Description An account of the resource Kongo spiritual thought was dominated by the dualistic concept of natural order and oppositional chaos which were kept in balance by the chief, ancestors, and the individual, acting in societally prescribed manners. With a breakdown in this balance, inauspicious events such as sickness, infertility or unexpected calamities occurred and were regarded as proof of witchcraft or evil sorcery, or conversely, the failure of the individual to obey the social mores that maintain stability. In such a case, a ritual expert or Nganga was required to rectify the problem. The role of the Nganga was to prescribe a specific charm, or nkisi (plural minkisi), consisting of a plethora of materials based on sympathetic magic that when added together and ‘activated’ by some means at the Nganga’s disposal would serve as an effective countermeasure to rebalance the natural forces gone awry. Most minkisi were little more than packets containing various organic and inorganic materials such as remains of predatory animals or stones and sand from the graves of powerful chiefs. However, in certain cases, the form taken was that of a human or animal figure empowered as an nkisi by the insertion of the prescribed materials into cavities in the body or added to the body of the figure itself. This nkisi figure is masterfully carved as a naturalistic standing male; his face strong and aggressive, and his hair a complex of feathers and other organic objects in a complex coif. The body is covered by a large quantity of various magical materials. The figure is ‘empowered’ by the addition of the nkisi charm in its belly and possibly in other cavities as well. The addition of white pigment to the face connects the nkisi with the spirit world. Creator An entity primarily responsible for making the resource Bakongo Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/36172">Allen Memorial Art Museum</a>, Gift in honor of Alexandra Gould (OC 2011) Date A point or period of time associated with an event in the lifecycle of the resource 20th century Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Wood, cloth, feathers, ritual materials, bush rope, animal fur, glass, and nails Overall: 21 × 4 1/2 × 4 1/2 in. (53.3 × 11.4 × 11.4 cm) Type The nature or genre of the resource Figure Identifier An unambiguous reference to the resource within a given context 2011.26.43 https://physiology.oberlincollegelibrary.org/files/original/d51dfdb6c898f2cfe1cd05f6e2087b43.jpg cc9f9afbd8b68305055a749c667a5af1 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 Female Figure Description An account of the resource The Baule people believe that all individuals have spirit mates in the ‘other world'. Under normal circumstances, these spirit spouses reside in their own place and aid the individual. However, due to certain circumstances, the spirit mate may become upset or angered and cause a crisis or a problem related to sexual dysfunction in marriage. These spirits and their grievances would be revealed through divination, and following that a carver would be commissioned to create images of standing males or females, with reserved demeanor and of elegant form, that represent the spirit mate of a given individual. The carving of a figure of this kind is commissioned as a stand-in for the other world mate, and offerings are placed at its feet in hope that the spirit will be placated and the problem will be solved. Of particular importance with regards to this object is the fact that it has been completely covered with gold leaf. The gold is a symbol of high rank and status often associated with chieftainship among the Baule. It is therefore quite probable that this figure was commissioned by a chief or high ranking nobleman to represent their particular spirit mate. Occasionally, images that are near to spirit mates are kept as tutelary images by diviners. In some cases, such figures develop a dirty and encrusted surface. However, were such a figure or pair of figures to be made for a chief, the pieces would likely be covered in gold leaf and kept clean. It is therefore not possible to determine the exact use of the figure, however, what is certain is that this was a valued and treasured object created for a high ranking individual in traditional Baule society. Creator An entity primarily responsible for making the resource Baule peoples Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/36139">Allen Memorial Art Museum</a>, Gift in honor of Alexandra Gould (OC 2011) Date A point or period of time associated with an event in the lifecycle of the resource 20th century Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Wood and gold leaf Overall: 10 3/4 × 1 1/4 × 1 1/4 in. (27.3 × 3.2 × 3.2 cm) Type The nature or genre of the resource Figure Identifier An unambiguous reference to the resource within a given context 2011.26.10 https://physiology.oberlincollegelibrary.org/files/original/2419027b79a8218ed62b5228749f17f1.jpg 1e5969230885407af714cbb1837cc4d5 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 Madonna of the Pomegranate Description An account of the resource The picture's title is explained by the pomegranate in Mary's hand: this should be understood as symbolizing Christ's Passion, the wealth of seeds conveying the fullness of Christ's suffering. A comparison of this painting with Botticelli's earlier tondo Madonna del Magnificat reveals that the artist has now arranged the angels symmetrically, thereby avoiding the compositional difficulties of the older depiction. The Christ Child, whose hand is raised in blessing, is lying securely in the arms of Mary, but the sad, melancholy expression on the faces of mother and child are intended to remind the observer of the torments the Son of God will suffer in the future. The angels are worshipping Mary with lilies and garlands of roses. The Rosary is a prayer that was created in its present form in the 15th century, and rapidly became widespread. The beginning of this prayer is embroidered on the left angel s stola: AVE GRAZIA PLENA (Hail Mary, full of grace). Creator An entity primarily responsible for making the resource Botticelli, Sandro Italian, 1445-1510 Source A related resource from which the described resource is derived <a href="https://www.wga.hu/html_m/b/botticel/22/40pomegr.html">Web Gallery of Art</a> Date A point or period of time associated with an event in the lifecycle of the resource c. 1487 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Tempera on panel diameter 143,5 cm Type The nature or genre of the resource Painting https://physiology.oberlincollegelibrary.org/files/original/99ce8bda4f272a461d637eb83b1f2f5d.jpeg fd7a359e90f7542eabe4086a9e558c06 https://physiology.oberlincollegelibrary.org/files/original/32cfbe525a2720914268c6c33108d926.jpeg 3f73f15c6b5622bff8f916ba07398330 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 Original Positve Relations Images Description An account of the resource Mackenzie Micheals and Lexi Reed are pictured in Oberlin College's computer lab enjoying each others company during the semester's final exam period. The positve relationship that they share with each other provide both of them with support during a stressful time. Creator An entity primarily responsible for making the resource Cheyenne Arthur 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/b0b4e3ff0cc4605a262b9f9d6e8a3951.jpg 0cefa716ae93038ef61e7fff96f6ea56 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 Untitled (Portrait of Mother, Son and Daughter) Creator An entity primarily responsible for making the resource Cindy Sherman (American, b. 1954) Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/6567">Allen Memorial Art Museum</a>, Art Rental Collection Transfer Date A point or period of time associated with an event in the lifecycle of the resource 1989 Format The file format, physical medium, or dimensions of the resource Black and white photograph in leather desk-top frame Sheet: 9 15/16 × 8 in. (25.2 × 20.3 cm) Frame: 12 3/8 × 10 7/16 in. (31.4 × 26.5 cm) Identifier An unambiguous reference to the resource within a given context 2006.11 Rights Information about rights held in and over the resource copyright: Cindy Sherman