{"id":395,"date":"2022-02-10T20:44:25","date_gmt":"2022-02-11T01:44:25","guid":{"rendered":"https:\/\/pressbooks.library.ryerson.ca\/ediinpractice\/?post_type=chapter&p=395"},"modified":"2022-03-26T13:31:14","modified_gmt":"2022-03-26T17:31:14","slug":"pre-assesment-2","status":"publish","type":"chapter","link":"https:\/\/pressbooks.library.torontomu.ca\/ediinpractice\/chapter\/pre-assesment-2\/","title":{"raw":"Pre-Assessment","rendered":"Pre-Assessment"},"content":{"raw":"American artist Andy Warhol\u2019s \u201cCowboys and Indians\u201d series (1986) includes a portrait of Geronimo (image linked below). The series was part of what Warhol called \u201cbusiness art\u201d that provided commercial products for collectors (Swenson). It comprised 10 silkscreen images reflecting Warhol\u2019s twin fascination with popular culture and the western frontier. The collection included portraits of Hollywood actor John Wayne, best known for western movies that stereotyped the hard-nosed cowboy embodying grit, and Annie Oakley \u2013 a White, female sharpshooter who headlined at Buffalo Bill's Wild West show. The series also comprised portraits of two other Native American warriors because, after all, cowboys in American mythology are constructed in relation to \u201cIndians.\u201d\r\n\r\nView the Portrait of Geronimo by Andy Warhol<\/a>\r\n\r\nGeronimo\u2019s commodified image is part business and part spectacle that invites the White gaze and reinforces racial hierarchies. This module is an attempt to \u201cpeck away at the gaze\u201d (Morrison 210). It looks at how White settlers racialized Indigenous peoples through institutional structures and practices that facilitated territorial control and cultural genocide (Honouring the Truth<\/a><\/em> 1).\r\n
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Reflection<\/p>\r\n\r\n<\/header>\r\n

\r\n\r\nComplete Reflection 2.1 (Module 2 Pre-Assessment)<\/strong> in your Reflection Journal.\r\n\r\nReflect on the portrait of Geronimo using the prompts below:\r\n