1 10 1 http://utw10658.utweb.utexas.edu/files/original/87b4c1f256d738de043addb30256dd47.tif bf8e40f77df998724db2c7f195ea9a18 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Local URL The URL of the local directory containing all assets of the website http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/1979.25.zif 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/. Type The nature or genre of the resource painting Has Version A related resource that is a version, edition, or adaptation of the described resource. http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/1979.25.zif Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 15096 Identifier An unambiguous reference to the resource within a given context 1979.25 Creator An entity primarily responsible for making the resource Mary Corse Date A point or period of time associated with an event in the lifecycle of the resource Berkeley, California, 1945 - Date Created Date of creation of the resource. 1969 Rights Holder A person or organization owning or managing rights over the resource. Gift of Mari and James A. Michener, 1979 Spatial Coverage Spatial characteristics of the resource. 275 cm x 276 cm (108 1/4 in. x 108 11/16 in.) Medium The material or physical carrier of the resource. Acrylic with glass microspheres on canvas Title A name given to the resource Untitled Description An account of the resource Mary Corse intends for her monochromatic paintings to be immersive experiences. In 1968 the artist began a series of large-scale, white grid paintings, mixing acrylic paint with glass microspheres—a material used to give road signs and dividing lines their reflective look—to transform the flat canvas into a luminescent plane. The result encourages movement around the work’s surface, inviting us to engage with its projected light from a variety of angles and distances. Indeed, viewers must encounter it experientially, as it cannot accurately be captured in photographs. As Corse explained in an interview, “When I first started putting glass microspheres in paint, I was really putting the light inside the painting. I didn’t want to paint a picture of the experience of light—I wanted the painting to be the light experience itself.” 1979.25