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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