1 10 1 http://utw10658.utweb.utexas.edu/files/original/cf24db575f1a4abc89a4485ead2e27ca.tif 30c74cdd9a9173fa2a7171de1f307484 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/2010.100.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/2010.100.zif Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 20625 Identifier An unambiguous reference to the resource within a given context 2010.100 Creator An entity primarily responsible for making the resource Andy Warhol Date A point or period of time associated with an event in the lifecycle of the resource Pittsburgh, 1928 - 1987, New York Date Created Date of creation of the resource. 1980 Rights Holder A person or organization owning or managing rights over the resource. Bequest of Farrah Fawcett, 2010 Spatial Coverage Spatial characteristics of the resource. 101.6 cm x 101.6 cm (40 in. x 40 in.) Medium The material or physical carrier of the resource. Synthetic polymer paint and silkscreen on canvas Title A name given to the resource Farrah Fawcett Description An account of the resource <span>This painting of University of Texas alumna and <span style="font-style:italic;">Charlie’s Angels</span> star Farrah Fawcett typifies Andy Warhol’s portrait style of the 1970s and 1980s. The artist photographed starlets like Fawcett, Grace Jones, Blondie’s Debbie Harry, and Dolly Parton; their bare shoulders serve as a nod to classical portraiture. Working from a Polaroid, Warhol sent the negative to a photo lab to have it enlarged and transferred onto a sheet of acetate. Once a silkscreen was made from the sheet, Warhol and his assistants squeegeed ink through the screen onto a pre-painted canvas, using punches of color to highlight the glamour of his subjects.</span> 2010.100