1 10 1 http://utw10658.utweb.utexas.edu/files/original/950cb51da93672f5e800c98aa81a34b8.tif d2b7d1b339f9306683457216e478c4cf 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/2014.64.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/2014.64.zif Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 20560 Identifier An unambiguous reference to the resource within a given context 2014.64 Creator An entity primarily responsible for making the resource Antonio Caro Date A point or period of time associated with an event in the lifecycle of the resource Bogotá, Colombia, 1950 - Date Created Date of creation of the resource. 2010 Rights Holder A person or organization owning or managing rights over the resource. Susman Collection, 2014 Spatial Coverage Spatial characteristics of the resource. 69.8 cm x 100 cm (27 1/2 in. x 39 3/8 in.) Medium The material or physical carrier of the resource. Enamel on tin Title A name given to the resource Colombia Coca-Cola Description An account of the resource <span><span style="font-style:italic;">Colombia Coca-Cola</span>, first painted in 1976 and later proliferated in different sizes and formats, presents the name of the artist’s country in the iconic Coca-Cola script. Caro’s recycling and subversion of ubiquitous logos like this one derives from his experience working for an advertising agency in the early 1970s. Here the superimposition of nation and logo points not only to a history of U.S. imperialism in the region, but also to how the line between “us” and “them”—consumers and producers—has become blurred.</span> 2014.64