1
10
1
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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