1 10 1 http://utw10658.utweb.utexas.edu/files/original/f6fe9a40c6a3c25edf4ca3fcc1a3275c.jpg 356e20e38e83d2a5252e2302026299bd 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/2014.67-fromgallery.jpg 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/2014.67-fromgallery.jpg Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 20563 Identifier An unambiguous reference to the resource within a given context 2014.67 Creator An entity primarily responsible for making the resource Regina Bogat Date A point or period of time associated with an event in the lifecycle of the resource Brooklyn, New York, 1928 - Date Created Date of creation of the resource. 1977 Rights Holder A person or organization owning or managing rights over the resource. Purchase through the generosity of the Houston Endowment, Inc., in honor of Melissa Jones, 2014 Spatial Coverage Spatial characteristics of the resource. 182.9 cm x 152.4 cm (72 in. x 60 in.) Medium The material or physical carrier of the resource. Acrylic with nylon and satin cords on canvas Title A name given to the resource Cord Painting 14 Description An account of the resource During the 1960s and 1970s, many artists opened their practices to a wider range of media; they often incorporated pliable materials such as yarn, string, and rope into their work. Although Regina Bogat considers this a painting, the only painted element is its cadmium red background. After the artist drilled holes into the canvas, she arranged the cords systematically using a grid and a repeated sequence of colors. She then subverted the careful logic of her composition by knotting the dangling cords at irregular lengths. This is one of a series of fifteen cord paintings Bogat made in the 1970s from her home in Glen Ridge, New Jersey, where she moved in 1972 with her husband, painter Alfred Jensen. “I missed my art supply store in Manhattan,” she recently recalled. “In its stead, I found a local trimmings shop that had a beautiful array of embroidery threads and cord trimmings. I had been influenced by my friend Eva Hesse’s recent use of unorthodox materials in her art; and perhaps, I was also unconsciously influenced by the hair phenomenon of the early seventies.” 2014.67