1
10
1
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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