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		<title>Anna Katherine Brodbeck on Dove Bradshaw</title>
		<link>https://391.b00.mywebsitetransfer.com/dove-bradshaw/</link>
		<comments>https://391.b00.mywebsitetransfer.com/dove-bradshaw/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 22:52:44 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Dove Bradshaw]]></category>
		<category><![CDATA[Katherine Brodbeck]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=115</guid>
		<description><![CDATA[Dove Bradshaw’s portable retrospective from 2003, BRADSHAW: Limited Edition Box,1 undoubtedly elicits for the reader associations with Marcel Duchamp&#8211;associations readily acknowledged by the artist. Calling to mind Duchamp’s Boîte-en-valise (1935-41) and, to a lesser extent, his Large Glass (1915-23), Bradshaw reproduces her oeuvre for the collector, accompanied by Thomas McEvilley’s monograph on her work, The [&#8230;]]]></description>
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		<title>Holly Shen on Mel Bochner</title>
		<link>https://391.b00.mywebsitetransfer.com/mel-bochner/</link>
		<comments>https://391.b00.mywebsitetransfer.com/mel-bochner/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 22:52:13 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Holly Shen]]></category>
		<category><![CDATA[Mel Bochner]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=113</guid>
		<description><![CDATA[Entering the New York art scene in 1966 as a young but confident critic, Mel Bochner wrote in a review of the Primary Structures exhibition at the Jewish Museum that, “such words as ‘form-content,’ ‘tradition,’ ‘classic,’ ‘romantic,’ ‘expressive,’ ‘experiment,’ ‘psychology,’ ‘analogy,’ ‘depth,’ ‘purity,’ ‘feeling,’ ‘space,’ ‘avant-garde,’ ‘lyric,’ ‘individual,’ ‘composition,’ ‘life and death,’ ‘sexuality,’ ‘biomorphic,’ ‘biographic’—the [&#8230;]]]></description>
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		<title>Alexis Lowry Murray on Suzanne Bocanegra</title>
		<link>https://391.b00.mywebsitetransfer.com/alexis-lowry-on-suzanne-bocanegra/</link>
		<comments>https://391.b00.mywebsitetransfer.com/alexis-lowry-on-suzanne-bocanegra/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 22:51:47 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Alexis Lowry Murray]]></category>
		<category><![CDATA[Suzanne Bocanegra]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=111</guid>
		<description><![CDATA[Suzanne Bocanegra is an avid collector of curious things. This tendency is particularly well evidenced by the two drawings included in this exhibition, Brushstrokes in a Victorian Flower Album: Long Headed Poppy (2000) and Drawing Everything in My House: Towels (2001). In the earlier drawing, Bocanegra has meticulously dissected the building blocks of the red [&#8230;]]]></description>
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		<title>Kristen Gaylord on Kry Bastian</title>
		<link>https://391.b00.mywebsitetransfer.com/kry-bastian/</link>
		<comments>https://391.b00.mywebsitetransfer.com/kry-bastian/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 22:51:23 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Kristen Gaylord]]></category>
		<category><![CDATA[Kry Bastian]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=109</guid>
		<description><![CDATA[Kry Bastian’s work occupies the liminal space that all effective art does: between the private and the public, the familiar and the strange. Artworks that cannot move beyond the individual become self-indulgent or irrelevant, but those that attempt to speak universally without the imprint of their makers often fall into predictability and cliché; every inhabitant [&#8230;]]]></description>
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		<title>Alex Allenchey on Robert Barry</title>
		<link>https://391.b00.mywebsitetransfer.com/robert-barry/</link>
		<comments>https://391.b00.mywebsitetransfer.com/robert-barry/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 22:49:40 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Alex Allenchey]]></category>
		<category><![CDATA[Robert Barry]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=107</guid>
		<description><![CDATA[One of the principal figures in American conceptual art, Robert Barry has continued to explore the nature of language as a mode of visual communication over the last half-century. Throughout his career, Barry’s work has taken many forms, from typed word lists and playfully circuitous gallery invitations, to large paintings of words on windows and [&#8230;]]]></description>
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		<title>Sarah Zabrodski on Jill Baroff</title>
		<link>https://391.b00.mywebsitetransfer.com/jill-baroff/</link>
		<comments>https://391.b00.mywebsitetransfer.com/jill-baroff/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 22:35:58 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Jill Baroff]]></category>
		<category><![CDATA[Sarah Zabrodski]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=19</guid>
		<description><![CDATA[Is there anything quite so mesmerizing as the rhythmic, repetitive ebb, flow, ebb, flow of waves? When you stand on the edge of the ocean and look out over the shore it is difficult not to get lost in looking, just looking, at the endless motion of the water. It pulls you in. Absorbs your [&#8230;]]]></description>
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		<title>Kathleen McEvily on Frank Badur</title>
		<link>https://391.b00.mywebsitetransfer.com/frank-badur/</link>
		<comments>https://391.b00.mywebsitetransfer.com/frank-badur/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 22:35:39 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Frank Badur]]></category>
		<category><![CDATA[Kathleen McEvily]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=17</guid>
		<description><![CDATA[Music by Frank Badur; programming by Mark Badur. My drawings start where the spoken word fails and where language breaks down in the attempt to formulate and express my specific perceptions and sensibilities.1 A postcard from an artist, sent in the mail, arrives at the office of a friend. Instead of writing a message, the [&#8230;]]]></description>
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		<title>Bradley Wright Ferrarini on Alice Aycock</title>
		<link>https://391.b00.mywebsitetransfer.com/alice-aycock/</link>
		<comments>https://391.b00.mywebsitetransfer.com/alice-aycock/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 22:35:01 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Alice Aycock]]></category>
		<category><![CDATA[Bradley Ferrarini]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=15</guid>
		<description><![CDATA[At first glance, Alice Aycock’s The Garden of Scripts (Villandry) from 1986 resembles a drawing by a landscape architect for a potential client. Upon closer examination, one realizes that this garden is filled with characters from various languages. The three-dimensionality of the scripts exposes this drawing as the work of a sculptor. In fact, Aycock [&#8230;]]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Robert Brennan on William Anastasi</title>
		<link>https://391.b00.mywebsitetransfer.com/william-anastasi/</link>
		<comments>https://391.b00.mywebsitetransfer.com/william-anastasi/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 22:23:01 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Robert Brennan]]></category>
		<category><![CDATA[William Anastasi]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=7</guid>
		<description><![CDATA[One can’t help but try to read a series of words on white paper as a text. In the case of William Anastasi’s Word Drawing Over Shorthand Practice Page works from 1962, however, this effort is inevitably frustrated. Errant words and intrusive gaps repeatedly force the eye from its habitual left-to-right, top-to-bottom path until it [&#8230;]]]></description>
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