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	<title>Art=Text=Art &#187; Rachel Nackman</title>
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		<title>Cat Dawson on Robert Whitman</title>
		<link>https://391.b00.mywebsitetransfer.com/robert-whitman/</link>
		<comments>https://391.b00.mywebsitetransfer.com/robert-whitman/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 21:18:29 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Cat Dawson]]></category>
		<category><![CDATA[Robert Whitman]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9570</guid>
		<description><![CDATA[Long Bent Rocket (1960) is an early lithograph by Robert Whitman of a rocket moving through the air. Short, staccato lines constitute the body of the rocket, while dense marks extending from either side of the lower shaft suggest fins. The words the long bent rocket, framed by the fins below the length of the [&#8230;]]]></description>
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		<title>Cat Dawson on Lenore Tawney</title>
		<link>https://391.b00.mywebsitetransfer.com/cat-dawson-on-lenore-tawney/</link>
		<comments>https://391.b00.mywebsitetransfer.com/cat-dawson-on-lenore-tawney/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 21:14:44 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Cat Dawson]]></category>
		<category><![CDATA[Lenore Tawney]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9566</guid>
		<description><![CDATA[Said the Walrus to the Carpenter, It Would Be Very Nice (1985), a collage by Lenore Tawney, features an image of a walrus that protrudes through a curtain of oblong shapes. One of Tawney’s later collages, Said the Walrus is a reference in both title and subject to “The Walrus and the Carpenter,” a narrative [&#8230;]]]></description>
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		<title>Maddie Phinney on Anne Ryan</title>
		<link>https://391.b00.mywebsitetransfer.com/anne-ryan/</link>
		<comments>https://391.b00.mywebsitetransfer.com/anne-ryan/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 21:11:29 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Anne Ryan]]></category>
		<category><![CDATA[Maddie Phinney]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9563</guid>
		<description><![CDATA[Poet, printmaker, author, and painter Anne Ryan is often associated with the early generation of New York abstraction. In 1941, Ryan joined Atelier 17, a famous printmaking workshop originally established by Stanley William Hayter in France in the 1930s and transferred to New York after the Second World War. It wasn’t until 1948, when Ryan [&#8230;]]]></description>
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		<title>Maddie Phinney on Ed Ruscha</title>
		<link>https://391.b00.mywebsitetransfer.com/maddie-phinney-on-ed-ruscha/</link>
		<comments>https://391.b00.mywebsitetransfer.com/maddie-phinney-on-ed-ruscha/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 21:10:17 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Ed Ruscha]]></category>
		<category><![CDATA[Maddie Phinney]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9561</guid>
		<description><![CDATA[Ed Ruscha began his commentary on language as a system in the early 1960s, most often exploiting the connotative power of a single word as a means of commenting on the contingent relationship of form to content. Later in the 1970s, Ruscha began employing evocative phrases and sentences to point to cultural conventions, myths, or [&#8230;]]]></description>
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		<title>Jonathan D. Katz on Larry Rivers</title>
		<link>https://391.b00.mywebsitetransfer.com/larry-rivers/</link>
		<comments>https://391.b00.mywebsitetransfer.com/larry-rivers/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 21:07:46 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Jonathan D. Katz]]></category>
		<category><![CDATA[Larry Rivers]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9559</guid>
		<description><![CDATA[Larry Rivers’s etching and screenprint Bread and Butter (1974) takes the form of a letter, with the obligatory “Dear” and “Sincerely” bracketing a slice of bread, a stick of butter, and the dotted line that we conventionally associate with missing words. The term &#8220;bread-and-butter letter&#8221; is a colloquial expression, now largely fading, for a thank-you [&#8230;]]]></description>
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		<title>Sarah JM Kolberg on Robert Rauschenberg</title>
		<link>https://391.b00.mywebsitetransfer.com/robert-rauschenberg/</link>
		<comments>https://391.b00.mywebsitetransfer.com/robert-rauschenberg/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 21:06:30 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Robert Rauschenberg]]></category>
		<category><![CDATA[Sarah JM Kolberg]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9557</guid>
		<description><![CDATA[The consensus culture of Cold War America demanded conformity to a narrow constellation of prescribed behaviors and beliefs. Fear of Communist infiltrators was widespread, making all forms of difference threatening. Homosexuals were singled out as particularly vulnerable to Communist blackmail and thus were considered inherently untrustworthy. The prevailing understanding of homosexuality at this time did [&#8230;]]]></description>
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		<title>Cat Dawson on Gloria Ortiz-Hernández</title>
		<link>https://391.b00.mywebsitetransfer.com/cat-dawson-on-gloria-ortiz-hernandez/</link>
		<comments>https://391.b00.mywebsitetransfer.com/cat-dawson-on-gloria-ortiz-hernandez/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 21:05:45 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Cat Dawson]]></category>
		<category><![CDATA[Gloria Ortiz-Hernández]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9555</guid>
		<description><![CDATA[Throughout this exhibition, translation emerges as one of the central points of engagement for Conceptual and proto-Conceptual artists. To think through translation is to come to understand the complexities of communication: that some things can be transferred from one language to another, while other things cannot. In Three Alphabets (2013), Gloria Ortiz-Hernández juxtaposes three versions [&#8230;]]]></description>
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		<title>Maddie Phinney on William Kent</title>
		<link>https://391.b00.mywebsitetransfer.com/william-kent/</link>
		<comments>https://391.b00.mywebsitetransfer.com/william-kent/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 20:55:38 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Maddie Phinney]]></category>
		<category><![CDATA[William Kent]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9550</guid>
		<description><![CDATA[While studying music theory at Yale under composer Paul Hindemith, William Kent became interested in sculpting, painting, and carving marble and wood. In the 1960s, he began making prints using large-scale discarded slate blackboards, which he sandblasted or carefully carved to create elegant bas-reliefs. It was also at this time that Kent developed a unique [&#8230;]]]></description>
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		<title>Cat Dawson on Ellsworth Kelly</title>
		<link>https://391.b00.mywebsitetransfer.com/ellsworth-kelly/</link>
		<comments>https://391.b00.mywebsitetransfer.com/ellsworth-kelly/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 20:50:39 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Cat Dawson]]></category>
		<category><![CDATA[Ellsworth Kelly]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9548</guid>
		<description><![CDATA[Ellsworth Kelly, Die Welt, 2011, ink on newsprint, 3 sections, each 23 x 15 ¾ inches (58.4 x 40 cm) unfolded. © Ellsworth Kelly &#038; Die Welt / Photos: Andy Romer Photography Ellsworth Kelly is famous for his work in hard-edge abstraction: primarily large shapes, often but not exclusively sculptural, sporting one uniform color surface—or [&#8230;]]]></description>
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		<title>Sarah JM Kolberg on Ray Johnson</title>
		<link>https://391.b00.mywebsitetransfer.com/sarah-kolberg-on-ray-johnson/</link>
		<comments>https://391.b00.mywebsitetransfer.com/sarah-kolberg-on-ray-johnson/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 20:47:23 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Ray Johnson]]></category>
		<category><![CDATA[Sarah JM Kolberg]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9546</guid>
		<description><![CDATA[Ray Johnson, BOO[K], ca. 1955, artist&#8217;s book: collage on cardboard cover with hand-sewn binding; handwritten text and drawing in black and red inks on cut paper pages, 8 x 6 inches (20.3 x 15.2 cm), closed. © Ray Johnson Estate, Courtesy Richard L. Feigen &#38; Co. / Photo: Ellen McDermott Ray Johnson’s BOO[K] (ca. 1955) [&#8230;]]]></description>
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