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	<title>Art=Text=Art &#187; Cat Dawson</title>
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		<title>Cat Dawson on Robert Whitman</title>
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		<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>

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		<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>
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		<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>Cat Dawson on Gloria Ortiz-Hernández</title>
		<link>https://391.b00.mywebsitetransfer.com/cat-dawson-on-gloria-ortiz-hernandez/</link>
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		<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>Cat Dawson on Ellsworth Kelly</title>
		<link>https://391.b00.mywebsitetransfer.com/ellsworth-kelly/</link>
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		<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>

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		<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>Cat Dawson on Ray Johnson</title>
		<link>https://391.b00.mywebsitetransfer.com/cat-dawson-on-ray-johnson/</link>
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		<pubDate>Wed, 10 Sep 2014 19:22:59 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Cat Dawson]]></category>
		<category><![CDATA[Ray Johnson]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9494</guid>
		<description><![CDATA[Best known for his work in collage and correspondence art, Ray Johnson remains an enigmatic figure in the post-war American landscape. His use of time- and community-based media—such as objects sent through the US Postal Service—added a dimension to his work that differentiated him from his cohort. Correspondence art resonated primarily with the practices of [&#8230;]]]></description>
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		<title>Cat Dawson on Grace Hartigan</title>
		<link>https://391.b00.mywebsitetransfer.com/grace-hartigan/</link>
		<comments>https://391.b00.mywebsitetransfer.com/grace-hartigan/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 19:20:36 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Cat Dawson]]></category>
		<category><![CDATA[Grace Hartigan]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9492</guid>
		<description><![CDATA[Perhaps the most striking thing about Grace Hartigan’s Black Crows (Oranges No. 1) (1958) is the tension between the gestural surface and the phrases that emerge from the background of the work, at times overtaking the paint. A busy abstract surface is characteristic of Hartigan’s style, but whereas in much of her other work she [&#8230;]]]></description>
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		<title>Cat Dawson on Joe Brainard</title>
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		<pubDate>Wed, 10 Sep 2014 19:19:46 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Cat Dawson]]></category>
		<category><![CDATA[Joe Brainard]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9490</guid>
		<description><![CDATA[Post-war America saw the notable development of many close relationships between painters and poets. Joe Brainard remains among the few figures of that fruitful period remembered for shifting deftly between visual and narrative media, and for playing both roles successfully. Living in New York City in the 1960s and &#8217;70s, Brainard became part of a [&#8230;]]]></description>
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