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	<title>Art=Text=Art &#187; Sarah JM Kolberg</title>
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		<title>Sarah JM Kolberg on Robert Rauschenberg</title>
		<link>https://391.b00.mywebsitetransfer.com/robert-rauschenberg/</link>
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		<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>Sarah JM Kolberg on Ray Johnson</title>
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		<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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		<title>Sarah JM Kolberg on Dom Sylvester Houédard</title>
		<link>https://391.b00.mywebsitetransfer.com/dom-sylvester-houedard/</link>
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		<pubDate>Wed, 10 Sep 2014 20:38:53 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Dom Sylvester Houédard]]></category>
		<category><![CDATA[Sarah JM Kolberg]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9540</guid>
		<description><![CDATA[Some of the 1960s’ most important visual poetry came from an exceptionally unlikely source: a Benedictine monk from England’s Prinknash Abbey. Dom Sylvester Houédard, or dsh, as he signed his works, was one of the period’s most prominent concrete and visual poets. Houédard published extensively in small press literary journals, including Ian Hamilton Finlay’s Poor. [&#8230;]]]></description>
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		<title>Sarah JM Kolberg on Ian Hamilton Finlay</title>
		<link>https://391.b00.mywebsitetransfer.com/ian-hamilton-finlay/</link>
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		<pubDate>Wed, 10 Sep 2014 20:30:19 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Ian Hamilton Finlay]]></category>
		<category><![CDATA[Sarah JM Kolberg]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9538</guid>
		<description><![CDATA[Merging the visual with the textual, concrete poetry presents a coterminous relationship between text and image: reading the words is not sufficient for understanding; one must see the words in order to apprehend the poem. In many cases, were one to read the text aloud the meaning of the poem would be lost. Early forms [&#8230;]]]></description>
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		<title>Sarah JM Kolberg on Jim Dine</title>
		<link>https://391.b00.mywebsitetransfer.com/jim-dine/</link>
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		<pubDate>Wed, 10 Sep 2014 20:27:11 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Jim Dine]]></category>
		<category><![CDATA[Sarah JM Kolberg]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9535</guid>
		<description><![CDATA[“People sometimes say about my painting, ‘That’s a real Happening.’” &#8212; Jim Dine1 In the early 1960s, Jim Dine was one of the leading artists of a new inter-media performance art. Combining performance, visual art, spoken word, and music, these Happenings trace their origins to an event staged in 1952 by John Cage at Black [&#8230;]]]></description>
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		<title>Sarah JM Kolberg on Bruce Conner</title>
		<link>https://391.b00.mywebsitetransfer.com/bruce-conner/</link>
		<comments>https://391.b00.mywebsitetransfer.com/bruce-conner/#comments</comments>
		<pubDate>Wed, 10 Sep 2014 20:12:11 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Bruce Conner]]></category>
		<category><![CDATA[Sarah JM Kolberg]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9533</guid>
		<description><![CDATA[In the 1950s, San Francisco was experiencing a renaissance led by a vibrant counter culture that spanned the literary, film, and artistic communities, with many participants active in more than one medium. In Secret Exhibition: Six California Artists of the Cold War Era, Rebecca Solnit’s exploration of San Francisco’s mid-century artistic subculture, she notes that [&#8230;]]]></description>
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		<title>Sarah JM Kolberg on John Cage</title>
		<link>https://391.b00.mywebsitetransfer.com/john-cage/</link>
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		<pubDate>Wed, 10 Sep 2014 20:10:11 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[John Cage]]></category>
		<category><![CDATA[Sarah JM Kolberg]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9531</guid>
		<description><![CDATA[The work shown here is just one element of John Cage’s Not Wanting to Say Anything About Marcel (1969), a series of compositions comprising eight Plexigrams—each itself eight sheets of silk-screened Plexiglas, mounted in a slotted wooden base and accompanied by one of two different lithographs. Fragments of words, letters, and images are scattered across [&#8230;]]]></description>
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		<title>Sarah JM Kolberg on Richard Bassett</title>
		<link>https://391.b00.mywebsitetransfer.com/richard-bassett/</link>
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		<pubDate>Wed, 10 Sep 2014 20:08:24 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Richard Bassett]]></category>
		<category><![CDATA[Sarah JM Kolberg]]></category>

		<guid isPermaLink="false">http://artequalstext.aboutdrawing.org/?p=9529</guid>
		<description><![CDATA[Each artwork in Richard Bassett’s Art Titles series was made using a standard Braillewriter and reproduces in Braille the title of another artist’s work, such as Marcel Duchamp’s L.H.O.O.Q., Robert Rauschenberg’s Erased de Kooning Drawing, Robert Mapplethorpe’s Self-Portrait, and, in the case of the work shown in this exhibition, Felix Gonzalez-Torres’s Untitled (Perfect Lovers) (1987-1990). [&#8230;]]]></description>
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