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	<title>Notations: Contemporary Drawing as Idea and Process &#187; Matthew Bailey</title>
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		<title>Matthew Bailey on Agnes Martin</title>
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		<pubDate>Fri, 20 Jul 2012 19:50:50 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Agnes Martin]]></category>
		<category><![CDATA[Matthew Bailey]]></category>

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		<description><![CDATA[Agnes Martin by Matthew Bailey Agnes Martin was one of a number of artists whose unique brand of geometric abstraction was positioned apart from the heroic, fluid gestures of canonical Abstract Expressionism, which were thought to symbolize the inimitable psychic and somatic expressions of the individual artist. While maintaining a belief in art as a [&#8230;]]]></description>
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		<title>Matthew Bailey on Ellsworth Kelly</title>
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		<pubDate>Fri, 20 Jul 2012 19:47:10 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Ellsworth Kelly]]></category>
		<category><![CDATA[Matthew Bailey]]></category>

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		<description><![CDATA[Ellsworth Kelly by Matthew Bailey In this loose, organic drawing of an abstracted scene of Paris, Ellsworth Kelly used the sparest of freehand notations to register the side or corner of a building, the slant and texture of a roof, and a curling wisp of smoke. Smoke from Chimneys, Automatic Drawing from Rue de Blainville [&#8230;]]]></description>
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		<title>Matthew Bailey on Donald Judd</title>
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		<pubDate>Fri, 20 Jul 2012 19:45:48 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Donald Judd]]></category>
		<category><![CDATA[Matthew Bailey]]></category>

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		<description><![CDATA[Donald Judd by Matthew Bailey Donald Judd was one of the leaders of Minimal art, both as an artist and as a critic. His sculptural works, which he labeled “specific objects” in a seminal essay published in 1967, were characterized by streamlined large-scale geometric forms produced using industrial materials and processes of fabrication. Judd’s untitled [&#8230;]]]></description>
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		<title>Matthew Bailey on John Cage</title>
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		<pubDate>Fri, 20 Jul 2012 19:38:42 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[John Cage]]></category>
		<category><![CDATA[Matthew Bailey]]></category>

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		<description><![CDATA[John Cage by Matthew Bailey From the mid-1940s until his death in 1992, John Cage explored what he called “chance operations” as a means of avoiding artistic subjectivity in his musical compositions, performances, and visual art. The principles of chance, indeterminacy, and open-endedness were for Cage a way of suppressing artistic authority and intention, amplifying [&#8230;]]]></description>
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		<title>Matthew Bailey on Mel Bochner</title>
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		<pubDate>Fri, 20 Jul 2012 19:38:16 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Matthew Bailey]]></category>
		<category><![CDATA[Mel Bochner]]></category>

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		<description><![CDATA[Mel Bochner by Matthew Bailey These two drawings by Mel Bochner are meticulously conceived studies for a sculpture and an installation. Representing just one form of the artist’s numerous bodies of works on paper they act as visual articulations of his ideas and serve as proposals with the potential for future realization. Bochner has been [&#8230;]]]></description>
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		<title>Matthew Bailey on Jennifer Bartlett</title>
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		<pubDate>Fri, 20 Jul 2012 19:37:43 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Jennifer Bartlett]]></category>
		<category><![CDATA[Matthew Bailey]]></category>

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		<description><![CDATA[Jennifer Bartlett by Matthew Bailey Since the early 1970s, Jennifer Bartlett has used rigorous systematic procedures such as mathematical and chance operations to determine a priori the nature of her work. Together with the serialized use of the grid that characterizes her art, these strategies are a means of de-skilling, or eliminating traditional forms of [&#8230;]]]></description>
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