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	<title>Notations: Contemporary Drawing as Idea and Process &#187; Rachel Nackman</title>
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		<title>Christine Hiebert in Conversation</title>
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		<pubDate>Thu, 26 Jul 2012 19:17:52 +0000</pubDate>
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				<category><![CDATA[Christine Hiebert]]></category>
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		<description><![CDATA[Christine Hiebert In Conversation with Rachel Nackman March 2012, New York Rachel Nackman: Your drawing Untitled (t.02.3), from 2002 (fig. 1), was made with blue painter’s tape. When did you start using that material, and how did you encounter it? Christine Hiebert: Sometimes you have to trick yourself into making new work. I started to [&#8230;]]]></description>
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		<title>Mark Williams in Conversation</title>
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		<pubDate>Fri, 20 Jul 2012 19:58:40 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Mark Williams]]></category>
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		<description><![CDATA[Mark Williams In Conversation with Rachel Nackman New York, April 2012 Mark Williams: I decided to work with verticals and horizontals in the early 1990s, and I have stuck with them ever since. At that time, I was making paintings with lots of diagonals and jutting planes. In reviewing some of my sketchbooks, I noticed [&#8230;]]]></description>
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		<title>Hadi Tabatabai in Conversation</title>
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		<pubDate>Fri, 20 Jul 2012 19:58:18 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Hadi Tabatabai]]></category>
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		<description><![CDATA[Hadi Tabatabai In Conversation with Rachel Nackman The following discussion was conducted by email with the artist in July 2012. Rachel Nackman: How did you select the materials you used to make these drawings, and what makes them work well for you? Hadi Tabatabai: For DF-27 (2005; fig. 1) and DF-29 (2007; fig. 2), I [&#8230;]]]></description>
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		<title>Allyson Strafella in Conversation</title>
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		<pubDate>Fri, 20 Jul 2012 19:57:59 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Allyson Strafella]]></category>
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		<description><![CDATA[Allyson Strafella In Conversation with Rachel Nackman May 2012, New York Rachel Nackman: How did you begin making drawings with a typewriter? Allyson Strafella: I started using a typewriter when I was in college. I would go to the school library every day and use the typewriter there as a way to process my thoughts. [&#8230;]]]></description>
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		<title>Karen Schiff in Conversation</title>
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		<pubDate>Fri, 20 Jul 2012 19:56:21 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Karen Schiff]]></category>
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		<category><![CDATA[Wynn Kramarsky]]></category>

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		<description><![CDATA[Karen Schiff In Conversation with Wynn Kramarsky &#038; Rachel Nackman March 2012, New York Rachel Nackman: How did the Laid Line drawings develop? Karen Schiff: The Laid Line drawings came out of my concern about being able to relate directly to the physical world. Before I started this series, I was making rubbings of floors, [&#8230;]]]></description>
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		<title>Winston Roeth in Conversation</title>
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		<pubDate>Fri, 20 Jul 2012 19:55:08 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
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		<description><![CDATA[Winston Roeth, Selected Desktop Drawings, 1990-2011 Graphite and ink on graph paper, 40 sheets, each 8 1/2 x 11 inches (21.6 x 27.9 cm) © 2012 Winston Roeth If you would like to view this slideshow on an iPad, please click here. Winston Roeth In Conversation with Rachel Nackman February 2012, Beacon, NY Rachel Nackman: [&#8230;]]]></description>
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		<title>Erwin Redl in Conversation</title>
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		<pubDate>Fri, 20 Jul 2012 19:54:50 +0000</pubDate>
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				<category><![CDATA[Erwin Redl]]></category>
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		<description><![CDATA[Erwin Redl In Conversation with Rachel Nackman New York, June 2012 Rachel Nackman: How does drawing figure in the entirety of your work? Erwin Redl: There are two ways that drawing fits into my work. First, it can function purely as an engineering tool; second, it serves as an artistic expression. Then there’s everything in [&#8230;]]]></description>
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		<title>Jill O&#8217;Bryan in Conversation</title>
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		<pubDate>Fri, 20 Jul 2012 19:54:04 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Jill O'Bryan]]></category>
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		<guid isPermaLink="false">http://z4i.d5e.mywebsitetransfer.com/?p=193</guid>
		<description><![CDATA[Jill O&#8217;Bryan In Conversation with Rachel Nackman New York, March 2012 Rachel Nackman: Seriality has been a very important part of your work for many years. Can you tell us a little bit about the history of that part of your practice? Jill O’Bryan: I started out as a painter. First, out in the landscape, [&#8230;]]]></description>
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		<title>Sharon Louden in Conversation</title>
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		<pubDate>Fri, 20 Jul 2012 19:49:08 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Rachel Nackman]]></category>
		<category><![CDATA[Sharon Louden]]></category>
		<category><![CDATA[Wynn Kramarsky]]></category>

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		<description><![CDATA[Sharon Louden In Conversation with Wynn Kramarsky &#038; Rachel Nackman March 2012, New York Rachel Nackman: When you’re working on a particular series, is there a progression from works on paper to sculpture? Or do you work on a plurality of media at the same time on a similar theme? Sharon Louden: I work on [&#8230;]]]></description>
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		<title>Kristin Holder in Conversation</title>
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		<pubDate>Fri, 20 Jul 2012 19:44:29 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Kristin Holder]]></category>
		<category><![CDATA[Rachel Nackman]]></category>

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		<description><![CDATA[Kristin Holder In Conversation with Rachel Nackman April 2012, New York Rachel Nackman: Each of these drawings was made through very heavy surface application of graphite onto paper, incised with a series of lines that define a dimensional object. Can you tell us more about making these drawings and the materials you used? Kristin Holder: [&#8230;]]]></description>
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