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	<title>Notations: Contemporary Drawing as Idea and Process</title>
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		<title>Christine Hiebert in Conversation</title>
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		<comments>https://z4i.d5e.mywebsitetransfer.com/christine-hiebert/#comments</comments>
		<pubDate>Thu, 26 Jul 2012 19:17:52 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Christine Hiebert]]></category>
		<category><![CDATA[Rachel Nackman]]></category>

		<guid isPermaLink="false">http://notations.aboutdrawing.org/?p=356</guid>
		<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>
		<link>https://z4i.d5e.mywebsitetransfer.com/mark-williams/</link>
		<comments>https://z4i.d5e.mywebsitetransfer.com/mark-williams/#comments</comments>
		<pubDate>Fri, 20 Jul 2012 19:58:40 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Mark Williams]]></category>
		<category><![CDATA[Rachel Nackman]]></category>

		<guid isPermaLink="false">http://notations.aboutdrawing.org/?p=217</guid>
		<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>
		<link>https://z4i.d5e.mywebsitetransfer.com/hadi-tabatabai/</link>
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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>
		<category><![CDATA[Rachel Nackman]]></category>

		<guid isPermaLink="false">http://notations.aboutdrawing.org/?p=215</guid>
		<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>
		<link>https://z4i.d5e.mywebsitetransfer.com/allyson-strafella/</link>
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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>
		<category><![CDATA[Rachel Nackman]]></category>

		<guid isPermaLink="false">http://notations.aboutdrawing.org/?p=213</guid>
		<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>Amanda Beresford on Keith Sonnier</title>
		<link>https://z4i.d5e.mywebsitetransfer.com/keith-sonnier/</link>
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		<pubDate>Fri, 20 Jul 2012 19:57:39 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Amanda Beresford]]></category>
		<category><![CDATA[Keith Sonnier]]></category>

		<guid isPermaLink="false">http://notations.aboutdrawing.org/?p=211</guid>
		<description><![CDATA[Keith Sonnier by Amanda Beresford Keith Sonnier’s Early Rutgers Drawing (1966; fig. 1) dates from the period when the artist was studying with Robert Morris on a graduate teaching fellowship at Rutgers University. He was part of a group of artists whose work was later labeled Postminimal. The term relates to various art practices that [&#8230;]]]></description>
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		<title>Jennifer Padgett on Robert Smithson</title>
		<link>https://z4i.d5e.mywebsitetransfer.com/robert-smithson/</link>
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		<pubDate>Fri, 20 Jul 2012 19:57:16 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Jennifer Padgett]]></category>
		<category><![CDATA[Robert Smithson]]></category>

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		<description><![CDATA[Robert Smithson by Jennifer Padgett Robert Smithson combined drawing with photography in Bingham Copper Mining Pit—Utah Reclamation Project (1973; fig. 1), a presentation work that is part of his Reclamation series. He began with a photograph of a specific site—the Bingham Copper Mining Pit in Utah—and then superimposed his drawing on it by placing a [&#8230;]]]></description>
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		<title>Jennifer Padgett on Richard Serra</title>
		<link>https://z4i.d5e.mywebsitetransfer.com/richard-serra/</link>
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		<pubDate>Fri, 20 Jul 2012 19:56:47 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Jennifer Padgett]]></category>
		<category><![CDATA[Richard Serra]]></category>

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		<description><![CDATA[Richard Serra by Jennifer Padgett Richard Serra may be best known for his massive sculptures, but drawing is fundamental to his artistic practice. In a 1977 interview he explained: “Drawing is a concentration on an essential activity, and the credibility of the statement is totally within your hands. It’s the most direct, conscious space in [&#8230;]]]></description>
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		<title>Karen Schiff in Conversation</title>
		<link>https://z4i.d5e.mywebsitetransfer.com/karen-schiff/</link>
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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>
		<category><![CDATA[Rachel Nackman]]></category>
		<category><![CDATA[Wynn Kramarsky]]></category>

		<guid isPermaLink="false">http://notations.aboutdrawing.org/?p=205</guid>
		<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>Elissa Weichbrodt on Fred Sandback</title>
		<link>https://z4i.d5e.mywebsitetransfer.com/fred-sandback/</link>
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		<pubDate>Fri, 20 Jul 2012 19:55:59 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Elissa Weichbrodt]]></category>
		<category><![CDATA[Fred Sandback]]></category>

		<guid isPermaLink="false">http://notations.aboutdrawing.org/?p=203</guid>
		<description><![CDATA[Fred Sandback by Elissa Yukiko Weichbrodt Drawn on deep blue Ingres paper, Fred Sandback’s untitled plan for an installation at the Marian Goodman Gallery (1985; fig. 1) evokes something akin to an architectural blueprint. Precise and spare, an axonometric pencil drawing of three walls of the gallery floats in the middle of the blue field. [&#8230;]]]></description>
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		<title>Kristen Gaylord on Robert Ryman</title>
		<link>https://z4i.d5e.mywebsitetransfer.com/robert-ryman/</link>
		<comments>https://z4i.d5e.mywebsitetransfer.com/robert-ryman/#comments</comments>
		<pubDate>Fri, 20 Jul 2012 19:55:31 +0000</pubDate>
		<dc:creator><![CDATA[rachel.nackman]]></dc:creator>
				<category><![CDATA[Kristen Gaylord]]></category>
		<category><![CDATA[Robert Ryman]]></category>

		<guid isPermaLink="false">http://notations.aboutdrawing.org/?p=201</guid>
		<description><![CDATA[Robert Ryman by Kristen Gaylord Since the beginning of his career in the late 1950s, Robert Ryman has addressed the familiar concerns of modern painting: the monochrome, attention to materiality, autonomous mark making, repetition, and seriality. In an interview with Robert Storr from 1986, Ryman said that art progresses not through organized movements but because [&#8230;]]]></description>
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