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Tate Papers ISSN 1753-9854

Tate Papers no.22 Autumn 2014

This issue looks at examples of twentieth-century exhibitions in which notions of play were harnessed by artists and institutions seeking to challenge conventional viewing experiences. Other topics include the evolution of Victorian domestic art, Barbara Hepworth’s relationship with her dealers Gimpel Fils, the American desert and representations of ‘the end’, and perceptions of learning at Tate.

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In this Issue

    Barbara Hepworth and Gimpel Fils: The Rise and Fall of an Artist-Dealer Relationship

    Alice Correia

    All Play and No Work? A ‘Ludistory’ of the Curatorial as Transitional Object at the Early ICA

    Ben Cranfield

    ‘Everything Was Getting Smashed’: Three Case Studies of Play and Participation, 1965–71

    Hilary Floe

    Duchamp, Childhood, Work and Play: The Vernissage for First Papers of Surrealism , New York, 1942

    David Hopkins

    No End to the End: The Desert as Eschatology in Late Modernity

    Matilde Nardelli

    Perceptions, Processes and Practices around Learning in an Art Gallery

    Emily Pringle and Jennifer DeWitt

    George Elgar Hicks’s Woman’s Mission and the Apotheosis of the Domestic

    Kendall Smaling Wood

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