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Tate Papers ISSN 1753-9854

Tate Papers no.34 2021–22

This issue includes two thematic groupings of articles: one that traces under-recognised histories of the São Paulo Biennial during Brazil’s military regime (1964–85), and another that reflects on politically and socially engaged art making, participatory practice and knowledge co-creation in programmes carried out at Tate Exchange. Accompanying these is a technical examination of Edward Burne-Jones’s altarpiece for St Paul’s Church, Brighton, revealing the influence on the artist of medieval and Renaissance sources.

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In this issue

    Politically Engaged Artistic Practice: Strategies and Tactics

    David Bates and Thomas Sharkey

    Participation in the Art Museum: Defining New Models for Public Engagement at Tate Exchange

    Peter Ride

    Curating Spaces for Not-Knowing

    Deborah Riding

    The Biennial Under Contestation: Local Perspectives on the Tenth São Paulo Biennial (1969)

    Caroline Saut Schroeder

    How to Talk About Biennials That Don’t Exist: Reassembling the Twelfth São Paulo Biennial (1973)

    Isobel Whitelegg

    The Other Biennial: São Paulo’s ‘National Biennial’, 1970–6

    Renata de Oliveira Maia Zago

    The Making of a Triptych: The Annunciation and Adoration of the Magi 1861 by Edward Burne-Jones

    Rachel Scott, Fiona Mann, Katherine Hinzman, Joyce H. Townsend and Alastair Johnson

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