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From Diversion to Subversion
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Table of Contents

Contents

List of Illustrations

Introduction

David J. Getsy

Part I: Games and Play in Twentieth-Century Art History

From Judgment to Process: The Modern Ludic Field

Susan Laxton

The Duchamp Code

Gavin Parkinson

My Utopia: Play in Bauhaus Photography

Kevin Moore

Serious Play: Games and Early Twentieth-Century Modernism

Claudia Mesch

Surrealist Gaming: Rules and the Rest

Mary Ann Caws

Playing in the Sand with Picasso: Relief Sculpture as Game in the Summer of 1930

David J. Getsy

Joseph Cornell’s Dangerous Games

Stephanie L. Taylor

Playing with Dada: Hannah Wilke’s Irreverent Artistic Discourse with Duchamp

Debra Wacks

Dick Higgins, Fluxus, and Infinite Play: An “Amodernist” Worldview

Owen F. Smith

1Subversive Toys: The Art of Liliana Porter

Florencia Bazzano-Nelson

Part II: Contemporary Artists’ Views on Play and Games in New Media and Public Practices

Dissolving the Magic Circle of Play: Lessons from Situationist Gaming

Anne-Marie Schleiner

Running and Gunning in the Gallery: Art Mods, Art Institutions, and the Artists Who Destroy Them

Jon Cates

Coda: Distinguishing Art from Play

Zigzagging with Full Stops from Play to Art

Ellen Handler Spitz

List of Contributors

Index

About the Author

David J. Getsy is Goldabelle McComb Finn Distinguished Chair in Art History and Associate Professor at the School of the Art Institute of Chicago.

Reviews

“Far too often the seriousness of high art has been invoked at the expense of compelling art’s sheer gratuitousness, irrepressible impertinence, and spontaneous playfulness. A welcome and particularly bracing overturning of this staid approach is David J. Getsy’s From Diversion to Subversion, a collection of lucid essays by established and emerging scholars, which focuses insightfully on the oxymoronic turns of serious humor, games played in earnest, and ludic research.”—Robert Hobbs,Virginia Commonwealth University

“Getsy’s anthology is a strong piece of work, with older theories of play marshaled not to justify the fun house that the art world has become in our day, but to remind us of how deeply modernists have engaged with a range of ludic possibilities.”—Jed Perl The New Republic

“The book's project is a worthy one; play as a source for the creative imagination has too long been secondary. One hopes that this slender volume of well-researched essays succeeds in its task.”—A. J. Wharton Choice

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