View of “Anthea Hamilton,” 2016–17. Photo: Stuart Whipps.

Anthea Hamilton

The Hepworth Wakefield

View of “Anthea Hamilton,” 2016–17. Photo: Stuart Whipps.

Starting in 1957, writer and former Tate Gallery curator Harold Stanley “Jim” Ede turned four nineteenth-century cottages near the University of Cambridge into a single home, called Kettle’s Yard, in which to display his collection of mainly British modern art. In 1966 Ede donated the property to the university, though he and his wife continued to live there until they retired to Edinburgh in 1973. In the process, Ede created a unique environment for art, characterized by a kind of studious informality. The gallery’s major renovation, now in its second year, provided an opportunity to tour its collection. The Hepworth Wakefield has taken the idea one step further with the aptly titled “Anthea Hamilton Reimagines Kettle’s Yard,” for which the 2016 Turner Prize nominee was invited to reconfigure the previous exhibition, “Kettle’s Yard at the Hepworth Wakefield,” drawn from both

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