This chapter illustrates the notion of a stable authorship or genealogy that is the bedrock of most racialized art histories is a fiction so as to begin to articulate art histories that were previously unthinkable. Anish Kapoor is one of the most critically and commercially successful artists of Asian descent in the West. In the early years of his career, Kapoor simultaneously drew on Arte Povera in his use of 'poor' materials, as well as Indian, or more specifically Hindu, cultural history. Thomas McEvilley framed Kapoor's artworks as British, rather than Indian, and he did so without eliding their connection to British colonialism. Throughout the 1990s, Kapoor's artworks were exhibited in roughly a dozen group exhibitions each year, as well as numerous international art biennials, all largely in Europe and North America.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.