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Leah Modigliani

, Caribbean and the Pacific.’21 The films and videos collectively addressed issues of racial discrimination in the production and dissemination of the arts, including the systemic differences between opportunities for artists from industrialized nations and those working elsewhere.22 In the summer of 1994 one hundred and eighty writers of colour gathered in Vancouver for the conference Writing Thru Race that had been sponsored by The Writers’ Union of Canada. The conference was initially inspired by two First Nations union members who, at the 1989 annual meeting, challenged

in Engendering an avant-garde
Creations of diasporic aesthetics and migratory imagery in Chinese Australian Art
Birgit Mersmann

Australian studies (Khoo and Lo, 2008 ) into account. Chineseness has inscribed itself into a global Chinese diaspora; it has dispersed all over the globe, forming varieties of Chinese contemporary diasporas in Europe and North America, Latin America and the Caribbean, the Asia-Pacific region, and on the African continent (Chee-Beng, 2013 ; Zhou, 2017 ). Historically speaking, this is not a new phenomenon, since Chinese communities have emigrated and spread all over the world throughout history – with some 20 million Chinese leaving China between the 1840s and 1940s

in Art and migration
Identity and community among migrant Latin American artists in New York c. 1970
Aimé Iglesias Lukin

States’ cultural dominance. They created, thus, a space in-between, the only that could be of their own. Notes 1 The Guggenheim Foundation Fellowship is offered to distinguished professionals in their fields. There is a specific category for artists coming from Latin America and the Caribbean. 2 My research on Contrabienal is based on my Master’s thesis, supervised by Professor Edward Sullivan at The Institute of Fine Arts at NYU in 2013. Preliminary versions of this chapter were published at Art@s Bulletin ’s special issue ‘Highways of the South’, and

in Art and migration
America in Rome at the beginning of the twentieth century
Daniele Fiorentino

of establishing their standing in what was then called the concert of nations, had signed an arbitration treaty in 1908 (which was renewed in 1914). 2 However, as the United States promoted peaceful exchanges among ‘developed’ nations, it repeatedly intervened in the Caribbean according to Theodore Roosevelt’s new reading of the Monroe Doctrine. Italy, on its part, declared

in Republics and empires
John M. MacKenzie

thirteen colonies of North America and in the Caribbean islands at an earlier date,7 but they became the essential component of any self-respecting city and town in the colonies during the nineteenth century. Obviously, all of these had architectural expressions, often grand ones in the capitals and larger cities of empire, although they also appeared in more humble form in many smaller towns. The colonial middle class, far from being anti-intellectual, aspired to these key markers of status, without which no colony could feel that it had fully entered the modern world

in The British Empire through buildings
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Writing queer feminist transnational South Asian art histories
Alpesh Kantilal Patel

diverse restaurants. Even Visit Manchester, the official tourism website for Greater Manchester, mentions Curry Mile under its ‘international cuisine’ section without any indication that the area offers more than the eponymous ‘curry’, which in the British context is a term that stands in for all South Asian food.77 In addition to the more than fifty restaurants, takeaways and sweet houses that offer the varied delicacies of Bangladesh, Pakistan, India and Iran, the area also has a sizeable number of Middle Eastern, Greek, Chinese and Caribbean restaurants. Some

in Productive failure
Representations of Marseille
Joseph McGonagle

cuts to them diving naked into the sea at night, the camera noticeably focusing on their black and brown bodies as they swim and splash one another amidst the waves. In a reminder of the Caribbean poet Derek Walcott’s (1996) notion that ‘the sea is history’, this scene poetically celebrates Marseille’s diverse ethnic heritage and the port’s significant role in France’s history of immigration; the vitality and energy of the young multi-ethnic crowd fused with a raï soundtrack. Later, as they arrive home, the same song spills from their car stereo just as, in the

in Representing ethnicity in contemporary French visual culture
Open Access (free)
Janet Wolff

other ethnic groups. In the 1980s it had a reputation for drug trafficking and gang warfare. As so often with inner-city residential areas, different immigrant populations arrived there, later moving out to somewhat more affluent areas, confirming the classic geographical pattern identified by W.I. Thomas and others at the Chicago School of sociology in the 1920s. Before the Jews, who arrived in the early twentieth century, the Irish lived there. From the mid-twentieth century the majority of immigrants were Indian, Pakistani and Caribbean. Adjacent to Cheetham Hill

in Austerity baby
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Joseph McGonagle

particularly intriguing. This book probes some of the diverse ways in which different ethnicities have been represented across contemporary French visual culture. As Cole (2005: 201) has argued, France is well placed geographically. By sharing a land border with six European countries and being connected to England by an undersea channel, it can plausibly claim to be at the crossroads of Europe. Directly across the Mediterranean lie three Maghrebi countries it formerly ruled and it still possesses overseas territories in the Caribbean, South America and in the Indian and

in Representing ethnicity in contemporary French visual culture
Anne Ring Petersen

migration: the transportation of millions of enslaved Africans to the Americas and the Caribbean. Similarly, the room entitled Modes of Transport, 1770–1910 (see figure 4.1) revealed a Ku Klux Klan hood resting in the sheltered space of a pram, contextualised by an early twentieth-century photograph of African-American nannies with white children in their prams,16 reminding visitors of the continued racism, violence and persecution and social oppression of black people following the abolition of slavery in America. The British-Nigerian artist Yinka Shonibare

in Migration into art