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Performing ‘out- of- placeness’ in the UK and Europe
Stephen Greer

, and has completed an extended season at the West Side Theatre, New  York, where it featured high-​profile stage and 3 For an ongoing series of interviews with queer migrant artists exploring related issues, see Xavier de Sousa’s queeringborders project, https://​​category/​ queeringborders/​, accessed 16 January 2018.  150 150 Queer exceptions screen actors including Nathan Lane, Whoopi Goldberg, Cynthia Nixon and Alan Cumming. Though Soleimanpour was able to obtain a passport in 2013 when a medical examination ruled that a problem with

in Queer exceptions
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From Empire to Republic, 1886–1949
Kathryn Milligan

work of Harry Kernoff, a migrant artist working in Dublin from the early 1920s onwards. Although working in the same period as Yeats, Kernoff’s artistic technique and choice of subject matter contrasts with his older peer, offering a different view of everyday life in twentieth-century Dublin. The chapter will consider Kernoff’s leftist politics in relation to his depiction of Dublin’s docks, labourers, and sites or figures associated with the left in Ireland, such as Liberty Hall and James Connolly. Moving into the later 1930s, the focus will shift from the

in Painting Dublin, 1886–1949
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The endless arrival
Paul Carter

perhaps the earliest layer of the book you are reading now, are other paths taken and not taken. But it is an allusion to migrant artist Victor Litherland, a list of paintings I planned to discuss in a catalogue essay, 32 that pulls together these threads: I was impressed by the way his many views of the main road snaking through the little mid-Victorian town of Creswick (where he lived) seemed to frame a void; stuck on to the edges of his compositions were stamp-sized human figures, immobile, puppet-like; a solitary

in Translations, an autoethnography
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Anne Ring Petersen

intermixing processes and heterogeneity of the cultural phenomenon in question, and bringing our attention to its local as well as its cosmopolitan affiliations. The first set of issues invariably leads to the second, which revolves around visibility and recognition. Here, I am concerned with the potential of art to highlight migration-related issues and ‘represent’ particular groups 11 12 Migration into art of migrants, but also with the visibility and recognition of migrant artists. What impact do increased mobility and migration have on the art world and the careers

in Migration into art