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Anne Ring Petersen

legacy and the complicated postcolonial relationship between Africa, the Caribbean and Europe. However, merely naming Julien’s position tends to miss the point that diagonal moves and connective procedures are at the core of his modus operandi.56 In his multi-screen video installations, he weaves 197 198 Migration into art together dance, music, poetry, painting, film, documentary and fiction to create a visual and artistic translation of the concept créolité. By allowing hybridised and complex spaces of representation to develop through movement between different

in Migration into art
John M. MacKenzie

if they can come to symbolise the civilised behaviour of new nationalist generations, perhaps a particularly potent effect when it is recognised that such ‘heritage’ can significantly attract and influence tourism.65 Sometimes, this conversion into heritage involves the convenient overlooking of sometimes baleful histories of such buildings, as for example in the case of slavery in the Caribbean. Heritage involves the reconstruction, in effect, of a new and symbolic historical façade. Nevertheless, such revaluation can take place at different levels, from those who

in The British Empire through buildings
Justness and justice at home and abroad
Jeff Rosen

her allegorical photographs depicting the submission of Abyssinia to the will of the British, and in her photographs Overstone’s ‘Negromania’ 199 Telescopic Philanthropy, cartoon in Punch, or the London Charivari, 4 March 1865. 35 200 Julia Margaret Cameron’s ‘fancy subjects’ of British explorers who covertly entered protected areas that were forbidden to Westerners, Cameron represented subjects that were connected directly to events in the Caribbean islands, North Africa, and the Middle East. When she created this imagery, she embedded a viewpoint that

in Julia Margaret Cameron’s ‘fancy subjects’
Kimberly Lamm

the divisions between the contestants and the protestors, and racial difference became a blunt wedge to further seemingly obvious divides. The Observer article reporting on the protests is titled ‘Miss World Was Not Amused,’ and focuses in on the winner’s disdain for the protestors’ interruption of the spectacle.59 Much bigger than the article itself is a black-and-white photograph of the new Miss World, Jennifer Hosten, a statuesque beauty whom the article describes as a ‘22-year-old daughter of a barrister on the tiny Caribbean island of Grenada.’ Hosten

in Addressing the other woman
Anne Ring Petersen

attention to the fact that there had been a fundamental change in Third Text’s struggle for recognition when an increasing number of non-Western artists, many of them with a migrant background, began to make successful careers in the ‘global art world’. In its first decade, Third Text concentrated on disclosing ‘the institutional closures of the art world’ and how artists with African, Caribbean and Asian backgrounds were systematically excluded. The second decade began ‘the enquiry into the new phenomenon … of the assimilation of the exotic Other into the new world art

in Migration into art
Abstract only
Jack Smith, Ruth St. Denis, and the dance of gestures
Paisid Aramphongphan

example of an empowering identification of a marginalized subject with a public figure who also departs from the norm. The artist’s allusions to Spanish culture, his homage to Latin divas, and use of “exoticized locations intended to signify a vaguely Caribbean ambience” in his later film work constitute what Suárez calls “tropicalism.” However, Suárez argues, if such leveling of cultural specificity is simply business as usual in a mainstream racist representation system, Smith differs in the queer twist he brings to it: the tropicalism provides an alternative mode of

in Horizontal together
Open Access (free)
Janet Wolff

and a half north of Manchester city centre, has long been a multi-ethnic community. Today its population includes South Asian, East Asian, African, Caribbean and Eastern European communities. At the beginning of the nineteenth century, Cheetham was a separate township from Manchester, amalgamated into the Borough of Manchester in 1838, and becoming part of the north Manchester township in 1896. From the 1830s, wealthy merchants, bankers and manufacturers began to build homes in Cheetham Hill, an area protected by its elevation from the pollution of industry. As Bill

in Austerity baby
Abstract only
Anne Ring Petersen

publication in the 2010s of Leon Wainwright’s Timed out: Art and the Transnational Caribbean93 and artist and writer Eddie Chambers’ Black Artists in British Art: A History since the 1950s.94 There are also monographs on transculturation resulting from other histories of exchange, such as Siobhán Shilton’s study of contemporary art from a Francophone space, Transcultural Encounters: Gender and Genre in Franco-Maghrebi Art,95 and Caroline Turner and Jen Webb’s monograph Art and Human Rights: Contemporary Asian Contexts. The latter explores how the interplay between local and

in Migration into art
Engaging with ethnicity
Joseph McGonagle

given no details about her ethnic heritage, were one to presume that she is of Martinican or Guadaloupean heritage, the portrait could be interpreted as a comment on the prominence of mothers in many Caribbean cultures and families, the cult of the body among some black diasporas, and the dark brown bottle alongside her – possibly of rum – as an allusion to the role of trade, history and migration in the formation of ethnicities. Unlike the many white women pictured throughout the book, however, this portrait seems coded in other specific ways: her pose emphasises her

in Representing ethnicity in contemporary French visual culture
Jasmine Allen

peoples of America was also minimal, in spite of the fact that Columbus had encountered Native Americans in the Caribbean when he first landed in the New World.136 Yet, on the Chicago Midway, a number of exhibits were gathered to showcase Native American life and handicrafts alongside a village of indigenous peoples.137 As Greenhalgh and others have demonstrated, these displays, organised by the colonial powers of Canada and USA, presented Native Americans as ‘a primitive, amorphous race defying Western ideals of decency and civilization’.138 There was much public

in Windows for the world