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Revisioning the borders of community

Art and migration: revisioning the borders of community is a collective response to current and historic constructs of migration as disruptive of national heritage. This interplay of academic essays and art professionals’ interviews investigates how the visual arts – especially by or about migrants – create points of encounter between individuals, places, and objects. Migration has increasingly taken centre stage in contemporary art, as artists claim migration as a paradigm of artistic creation. The myriad trajectories of transnational artworks and artists’ careers outlined in the volume are reflected in the density and dynamism of fairs and biennales, itinerant museum exhibitions and shifting art centres. It analyses the vested political interests of migration terminology such as the synonymous use of ‘refugees’ and ‘asylum seekers’ or the politically constructed use of ‘diaspora’. Political and cultural narratives frame globalisation as a recent shift that reverses centuries of cultural homogeneity. Art historians and migration scholars are engaged in revisioning these narratives, with terms and methodologies shared by both fields. Both disciplines are elaborating an histoire croisée of the circulation of art that denounces the structural power of constructed borders and cultural gatekeeping, and this volume reappraises the historic formation of national identities and aesthetics heritage as constructed under transnational visual influences. This resonates with migrant artists’ own demands for self-determination in a display space that too often favours canonicity over hybridity. Centring migration – often silenced by normative archives or by nationalist attribution practices – is part of the workload of revisioning art history and decolonising museums.

Gender, migration, and refugee arts
Rachel A. Lewis

Introduction A 2017 report published by the World Health Organization (WHO) suggests that refugees, asylum seekers, and displaced populations experience a higher rate of mental health issues in comparison with individuals who are citizens of one or more nation-states (WHO, 2017 ). As a result of these findings, the WHO, the European Union, and the United Nations High Commission for Refugees (UNHCR) recommend that the mental health challenges faced by refugees and asylum seekers be viewed as a global priority (WHO, 2017 ; UNHCR, 2018 ). Indeed, the WHO has

in Art and migration
Open Access (free)
Janet Wolff

took with some gratitude. Excluded by culture and language, as well as by natural inhibition and reticence, he was more than content to leave all the Important Things (which included the children) to my mother and her ample extended family. There’s only one photo of him holding the baby (me), in which he looks embarrassed and nervous (but with the same shy smile as in this photo). Someone must have told him that for once he had to take a turn in front of the camera. The photograph is a scene from one year in his life, when he was interned with other refugees in the

in Austerity baby
Anne Ring Petersen

we have simply by virtue of being alive.3 As the European studies scholar Uta Staiger has pointed out: ‘The extra-juridical position of migrants corresponds to the extra-territorial position within which they are contained at borders. In areas such as detention centres, refugee camps or the no man’s land, spaces which technically belong to the countries they guard but which are already outside their normative realm, the citizenship gap is spatially instituted.’4 This chapter is concerned with how art can engage with migration politics related to the categories of

in Migration into art
An interview with Marina Galvani
Bénédicte Miyamoto and Marie Ruiz

University of Maryland (2003).  Among the museums where she acted as curator were Kunsthistorisches Museum (Vienna), Museo del Prado (Madrid), Gallerie dell’Accademia (Venice), and the National Gallery of Art (Washington DC). She curated a multi-dimensional art exhibition at the World Bank, entitled,  Uprooted: The Resilience of Refugees, Displaced People and Host Communities  (November 2017 – November 2018). This exhibition showcased artists – some of whom were refugees themselves – from Bangladesh, Pakistan, Colombia, Lebanon, Iraq, Syria, Jordan, Central African

in Art and migration
Anna Dezeuze

were offered by Meyer and Demos. Meyer countered ‘lyrical nomadism’ with the ‘critical nomadism’ of Renée Green or Christian-Philip Müller, which focused on the contemporary flâneur’s institutional, historical and discursive frameworks. For his part, Demos turned to other wandering figures such as the exile and the refugee who, according to him, have served as models for contemporary artists including Emily Jacir and Yto Barrada. Unlike the nomadic artist, the refugee must live on the move as a necessity rather than as a choice. In this text, Demos makes use of

in Almost nothing
The afterlife of Brunias’s imagery
Mia L. Bagneris

. This confusion has even been extrapolated to include New Orleans, as Brunias-inspired images, particularly a group of engravings by Jacques Grasset de Saint-Sauveur (after Labrousse) that were published in the 1796 Encyclopédie des voyages and used to represent St Domingue, are often used to represent the wave of refugees from Haiti to New Orleans during and after the revolution (see, for example, fig. 66).13 Moreover, in retrospect, I realised that I had seen Brunias’s imagery long before I ever embarked upon this project or even knew the artist’s name, when, as a

in Colouring the Caribbean
Justness and justice at home and abroad
Jeff Rosen

like Henry Taylor and Herman Merivale; in graphic representations that were printed in the Illustrated London News and Punch; and in the various narrative forms that Cameron applied to her allegorical photographs of the Abyssinian refugees. By 1868, what Punch called ‘Negromania’ did not need to be explained to the journal’s readership. Unlike Punch’s preposterous term ‘Crinolineomania’, which it invented in 1856 to ridicule women and their expanded roles in public life,4 British ‘Negromania’ was used blatantly as a denigrating and hostile term, and embodied the long

in Julia Margaret Cameron’s ‘fancy subjects’
Der Blaue Reiter and its legacies
Author: Dorothy Price

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.