Migration is one of the greatest societal challenges of our time. It has many facets, from mass movements to escape war, climate, or human rights abuses to the search for economic opportunity and prosperity. Illicit industries facilitate border crossings at the expense of safety, and governments face problems of processing and integrating new arrivals. These challenges have had a profound impact in Europe, calling into question central values of solidarity and human rights. This book analyses the law and policy of migration in the European Union (EU) and its relationship to understandings of the EU as an international human rights actor. It examines the role crisis plays in determining the priorities of migration policy and the impact political exigencies have on the rights of migrants. This book problematises the EU Area of Freedom, Security, and Justice as a 'home.' Taking a governmentality approach to critique discourse, the idea of a holistic approach is deconstructed to explore notions of wellness, resilience, responsibilisation and externalisaton. The EU's pursuit of a holistic approach to managing migration in crisis indicates problems with EU solidarity, and the tactics employed to bring the crisis under control reveal security concerns that provoke questions about the EU as an international human rights actor. Both this framework for analysis and the empirical findings make a significant contribution to how the migration crisis can be theorised using adaptable conceptual tools. Under this form of governance, migration becomes a phenomenon to be treated so that its symptoms are ameliorated. This book will be of interest to students and scholars of the EU, migration, and human rights as well as policymakers, commentators, and activists in these areas.

Marking the remarkable century of Ben Uri Gallery and Museum, from humble beginnings in London's East End in 1915 to a fully-fledged mainstream art museum, under its banner 'Art, Identity and Migration', this publication vividly illustrates rarely-seen masterworks from its collection by some of the greatest artists of the twentieth century, including Soutine, Chagall, Auerbach, Bomberg, Kitaj and Kossoff. Further highlights include the 'Whitechapel Boys'; Les Peintres Juifs de L'Ecole de Paris, Official War artists from both conflicts; mid-century emigres influencing the direction of the arts, and contemporary artists making ground-breaking work across new media. This unique collection, primarily of artists born into the Jewish faith, many shaping modern British, European and American art history, represents a distinct visual survey of artistic and social life in Britain and the cultural heritage of British Jewry. A range of texts provides a fascinating context for a collection born 'Out of Chaos'.

Griselda Pollock reintroduces an important feminist forerunner in this new, full-colour setting of Helen Rosenau’s 1944 book Woman in Art   Helen Rosenau (1900–1984) was part of the influential migration of European Jewish intellectuals who fled to Britain and the United States during the 1930s, bringing with them exciting innovations in art history’s methods. Only Rosenau, however, centred gender in her analysis. The result—her book Woman in Art: From Type to Personality—is a feminist art-historical project, as relevant today as when it was first published in 1944, in which Rosenau drew on contemporary discussions of gender in anthropology, philosophy, sociology, law, theology, history, and literature.   In this new volume, ahead of the eightieth anniversary of its original publication, Rosenau’s erudite and accessible text is prefaced with a personal memoir by Adrian Rifkin, who was once her student, new research into the refugee experience by Rachel Dickson, and a portrait of Rosenau as feminist intellectual by Griselda Pollock. In conversation with this new setting of the original text, richly illustrated with colour images, Pollock offers eye-opening new readings of key aspects of Rosenau’s methods, concepts, arguments, and interpretations of famous artworks, establishing the place of Rosenau’s “little book of 1944� in the historiographies of both feminist thought and cutting-edge art history across two centuries.