Speaking at a conference in October 2016, Permindar Kaur asked, ‘Am I a Black artist?’ To be regarded as a ‘Black artist’ or not to be: what are the consequences for the trajectory of an artist's career; our understanding of the aesthetic affects of that artist's work; and their historicization within narratives of British art? This essay argues that the question of Kaur's ‘Blackness’, whether self-defined or perceived by others, has had significant implications for the ways in which her artworks have been interpreted and historicized. Following Stuart Hall's essay ‘Black Diaspora Artists in Britain: Three “Moments” in Post-War History’, this essay examines specific moments – artworks and their display – in Permindar Kaur's career, and their ‘periodization’ – interpretation and positioning – within a wider curatorial and art-historical narration of the Black anti-racist art agenda of the 1980s, and the Cool Britannia multiculturalism and nationalist Scottish Miracle narratives of the 1990s. Presenting Kaur as a case study, this essay provides insight into the challenges of narration faced by artists of colour.

中文翻译：

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Permindar Kaur：在 1990 年代英国艺术叙事中寻找“黑人”艺术家

在 2016 年 10 月的一次会议上，Permindar Kaur 问道：“我是黑人艺术家吗？” 被视为“黑人艺术家”与否：对艺术家的职业轨迹有何影响；我们对这位艺术家作品的审美影响的理解；以及它们在英国艺术叙事中的历史化？本文认为考尔的“黑色”问题，无论是自我定义的还是他人感知的，都对她的作品被解释和历史化的方式产生了重大影响。继斯图尔特·霍尔 (Stuart Hall) 的文章“英国的黑人侨民艺术家：战后历史上的三个“时刻”之后，这篇文章考察了 Permindar Kaur 职业生涯中的特定时刻——艺术作品及其展示，1990 年代的酷不列颠多元文化主义和民族主义苏格兰奇迹叙事。这篇文章以考尔为例，深入了解有色人种艺术家面临的叙事挑战。