This essay offers an account of the ways in which successive generations of Black artists in Britain engaged with modernism during the UK's transformation from a monocultural to a post-imperial society. Whereas the first wave (including Frank Bowling and Anwar Shemza) sought to reconcile their late colonial backgrounds with the tenets of high modernism – the autonomy of the artwork, the disinterested beholder, and universalist claims of timeless aesthetic value – the second wave (including Rasheed Araeen and Gavin Jantjes) turned to minimalism, performance, and photo-text to de-centre modernism's core assumptions that relied on formalist discourse. Collage and montage practices among the UK-born third wave (including Sonia Boyce, Maud Sulter, and Donald Rodney), which entailed the hyphenation of cross-cultural elements, thus call for a deeper look at transculturation processes active since modernism's beginning, but which were not previously recognized on account of formalist hegemony.

中文翻译：

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最长的旅程：英国的黑人侨民艺术家

本文描述了英国从单一文化社会向后帝国社会转变期间，英国历代黑人艺术家如何参与现代主义。第一波（包括 Frank Bowling 和 Anwar Shemza）试图调和他们晚期的殖民背景与高度现代主义的信条——艺术品的自主性、无私的旁观者和对永恒美学价值的普遍主义主张——第二波（包括拉希德） Araeen 和 Gavin Jantjes）转向极简主义、表演和照片文本，以去中心化依赖形式主义话语的现代主义核心假设。出生于英国的第三波（包括索尼娅·博伊斯、莫德·苏尔特和唐纳德·罗德尼）中的拼贴和蒙太奇实践，需要跨文化元素的连字符，