Guided by Stuart Hall's essay ‘Black Diaspora Artists in Britain: Three “Moments” in Post-War History’ (2006), this special issue looks closely at the multi-faceted genealogies of Black British modernism since the arrival of the ‘Windrush generation’. It brings together a range of essays in different formats by artists and art historians on topics and methods that have been central to the AHRC-funded Black Artists and Modernism project from which it emerges. In particular, the introduction centralizes the lack of attention paid to the material and conceptual nature of artworks made by Black British artists, and asks how a reappraisal of their work can contribute to an expanded understanding of modernism. Re-evaluating David Medalla's participatory artwork A Stitch in Time (1967–72), which originated in the late 1960s but has since taken on multiple lives in various locations across the globe, we consider why and how it continues to be occluded from orthodox narratives of conceptual art.

中文翻译：

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心爱的还是单恋的？在艺术史上成为“黑人”

在斯图尔特·霍尔 (Stuart Hall) 的文章“英国的黑人侨民艺术家：战后历史的三个“时刻”(2006) 的指导下，本特刊密切关注自“狂风一代”到来以来英国黑人现代主义的多方面谱系. 它汇集了艺术家和艺术史学家以不同格式撰写的一系列关于主题和方法的文章，这些主题和方法一直是 AHRC 资助的黑人艺术家和现代主义项目的核心，它从中出现。特别是，引言集中了对英国黑人艺术家作品的材料和概念性质缺乏关注的问题，并询问对他们作品的重新评估如何有助于扩大对现代主义的理解。重新评估 David Medalla 的参与式艺术作品A Stitch in Time （1967-72），它起源于 1960 年代后期，但此后在全球不同地点经历了多次生命，我们思考它为什么以及如何继续被排除在正统的观念艺术叙事之外。