What does it mean for art history to conjoin the terms ‘British art’ and ‘the global’? What is carried by the liminal space of the conjuncture? And what is forsaken? This special issue seeks to think through the pressures placed on British art since the mid-nineteenth century as a national category of enquiry in the wake of unstable definitions of post-colonialism, neo-colonialism, globalization and the decolonial. Drawing on recent scholarly debates about the role and definitions of British art, the co-authors explore some of the tensions inherent in trying to operate within a nationally and geographically defined field, the artificial borders of which are porous, malleable, and subject to regular political and cultural change. Acknowledging the shortcomings of both the global and the national as frameworks for art-historical enquiry, we suggest different ways of steering a path between the two.

中文翻译：

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“中心无处”：英国艺术与全球

将“英国艺术”和“全球”这两个术语结合起来对艺术史意味着什么？关口的临界空间承载着什么？什么被遗弃了？本期特刊旨在思考自 19 世纪中叶以来英国艺术在后殖民主义、新殖民主义、全球化和非殖民主义的定义不稳定之后所承受的压力。借鉴最近关于英国艺术的作用和定义的学术辩论，合著者探讨了试图在一个国家和地理界定的领域内运作所固有的一些紧张局势，其人为边界是多孔的、可延展的，并受制于定期政治和文化变革。承认全球和国家作为艺术史探究框架的缺陷，