June 2022
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 of Art History 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.
‘The Centre is Nowhere’: British Art and the Global
Transmission and Transfer: Plantation Imagery and Medical Management in the British Empire
Multiple Versions, Multiple Markets, Multiple Meanings: Worldwide Trade in British Autograph Replicas
Worlding on the Hudson: Frederic Church and Global Histories of Art
Post-Impressionism: Universal, British, Global
Ambiguities of Imperial Mourning: The Patcham Chattri
Althea McNish: Designs without Borders
To Let You Understand: Franki Raffles, Photography and Feminist Solidarity
Riley in Cairo: British Art and Egypt in the 1980s
Synaptic Visualizations: Reading ‘the Global’ in and through the Work of Sutapa Biswas
Detours Through the Black Country: On Al-An deSouza’s Expeditionary Under-Writings