Born in South Africa, Griselda Pollock grew up in both French and English Canada. Moving to Britain during her teens, Pollock studied Modern History at Oxford (1967–1970) and History of European Art at the Courtauld Institute of Art (1970–72). She received her doctorate in 1980 for a study of Vincent van Gogh and Dutch Art: A reading of his notions of the modern. After teaching at Reading and Manchester Universities, Pollock went to the University of Leeds in 1977 as Lecturer in History of Art and Film and was appointed to a Personal Chair in Social and Critical Histories of Art in 1990. In 2001 she became Director of Centre for Cultural Analysis, Theory and History at the University of Leeds, where she is Professor of Social and Critical Histories of Art.
(& Fred Orton) Vincent van Gogh: Artist of his Time, Oxford: Phaidon Press, 1978; US-edition: E. P. Dutton ISBN 0-7148-1883-6
edited and re-published in: Orton & Pollock 1996, pp. 3–51
(& Fred Orton) Les Données Bretonnantes: La Prairie de Représentation, in: Art History III/3, 1980, pp. 314–344
re-published in: Orton & Pollock 1996, pp. 53–88
Mary Cassatt, London: Jupiter Books, 1980
Artists mythologies and media genius, madness and art history, in: Screen XXI/3, 1980, pp. 57–96
Vincent van Gogh in zijn Hollandse jaren: Kijk op stad en land door Van Gogh en zijn tijdgenoten 1870–1890, exh. cat. Amsterdam, Rijksmuseum Vincent van Gogh, 1980/1981 (no ISBN)
Old Mistresses; Women, Art and Ideology, London: Routledge & Kegan (Griselda Pollock with Rozsika Parker), 1981. Reissued by I.B. Tauris in 2013.
(& Fred Orton) Cloisonism?, in: Art History V/3, 1982, pp. 341–348
re-published in: Orton & Pollock, 1996, pp. 115–124
The Journals of Marie Bashkirtseff, London: Virago (newly introduced with Rozsika Parker), 1985.
Framing Feminism: Art & the Women’ s Movement 1970–85 (Griselda Pollock with Rozsika Parker), 1987.
Vision and Difference: [Femininity, Feminism, and Histories of Art], London: Routledge, and New York: Methuen, 1987.
"Inscriptions in the Feminine". In Catherine de Zegher (ed.), Inside the Visible. MIT, 1996. 67–87.
Agency and the Avant-Garde: Studies in Authorship and History by Way of Van Gogh, in Block 1989/15, pp. 5–15
re-published in: Orton & Pollock 1996, pp. 315–342
"Oeuvres Autistes." In: Versus 3 1994.
Dealing with Degas: Representations of Women and the Politics of Vision (co-edited Richard Kendall). London: Pandora Books, 1992 (now Rivers Oram Press).
Avant-Garde Gambits: Gender and the Colour of Art History, London: Thames and Hudson, 1993.
Trouble in the Archives. Special Issue Differences, vol. 4, no. 3, 1992.
(ed.), Generations and Geographies: Critical Theories and Critical Practices in Feminism and the Visual Arts, Routledge, 1996. ISBN 0-415-14128-1
(& Fred Orton) Avant-Gardes and Partisans Reviewed, Manchester University Press, 1996. ISBN 0-7190-4398-0
The Ambivalence of Pleasure, Getty Art History Oral Documentation Project, interview by Richard Cándida Smith, Getty Research Institute, 1997.
Mary Cassatt Painter of Modern Women, London Thames & Hudson: World of Art, 1998.
Richard Thomson (ed.), On not seeing Provence: Van Gogh and the landscape of consolation, 1888–1889, in: Framing France: The representation of landscape in France, 1870–1914, Manchester University Press, 1998, pp. 81–118 ISBN 0-7190-4935-0
Aesthetics. Politics. Ethics Julia Kristeva 1966–96, Special Issue Guest Edited parallax, no. 8, 1998.
Differencing the Canon: Feminism and the Histories of Art, London: Routledge, 1999.
Looking Back to the Future: Essays by Griselda Pollock from the 1990s, New York: G&B New Arts, introduced by Penny Florence, 2000. ISBN 90-5701-132-8
Griselda Pollock with Valerie Mainz (eds), Work and the Image, 2 vols. London: Ashgate Press, 2000.