Griselda Pollock

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Griselda Pollock (born 11 March 1949)[1] is a visual theorist and cultural analyst, and scholar of international, postcolonial feminist studies in the visual arts. She is best known for her theoretical and methodological innovation, combined with readings of historical and contemporary art, film and cultural theory. Since 1977, Pollock has been one of the most influential scholars of modern, avant-garde art, postmodern art, and contemporary art. She is also a major influence in feminist theory, feminist art history and gender studies.[2]

Life and work[edit]

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.[3]

Art history[edit]

Griselda Pollock is regarded as a key proponent of feminism and art history.[4][5] In her work she is recognised as setting out to challenge mainstream models of art and art history that have excluded the role of women in art, and as exploring the social structures that have led to this process of exclusion. In doing so Pollock is engaged in research into the relationship between art and psychoanalysis, often drawing on the work of French cultural theorists. She is best known for her work on the artists Jean-François Millet, Vincent van Gogh, Mary Cassatt, Bracha L. Ettinger, Eva Hesse and Charlotte Salomon.[2]

In 2014 she was suggested by Michael Paraskos to the BBC to act as the presenter of a proposed remake of the 1969 television series Civilization, which had been originally fronted by the art historian Kenneth Clark. Paraskos described Professor Pollock as 'one of the few academics around with the full breadth of knowledge of the sweep of art history.'[6]


  • Millet, London: Oresko Books, 1977.
  • (with 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
  • (with Fred Orton) "Les Données Bretonnantes: La Prairie de Représentation", in: Art History III/3, 1980, pp. 314–344. Reprinted 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.
  • (with Fred Orton) "Cloisonism?", in: Art History V/3, 1982, pp. 341–348. Reprinted 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. Reprinted in: Orton & Pollock 1996, pp. 315–342
  • "Oeuvres Autistes." In: Versus 3, 1994.
  • (Edited with Richard Kendall)Dealing with Degas: Representations of Women and the Politics of Vision. 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.
  • (Edited), Generations and Geographies: Critical Theories and Critical Practices in Feminism and the Visual Arts, Routledge, 1996. ISBN 0-415-14128-1
  • (with 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.
  • (Edited with Richard Thomson), 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.
  • (Edited with Valerie Mainz), Work and the Image, 2 vols. London: Ashgate Press, 2000.
  • Vision and Difference: Feminism, Femininity and the Histories of Art (Chapter 1: Feminist interventions in the histories of art: an introduction, Chapter 3: Modernity and the spaces of femininity), Routledge Classics, 2003.
  • (Edited), Psychoanalysis and the Image, Boston and Oxford: Blackwell, 2006. ISBN 1-4051-3461-5
  • A Very Long Engagement: Singularity and Difference in the Critical Writing on Eva Hesse in Griselda Pollock with Vanessa Corby (eds), Encountering Eva Hesse, London and Munich: Prestel, 2006.
  • (Edited with Joyce Zemans), Museums after Modernism, Boston: Blackwells, 2007.
  • Encounters in the Virtual Feminist Museum Time, Space and the Archive, London: Routledge, 2007. ISBN 978-0-415-41374-9
  • (Edited, with Victoria Turvey-Sauron), The Sacred and the Feminine, London: I.B. Tauris, 2008.
  • "Opened, Closed and Opening: Reflections on Feminist Pedagogy in a UK University", n.paradoxa: international feminist art journal, vol. 27, July 2010, pp. 20–28.
  • Digital and Other Virtualities: Renegotiating the Image, edited by Griselda Pollock and Antony Bryant, I.B. Tauris, 2010. 9781845115685.
  • After-effects/After-images: Trauma and aesthetic transformation in the Virtual Feminist Museum, Manchester: Manchester University Press, 2013. 978-0-7190-8798-1

See also[edit]


  1. ^ "Birthdays", The Guardian, p. 33, 11 March 2014 
  2. ^ a b See Sue Malvern, "Griselda Pollock", in Chris Murray (ed.), Key Writers on Art: The Twentieth Century (London: Routledge, 2002) p. 199f.
  3. ^ Griselda Pollock, Looking Back to the Future (London: Routledge, 2001) p. 363.
  4. ^ Griselda Pollock, Encounters in the Virtual Feminist Museum. Routledge, 2007.
  5. ^ Harris, Jonathan (2001). The New Art History: A Critical Introduction. London: Routledge. ISBN 9780415230070. Retrieved 7 March 2015. 
  6. ^ Tim Walker, 'Griselda Pollock in running for Civilisation role' in The Daily Telegraph (UK newspaper), 3 June 2014

External links[edit]