Faculty of Arts, Humanities and Cultures

School of Fine Art, History of Art and Cultural Studies

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Griselda Pollock

Professor of the Social & Critical Histories of Art I Director of Centre for Cultural Analysis, Theory and History

0113 34 35267

Fine Art Room G.11

Office hours: Tuesday 9.00 am-11.00pm

BA Oxon, MA Oxon and London, PhD London

Feminist, social, queer and postcolonial interventions in the histories of art, trauma and cultural memory, representation of and after the Holocaust, 19th-c. to contemporary visual arts and film,  critical studies in contemporary art and curation (Documenta), Gender, Class and Visual Culture in the 1950s (Marilyn Monroe), Issues of Violence and Non-Violence in art and culture.


Born in South Africa, educated in French and English-speaking Canada and the UK.  BA Hons in Moderm History, University of Oxford 1970; MA with Distinction in History of Art, Courtauld Institute, University of London 1972; PhD Courtauld Institute, University of London 1980. Taught at Canterbury College of Art, Reading University, University of Manchester. Came to University of Leeds in 1977. Senior Lecturer in 1986 and Personal Chair in Social and Critical Histories of Art in 1990.  Director of the Centre for Cultural Analysis 1989-2000; Director of AHRC Centre CATH since 2001.


Research Interests

2014-2015 Advisor to the 14th Istanbul Biennial SALTWATER: A THEORY OF THOUGHT FORMS.  Working with two artists, Bracha Ettinger and Christine Taylor Patten selected for the 14th Istanbul Biennial.

2013-2014 with the Leverhulme Visiting Professor Carolyn Christov-Bakagiev: Transdisciplinary Encounters in Fine Art, History of Art and Curatorial Studies through a Critical Assessment of the Significance of the Project, Process, Realization and Retrospective Analysis of dOCUMENTA13(2012). This links to a study of art and contemporary histories since 1989 through the analysis of five DOCUMENTA exhibitions 1992, 1997, 2002, 207, 2012.

AHRC 4-year research project Concentrationary Memories: The Politics of Resistance with Max Silverman exploring the totalitarianism, aesthetic opposition and the seepage of the totalitarian into popular culture (cinema, video games, science fiction) Books forthcoming: Concentrationary Cinema: Close Reading Night and Fog edited with Max Silverman; Concentrationary Memories; Concentrationary Art

Matrixial Aesthetics and the Post-Catastrophic in visual and other cultural practices

Beyond Words: Representation at the Limits After History: Culture after Auschwitz : Painting/Film and the Shoah. Trauma and Cultural Memory. Moving between painting and cinema, this work is part of a developing project examining the interface between feminine alterity and Jewish otherness in Heleno-Christian culture – using its catastrophic real ization in the Shoah as the point of radical rupture which projects us into uncharted relations to representation, spatialisation, temporality, trauma, the body and its representations. Major projects in place with several publications on the work of Bracha Lichtenberg Ettinger, Vera Frenkel, Judith Tucker, Lily Markiewicz, Alfredo Jaar, Rethinking the Legacy of Aby Warburg in Contemporary Cultural Analysis. Developing an international network to develop a critical dictionary of Warburgian concepts to enhance the teaching and study of Warburg’s legacy in art history, postcolonial, visual and cultural studies.

The Innovations of Marilyn Monroe: Iconicity, Agency and The Politics of Sexuality. This is a research project coming out of my work in American studies of visual cultures in the 1950s. The project involves a close examination of the film texts in which Monroe appeared in order to go beyond their current status as vehicles for a major star. Instead the reading tracks the creation of the iconicity of Monroe and the traces of a white, working class, woman to negotiate the conditions of production and labour in the Hollywood film industry at the level of both institution and representations. The dramatic centre of most of the films in which Monroe appeared is damaged, menaced or wounded American masculinity in whose stories ‘woman’ functions as a necessary figure and other to be destroyed, desired or won. Reading archaeologically across the films as if without the knowledge of what Monroe would be opens up to a reading of American culture and sexuality. This is followed by a genealogical analysis of the construction of the elements that became the Monroe icon in cinematic imagery set against the creative partnerships Monroe enjoyed with major still photographers. A third section considers the cultural engagements with the life, death and image of Monroe posthumously enquiring into specific texts and images to ascertain the meanings attributed to and projected onto the image-reservoir of both the cinematic performances and the photographic archive, inflected by the manner in which culture ‘uses’ premature death in relation to femininity. Links with work on American women artists of 1950s, as well as with studies on death, sexual difference and cultural mythologies.

Trauma and Aesthetic Encryption in the Virtual Feminist Museum;

Migratory Aesthetics;

Cultural and Experimental Research into the Representation of Death

Psychoanalysis and Aesthetics. This project originally focussed on the work of Julia Kristeva and the possibility or impossibility for the inscription of the feminine and now concerns a theoretical analysis of the possibility of a post-phalllocentric theory of the feminine via the work or Bracha Ettinger. Both bodies of work articulate the interface between aesthetics, ethics and politics and explore the domain of the semiotic (Kristeva) or the sub-symbolic (Ettinger) modes. Collaboration with MaMSIE, Birkbeck College: M/Other Trouble Conference May 2009.


Nineteenth to twenty-first century international visual arts; feminist, queer and postcolonial cultural theory and analysis; cinema and culture; trauma and aesthetics; the Holocaust and cultural memory; femininity, representation and modernity; gender and the museum.

Former areas of specialist teaching:

From Trauma to Cultural Memory: Representation and the Holocaust

Critical Curation: Documenta since 1989

The Complete Marilyn Monroe: Sexuality, Celebrity and American Culture



Director of Research, September 2014-2017

Director, CentreCATH (Centre for Cultural Analysis, Theory and History, founded 2001)

Head of Programme, Cultural and Media Studies 2013-2015



  • Pollock GFS (2018) Charlotte Salomon: The Nameless Artist in the Theatre of Memory1941-2. New Haven and London: Yale University Press.

    The first full-scale monographic study of a surviving art work by a German-Jewish artist killed at the age of 23 in Auschwitz.

  • Pollock G; Silverman M (eds.) (2013) Concentrationary Memories: Totalitarian Terror and Cultural Resistance. Concentrationary Memories: The Politics of Representation. London and New York: I B Tauris.

    The second volume of studies edited by Pollock and Silverman developing their theoretical intervention through the concept of the concentrationary universe as a prism through which to cultural resistance to totalitarianism in Europe and beyond since 1939

  • Pollock G (eds.) (2013) Visual Politics and Psychoanalysis: Art and the Image in Post-traumatic Cultures. New Encounters: Arts, Cultures and Concepts. London and New York: I B Tauris.

  • Pollock G (eds.) (2013) Visual Politics and Psychoanalysis: Art and the Image in Post Traumatic Cultures. New Encounters: Arts, Cultures and Concepts. London and New York: I B Tauris.

    In this innovative collection, a distinguished group of international authors dare to think psychoanalytically about the legacies of political violence and suffering in relation to post-traumatic cultures worldwide. They build on maverick art historian Aby Warburg's project of combining social, cultural, anthropological and psychological analyses of the image in order to track the undercurrents of cultural violence in the representational repertoire of Western modernity. Drawing on post-colonial and feminist theory, they analyze the image and the aesthetic in conditions of historical trauma, from enslavement and colonization to the Irish Famine, from Denmark's national trauma about migrants and cartoons to collective shock after 9/11, from individual traumas of loss registered in allegory to newsreels and documentaries on suicide bombing in Israel/Palestine, and from Kristeva s novels to Kathryn Bigelow's cinema.

  • Pollock GFS (2013) Concentrationary Memories: Totalitarian Terror and Cultural Resistance. Concentrationary Memory: The Politics of Representation. London and New York: I B Tauris. (Accepted)

    The second book of studies on concentrationary memory and concentrationary memories exploring the concept of the concentrationary as a prism for examining the aesthetic responses to various moments and forms of totalitarianism

  • Pollock G (2013) After-Affects I After-Images: Trauma and Aesthetic Transformation in the Virtual Feminist Museum. Manchester: Manchester University Press.

    Do artists journey away from or towards the encounter with trauma. How can aesthetic formulation transform the traces of trauma. IN six case studies, the various economies and trauma and personal and historical extremity are analysed with theories of the image from Warburg and theories of trauma from Freud to Ettinger

  • (2013) Visual Politics and Psychoanalyses: Art and the Image in Post-Traumatic Cultures. New Encounters: Arts, Cultures, Concepts. I B Tauris. (Accepted)

    A collection of studies of the politics of the aesthetic in relation to psychoanalysis . Topics include Irish Famime Memorials, post 9/11 photography, surveillance, horrorism, cinema, traumas of colonisation, indignity and enslavement,

  • Pollock GFS (2013) Reading Van Gogh: Memory, Place and Modernity. London: Yale University Press. (In preparation)

    A radical re-reading of the career of Vincent van Gogh in terms of memories of place and displacement including within the formations of modernist painting in late 19th century Europe

  • Pollock G, Silverman M (2012) Concentrationary cinema: Aesthetics as political resistance in Alain Resnais's Night and Fog.

    © 2011, 2014 Griselda Pollock and Max Silverman. All rights reserved. Since its completion in 1955, Alain Resnais's Night and Fog (Nuit et Brouillard) has been considered one of the most important films to confront the catastrophe and atrocities of the Nazi era. But was it a film about the Holocaust that failed to recognize the racist genocide? Or was the film not about the Holocaust as we know it today but a political and aesthetic response to what David Rousset, the French political prisoner from Buchenwald, identified on his return in 1945 as the 'concentrationary universe' which, now actualized, might release its totalitarian plague any time and anywhere? What kind of memory does the film create to warn us of the continued presence of this concentrationary universe? This international collection re-examines Resnais's benchmark film in terms of both its political and historical context of representation of the camps and of other instances of the concentrationary in contemporary cinema. Through a range of critical readings, Concentrationary Cinema explores the cinematic aesthetics of political resistance not to the Holocaust as such but to the political novelty of absolute power represented by the concentrationary system and its assault on the human condition.

  • Pollock G, Silverman, M (2011) Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's Night and Fog (1955). London and New York: Berghahn Books.

    This international collection re-examines Resnais's benchmark film in terms of both its political and historical context of representation of the camps and of other instances of the concentrationary in contemporary cinema.

  • Pollock G; De Zegher C (eds.) (2011) Bracha L. Ettinger. Art as Compassion. Brussels: ASP Brussels and MER Kunsthaus.

    The first art historical monograph on a leading artist Bracha Ettinger tracing her career since the early 1980s with essays by Rosi Huhn, Judith Butler, Catherine de Zegher Christine Buci-Glicksman, Erin Manning, Griselda Pollock

  • Pollock GFS (2011) AlloThanatography or Allo-Auto-biography A few thoughts on one painting in Charlotte Salomon’s Leben? oder Theater? 1941-42. Frankfurt: Hatje Cantz.

    Also included in The Book of Books, Documenta 13 Hatje Cantz 2012.

  • Pollock G (2008) Theatre of Memory: Trauma and Representation in the work of Charlotte Salomon 1941-2. Yale University Press. (Accepted)

    Authored under the alias of Pollock, G.

  • Pollock G (2007) Encounters in the Virtual Feminist Museum: Time Space and the Archive. Routledge.

    A series of related studies indicating the role of time versus space and the archive; intervention in ways of framing the encounter with art that defies art history's normative models of style, artist, movement and nation by creating impossible conjunctions that reveal thematic and conceptual relations between art works as negoations of meaning systems and sexual difference.

  • Pollock G (2007) Museums after Modernism: Strategies of Engagement. Blackwell's.

  • Pollock G (2006) Psychoanalysis and the Image. Blackwell's.

  • Pollock G (2005) The Case Against Van Gogh: Cities and Countries of Modernism. Thames and Hudson. (In preparation)

  • Pollock G (2003) Vision and Difference: Feminism, Femininity and the Histories of Art. Taylor and Francis.

  • Pollock G (2000) Looking Back to the Future: Essays on Art, Life and Death. 1. Routledge.

    A series of essays some newly published feminist criticism and analysis in fine art, art history and film including autobiographical reflections on psychoanalysis and colonialism. Key essays on Mary Cassatt, Tarzan, and Bracha Ettinger

  • Mainz VS, Pollock G (2000) Work and the Image. Ashgate.

  • Pollock G (1999) Differencing the Canon: Feminist Desire and the Writing of Art's Histories. Routledge, London and New York.

  • Pollock G (1998) Mary Cassatt: Painter of Modern Women. Thames and Hudson, London and New York.

  • Pollock G (1996) Killing Men and Dying Women: A Woman's Touch in the Cold Zone of 1950s American Painting. Manchester University Press.

    Authored article in Co-Authored book (with L.F.Orton), Book Title: "Avant-Gardes and PArtrisans Reviewed", Manchester University Press, Manchester and New York, 1996.

  • Pollock G (1996) Avant-Gardes and Partisans Reviewed. Manchester University Press.

Journal articles

  • Chare N, Pollock G (2018) “To Play Many Parts : Reading Between the Lines of Charlotte Salomon/CS's Leben? oder Theater?”, RACAR-REVUE D ART CANADIENNE-CANADIAN ART REVIEW. 43.1: 63-80.
    DOI: 10.7202/1050821ar

    A conversation about the process of writing my monograph on Charlotte Salomon

  • Pollock G (2017) “Life? Or Theatre?”, TLS - The Times Literary Supplement. 5981: 25-26.
    Repository URL: http://eprints.whiterose.ac.uk/131374/

  • Pollock G (2017) “Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch”, Text Matters. 7.7: 114-144.
    DOI: 10.1515/texmat-2017-0007, Repository URL: http://eprints.whiterose.ac.uk/118474/

    © 2017 Griselda Pollock, published by De Gruyter Open 2017. This paper proposes a conversation between Charlotte Salomon (1917-43) and Edvard Munch that is premised on a reading of Charlotte Salomon's monumental project of 784 paintings forming a single work Leben oder Theater (1941-42) as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal's critical concept of "preposterous history" and my own project of "the virtual feminist museum" as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche.

  • Pollock G (2017) “The missing wit(h)ness: Monroe, fascinance and the unguarded intimacy of being dead”, Journal of Visual Art Practice. 16.3: 265-296.
    DOI: 10.1080/14702029.2017.1384912, Repository URL: http://eprints.whiterose.ac.uk/120953/

    © 2017 Informa UK Limited, trading as Taylor & Francis Group. In 1985 journalist Anthony Summers published a post-mortem photograph of Marilyn Monroe, titling it ‘Marilyn in death’, in his book, Goddess: The Secret Lives of Marilyn Monroe (1985), which investigated the theory that her death was not suicide. The photograph thus acquired forensic significance. My questions are these: Is there an inevitable transgression and even violence in the exposure of an image of a dead woman such as we find in Summers’ and other publications? Under the rubric of this collection, unguarded intimacy, I address a set of paintings made from the morgue photograph of a derelict Marilyn Monroe in the era of feminist ethics by two painters, Margaret Harrison (b.1940) and Marlene Dumas (b. 1953). What are the material and theoretical possibilities of creating feminist e(a)ffects in re-workings of this stolen image if we can distinguish between the forensic notion of the silent witness (the pathologist performing an autopsy whose aftermath this photograph in the morgue indexes) and a concept derived from the Matrixial aesthetics of artist-theorist Bracha Ettinger–aesthetic wit(h)nessing? Can such aesthetic wit(h)nessing deflect the unguarded intimacy of seeing an unattended body in its absolute helplessness by inciting compassion?.

  • Pollock G (2017) “‘How the political world crashes in on my personal everyday’: Lubaina Himid’s Conversations and Voices: Towards an Essay About Cotton.com”, Afterall: A Journal of Art, Context and Enquiry. 43: 18-29.
    DOI: 10.1086/692550, Repository URL: http://eprints.whiterose.ac.uk/130505/

    Griselda Pollock traces Lubaina Himid’s creative trajectory as she articulates her presence and singularity as an artist.

  • Pollock G (2016) “Looking Jewish: Visual Culture and Modern Diaspora, Carol Zemel”, Jewish Historical Studies. 48.1: 229-234.
    DOI: 10.14324/111.444.jhs.2016v48.033, Repository URL: http://eprints.whiterose.ac.uk/131373/

  • Pollock G (2016) “Is feminism a trauma, a bad memory, or a virtual future?”, Differences. 27.2: 27-61.
    DOI: 10.1215/10407391-3621697, Repository URL: http://eprints.whiterose.ac.uk/123030/

    © 2016 by Brown University. Reading the event of feminism as a trauma both to its societies and, as important, to its potential subject-feminists-this article mounts an argument against the iterated feminist memory of warring generations and succeeding waves. Citing Elizabeth Grosz on the constant need for new concepts that enable the heterogeneous actualization of feminism's unharvested virtuality and Ewa Plonowska Ziarek's rereading of suffragette thought as an aesthetic modernism articulating a radical right to revolt and to imagine an undefined feminist futurity, Pollock examines texts by Hannah Arendt, Anna Freud, and Bracha Ettinger to elucidate both de-Oedipalized and non-Oedipal modes of feminist transmission and the institutionalization of feminism. While displacing the familialization of feminism that acts out the daughter's unrelieved "anxiety of influence" in a phallocentric culture structurally committed to mother-hating and mother-blaming, the article explores psychoanalytical foundations for the ethical questions of responsibility in the common but always historically differentiated struggle to incite and sustain the spaces of democratic subjectivities imagined beyond the paradigms of parents, children, and envious siblings.

  • Pollock G (2016) “Monroe's Molly: Three Reflections on Eve Arnold's Photograph of Marilyn Monroe Reading Ulysses”, Journal of Visual Culture. 15.2: 203-232.
    DOI: 10.1177/1470412916648674, Repository URL: http://eprints.whiterose.ac.uk/87859/

    © Copyright The Author(s), 2016. It is often said that Marilyn Monroe was even more brilliant in posing for still photography than for cinematic performances. She posed for a range of remarkable photographers creating a secondary archive of 'still Monroe'. Eve Arnold was one of the only women who contributed to this archive. Does gender inflect the images she made of this complex modernist woman of the 1950s? The photo-shoot that brought Arnold and Monroe together in 1955 has incited comment from both cultural and literary scholars because of the seemingly bizarre combination of the sex-goddess reading the most challenging modernist text, Ulysses by James Joyce. As part of the author's current project to re-'read' the Monroe still and moving image archive using the tools of a Warburgian art history focusing on gestures and affects, a postcolonial feminist class analysis of modern women as creative agents within/against sexist and racist cultural institutions, and as a feminist cultural theorist using psychoanalytically-inflected image analysis within historical specificity, this article seeks to revisit and re-read the double agency of the two women at work together making images mediated by what was offered to Baker-Monroe - and knowingly incorporated by her - by the gendered voice of Penelope-Molly in the final section of Ulysses.

  • Pollock G (2015) “For ZB”, Thesis Eleven. 133.1: 119-120.
    DOI: 10.1177/0725513616638475d

  • Pollock G (2014) “Crimes, confession and the everyday: challenges in reading Charlotte Salomon's Leben? oder theater? 1941-1942”, Journal of Visual Culture. 13.2: 200-235.
    DOI: 10.1177/1470412914532319, Repository URL: http://eprints.whiterose.ac.uk/81178/

    Charlotte Salomon (1917-1943) was a Jewish-German artist murdered in Auschwitz at the age of 26. She left one massive artwork comprising 784 paintings with text, music and overlays. What is this work? Why was it made? Since its first exhibition and publication in the 1960s it has been treated as an autobiographical narrative and Holocaust testimony. Resisting both trends, this article reframes the work in terms of gender, the event and the everyday in order to examine the implications of a recent revelation, in a film form (2012), of new evidence that the work structurally functions as a crime narrative, even a confession, in the context of familial sexual abuse. Drawing on Pierre Bayard on detective fiction and Derrida on the archive, the article juxtaposes the visual rhetoric of Frans Weisz's 2012 film and the visual rhetoric of several key sections of Salomon's audio-visual Life? or Theatre?, to tease out the visual evidence for this claim.

  • Pollock G (2014) “Whither art history?”, Art Bulletin. 96.1: 9-23.
    Repository URL: http://eprints.whiterose.ac.uk/81177/

  • Pollock G (2012) “Muscular defences”, Journal of Visual Culture. 11.2: 127-131.
    DOI: 10.1177/1470412912444187b

  • Pollock G (2012) “Saying NO! Profligacy versus Austerity, or Metaphor against Model in Justifying the Arts and Humanities in the Contemporary University.”, Journal of European Popular Culture. 3.1 (Submitted)

    Demonstrating an analysis of two musicals that both disclose and seek imaginatively to resolve political and economic conflict, an analysis that was the product of the radical interdisciplinary ‘studies’ movements of the culture wars in the late twentieth century university, this article seeks to examine what modes of defence are available to the critical projects in the Arts and Humanities, developed in that moment, when now faced with the culture of austerity. Under the twin rationalizations of audit culture with the accountable excellence and the new model that defines the Arts and Humanities as ‘profligate’ expenses in an age of financial rationing based on economic necessity and required technological orientation, there is a temptation to fall back on nostalgia for an imagined period of academic freedom identified, problematically but not untruthfully, with struggles for democracy through and in education. Based on Hannah Arendt’s defence of thinking via a reading by Judith Butler, and with Gayatri Spivak’s notions of teaching to read as a necessary route to the creation of a planetary community, the article seeks to go beyond the historically compromised defences of self-determining academic freedom, themselves shown to be founded in nationalist and imperialist agendas of the past.

  • Pollock G (2011) “The lessons of Janina Bauman: Cultural memory from the Holocaust”, Thesis Eleven. 107.1: 81-93.
    DOI: 10.1177/0725513611421449

  • Pollock GFS (2011) “The lessons of Janina Bauman:Cultural Memory from the Holocaust”, Thesis Eleven: critical theory and historical sociology. 107: 81-93.

  • Pollock GFS, Pollock G (2011) “What if Art Desires to be Interpreted? Remodelling Interpretation after the ‘Encounter-Event’”, Tate Papers. 15

  • Bryant A, Pollock G (2010) “Where do Bunnys come from?: From Hamsterdam to hubris in The Wire”, City. 14.6: 709-729.
    DOI: 10.1080/13604813.2010.525338

    The Wire has not only been identified as one of the greatest television studies of the destitution of the modern American city through the genre of the police procedural, but it has also been hailed as a modern work of tragedy. The strength and depth of its characters confer upon them the tragic status of brave and courageous individuals battling the vagaries of fate. For Simon and Burns, the contemporary gods are, however, the faceless forces of modern capitalism. While acknowledging the necessity for such a cultural reading of the dramaturgy and genuinely tragic pathos achieved by the collaborative writing and creative vision led by David Simon and Ed Burns, this paper challenges this reading since it risks reducing African Americans to passive, albeit tragic victims of all-powerful forces. It also inhibits the possibility of imagining agency and action. Tracking one character, Colonel Howard 'Bunny' Colvin, who has not been fêted or celebrated in the subsequent popular and academic debates about The Wire, the authors argue that Colvin represents a figure of exception in the overall scheme. In several key spheres-creative policing, the drug trade and in education-he is a figure of action. Thus the paper reads this character through the prism of the political theory of Judith Shklar who denounces 'passive injustice' and indifference to misfortune, calling for informal relations of everyday democracy and active citizenship in line with a series of diverse critics of contemporary American urban social relations (Lasch, Sennett). The question of action as itself a form of diagnosis and responsibility leads back to Gramscian concepts of the organic intellectual and to Hannah Arendt. Without losing sight of the fact that The Wire is a fictional drama, the paper argues that narratological analysis of one character can contribute imaginatively to the field of social and political theory while using its affective capacity to situate the viewer/reader in the dilemmas of social practice that the crisis portrayed in The Wire so forcefully represents. © 2010 Taylor & Francis.

  • Pollock G (2010) “Moments and Temporalities of the Avant-Garde "in, of, and from the feminine"”, NEW LITERARY HIST. 41.4: 795-820.

  • Pollock GFS (2010) “The Long Journey Home: Maternal Trauma, Tears and Kisses in a work by Chantal Akerman’”, Maternal Studies. no 3

  • Pollock GFS (2010) “Aesthetic Wit(h)nessing in the Era of Trauma”, EurAmerica: A Journal of European and American Studies. December 2010. 40.4: 829-886.
    Repository URL: http://eprints.whiterose.ac.uk/82753/

    Israeli/French artist and psychoanalytical theorist, Bracha Ettinger has declared: “In art today we are moving from phantasm to trauma. Contemporary aesthetics is moving from phallic structure to matrixial sphere.” In analysing the significance of this claim, this article will bring together the legacies of feminist, post-colonial cultural theories in relation to the current focus on trauma, memory and aesthetics in an international context. The understanding of the twentieth century as a century of catastrophe demands theoretical attention be given to concepts such as trauma, as artists with deep ethical commitments bring issues of traumatic legacies to the surface of cultural awareness and potentially provide through the aesthetic encounter a passage from the traces of trauma. This article introduces, explains and analyses the contribution of Bracha Ettinger as a major theoretician of trauma, aesthetics and above all sexual difference. In addition, it elaborates on her parallel concept of a matrixial aesthetic practice, enacted through a post-conceptual painting, that retunes the legacies of technologies of surveillance and documentation/archiving, as a means to effect the passage to a future that accepts the burden of sharing the trauma while processing and transforming it. The article demonstrates the dual functions of Ettingerian theories of a matrixial supplement to the phallocentric Imaginary and Symbolic in relation to the major challenges we face as we seek to understand, acknowledge and move on from the catastrophes that render our age post-traumatic.

  • Pollock GFS (2010) “The long journey: maternal trauma, tears and kisses in a work by Chantal Akerman”, Studies in the Maternal. 2.1: 1-32.
    Repository URL: http://eprints.whiterose.ac.uk/81887/

    Chantal Akerman is now one of the most highly regarded filmmakers in Europe with a long career reaching back into the 1970s when she was first hailed as part of a new feminist cinema. As independent cinema lost ground and its own locations, Akerman was invited to create installations for her films and thus to traverse the boundaries between cinema and new media art forms. While still making commercial cinema, Akerman elaborates its themes in other forms. One such installation, WALKING NEXT TO ONE'S SHOELACES INSIDE AN EMPTY FRIDGE (2004), created an occasion for her to film together with her own mother, the haunting presence of many of her films and much of the feminist analysis of Akermanian cinema. This time, Akerman led her mother back to her own mother through an object, the only remnant of a young woman murdered in Auschwitz. This paper is an analysis of what happened during this filming which leads to a retrospective reading of Akerman's films from 1968 in terms of traumatic inscriptions of the shared transgenerationally transmitted but unspoken trauma that finds its moment of formulation in this 'event' that was filmed and then made into an installation. Drawing on Ettingerian matrixial revisions to trauma theory and to psychoanalytical aesthetics, notably through the concept of fascinance as a durational non-visual gazing through which the feminine subject seeks knowledge of a feminine other, I argue that we can, in the light of this 'event' of the 2004 work, reconfigure Akerman's work in terms of a journey towards the traumatic kernel that, encrypted, leads to repetition, but formulated through the durational artwork facilitates passage of its remnants.

  • Pollock GFS (2009) “Mother trouble: the maternal-feminine in phallic and feminist theory in relation to Bratta Ettinger's Elaboration of Matrixial Ethics”, Studies in the Maternal. 1.1: 1-31.
    Repository URL: http://eprints.whiterose.ac.uk/81179/

  • Pollock G (2009) “Art/Trauma/Representation”, PARALLAX. 15.1: 40-54.
    DOI: 10.1080/13534640802604372

  • Pollock GFS (2009) “The Missing Photograph: Maternal Imagoes in Charlotte Salomon's Life/or Theatre?”, New Formations:. Special Issue: Reading Life Writing. No 67: 59-77.

  • Bear L, Carolin C, Pollock G, Sidén AS, Carolin C, Haynes C (2008) The politics of display: Ann-Sofisidén's warte MAl!, Art history and social documentary. : 154-174.
    DOI: 10.1002/9780470696118.ch7

  • Pollock G (2008) “Psychoanalysis and the Image: Transdisciplinary Perspectives”, Psychoanalysis and the Image: Transdisciplinary Perspectives. : 1-247.
    DOI: 10.1002/9780470691007

    Psychoanalysis and the Image brings together an influential team of international scholars who demonstrate innovative ways to apply psychoanalytical resources in the study of international modern art and visual representation. Examines psychoanalytic concepts, values, debates and controversies that have been hallmarks of visual representation in the modern and contemporary periods Covers topics including melancholia, sex, and pathology to the body, and parent-child relations Advances theoretical debates in art history while offering substantive analyses of significant bodies of twentieth century art Edited by internationally renowned art historian Griselda Pollock. © 2006 Blackwell Publishing Ltd.

  • Pollock G, Zemans J (2008) “Preface”, Museums After Modernism: Strategies of Engagement.
    DOI: 10.1002/9780470776636

  • Pollock G (2008) Un-Framing the Modern: Critical Space/Public Possibility. : 1-39.
    DOI: 10.1002/9780470776636.ch1

  • Pollock G (2008) The Visual. : 173-194.
    DOI: 10.1002/9780470756683.ch9

  • Moore AH, Pollock G (2007) “Introduction”, Parallax. 13.2: 1-5.
    DOI: 10.1080/13534640701267115

  • Pollock G (2007) “What does a woman want? Art investigating death in Charlotte Salomon's Leben? oder Theater?”, ART HIST. 30.3: 383-+.

  • Pollock G (2007) “Thinking sociologically: thinking aesthetically. Between convergence and difference with some historical reflections on sociology and art history”, HIST HUM SCI. 20.2: 141-175.
    DOI: 10.1177/0952695107077109

  • Pollock G (2007) “Stilled Life:Traumatic Knowing, political violence, and the dying of Anna Frank”, Mortality. : 124-141.

    This article is a mediation caused by an encounter in the Jon Blair documentary Anna Frank Remembered (1995) with the only surviving moving footage of Anna Frank, who was made into the iconic image of a repressing memory of the Holocaust as a result of the publication of her diaries and their rendering into a play and film during the 1950s. The case study explores further the conditions under which we can bear to know the suffering of others, examining how and why Frank's gender and age have been used to displace the political conditions of her murder, including a refusal to face the fact of the nature of her dying

  • Pollock G (2007) “Thinking Sociologically: Thinking Aesthetically”, History of the Human Sciences. : 141-173.

    A study of the relations between art history and sociology drawing on Marx's comments in the Grundrisse about the potential end of art with 'production as such.'

  • Pollock G (2007) “Freud's Egypt: Mummies and M/Others”, Parallax. : 56-79.

    Authored under the alias of Pollock, G.

  • Pollock G (2006) “Back to Africa: from Natal to natal in the locations of memory”, Journal of Visual Art Practice. : 49-72.

    The article explores the concept of natal memory to explore the deep impressions of birth places in relation to migratory subjectivity. Using Walter Benjamin's idea of bio-mapping to study relations of subjectivity to place, the article triangulates the author's own biographical memories of South Africa, notably Natal, now Kwa-Zululand, in relation to the work of two German-Jewish artists, Charlotte Salomon and Irma Stern, the latter being born and working in South Africa but sharing the engagement with German expressionist painting and the making of visual diaries about subjective dislocation.

  • Pollock G (2006) “Three essays on trauma and shame: Feminist perspectives on visual poetics”, ASIAN JOURNAL OF WOMENS STUDIES. 12.4: 7-31.

  • Pollock G (2005) “Dreaming the face, screening the death: Reflections for Jean-Louis Schefer on La Jetee”, J VIS CULT. 4.3: 287-305.

  • Pollock G (2004) “Thinking the feminine - Aesthetic practice as introduction to Bracha Ettinger and the concepts of matrix and metramorphosis”, THEOR CULT SOC. 21.1: 5-+.
    DOI: 10.1177/0263276404040479

  • Pollock G (2004) “Mary Kelly's 'Ballad of Kastriot Rexhepi': Virtual Trauma and Indexical Witness in the Age of Mediatic Spectacle”, Parallax. : 100-112.
    DOI: 10.1080/1353464032000171136

  • Pollock G (2003) “Visual culture and its discontents: Joining in the debate - Response to Mieke Bal's 'Visual Essentialism and the Object of Visual Culture' (2003)”, J VIS CULT. 2.2: 253-260.

  • Pollock G (2003) “The grace of time: Narrativity, sexuality and a visual encounter in the Virtual Feminist Museum”, ART HIST. 26.2: 174-213.

  • Pollock G (2003) “The Grace of Time: Narrativity, Sexuality and A Visual Encounter in the Virtual Feminist Museum”, Art History. 26.2: 173-213. (Accepted)
    DOI: 10.1111/j.0141-6790.2003.02602007.x

    Study of Antonio Canova's Three Graces , using fragments and details to reflect on relations of women's bodies to time and age. Considers a range of representations by women artists such as Jenny SAville, Ella Dreyfus, Melanie Manchot and Camille Claudel

  • Pollock G (2003) “Responses to Mieke Bal's 'visual essentialism and the object of visual culture' (2003): Visual culture and its discontents: Joining in the debate”, Journal of Visual Culture. 2.2: 253-260.
    DOI: 10.1177/14704129030022011

  • Pollock G (2003) “Cockfights and other parades: Gesture, difference, and the "staging" of meaning in three paintings by Zoffany, Pollock, and Krasner”, OXFORD ART J. 26.2: 140-165.

  • Pollock G (2003) “Cockfights and Other Parades: Gesture, Difference, and the Staging of meaning in Three Paintings bv Zoffany, Pollock and Krasner”, Oxford Art Journal. 26.2: 141-159.
    DOI: 10.1093/oaj/26.2.141

  • Pollock G (2001) “Painting as a Backward Glance that Does not Kill”, Renaissance and Modern Studies. 43: 116-144.

    An analysis of a feminist anti-fascist aesthetics of painting through the work of Bracha Lichtenberg Ettinger framed by the thinking of Gillian Rose

  • Pollock G (1999) “'Old Bones and Cocktail Dresses: Louise Bourgeois and the Question of Age'”, Oxford Art Journal. 22.2: 71-100.

  • Pollock G (1996) “Dangerous places: Ponar: An installation by Pam Skelton”, Third Text. 10.36: 45-53.
    DOI: 10.1080/09528829608576624

  • Pollock G (1994) “The ambivalence of the maternal body: Psychoanalytic readings of the legend of Van Gogh”, International Journal of Psycho-Analysis. 75.4: 801-813.

    This article aims to identify the collective social investment in 'Van Gogh' as a cultural icon, and to ask what function his life story, colourfully illustrated by his art work, has performed in the West since the 1890s. It argues that the life and work of a Dutch artist have become the raw materials for a series of secular 'mystery' plays and christological psychodramas that reflect the ills of twentieth-century experience. The key moments when Van Gogh was made into a figure in a popular imagination were psychologically significant: the Depression and the immediate aftermath of World War II. 'Van Gogh', a fantasy figure of modern man, has been over-'psychologised', his work becoming only the testament to the myth of modern man. Using social-art-historical techniques, the author tries to distance this kind of reading in the case of one drawing of a peasant woman, bending over. Situating the fantasy that the drawing services in precise social and historical terms of bourgeois men formed in childhood in relation to a split feminine/maternal figure of the lady/mother and the working-class nursemaid, the article examines how to use psychoanalysis to read the formal oddities of the work - distortion and monumentality, attention to a fragmented, eroticised but also punished body - for the oscillation between pre-oedipal fantasies of maternal plenitude and awe and oedipal anxieties which sadistically inflict humiliation on the maternal body. Finally, instead of producing Van Gogh as the extreme case of an 'other', the author recognises the drawing as a space where present fantasies of the reader encounter those of the producer. Psychoanalysis informing historically-precise interpretation becomes a demythologising hermeneutic.

  • Pollock G (1994) “The Work Of Bracha Lichtenberg-Ettinger An Introduction”, Third Text. 8.28-29: 61-70.
    DOI: 10.1080/09528829408576502

  • Pollock G (1994) “‘With my own eyes‘: Fetishism, the Labouring Body and the Colour of its Sex”, Art History. 17.3: 342-382.
    DOI: 10.1111/j.1467-8365.1994.tb00583.x

  • Pollock G (1988) “VAN GOGH AND THE POOR SLAVES: IMAGES OF RURAL LABOUR AS MODERN ART”, Art History. 11.3: 408-432.
    DOI: 10.1111/j.1467-8365.1988.tb00311.x

    DOI: 10.1111/j.1467-8365.1984.tb00141.x

  • Pollock G (1983) “STARK ENCOUNTERS: MODERN LIFE AND URBAN WORK IN VAN GOGH'S DRAWINGS OF THE HAGUE 1881–3”, Art History. 6.3: 330-358.
    DOI: 10.1111/j.1467-8365.1983.tb00819.x

  • Pollock G (1982) “More than methodology”, Screen. 23.3-4: 122-126.
    DOI: 10.1093/screen/23.3-4.122

  • Orton F, Pollock G (1982) “CLOISONISM?”, Art History. 5.3: 341-348.
    DOI: 10.1111/j.1467-8365.1982.tb00773.x

    Vincent van Gogh and the Birth of Cloisonism (Toronto, Art Gallery of Ontario) by Bogomila Welsh‐Ovcharov, Toronto, 1981, 380 pp., 300 ills, 32 colour pls, £32 What we're reviewing is the book of an exhibition – not the exhibition. In scope and curatorial strategy Vincent van Gogh and the Birth of Cloisonism was smaller than De David à © ASSOCIATION OF ART HISTORIANS 1982

  • Orton F, Pollock G (1981) “AVANT‐GARDES AND PARTISANS REVIEWED”, Art History. 4.3: 305-327.
    DOI: 10.1111/j.1467-8365.1981.tb00725.x

  • Pollock G (1980) “Artists, mythologies and media - genius, madness and art history”, Screen. 21.3: 57-96.
    DOI: 10.1093/screen/21.3.57

  • Orton F, Pollock G (1980) “LES DONNÉES BRETONNANTES: LA PRAIRIE DE RÉPRESENTATION”, Art History. 3.3: 314-344.
    DOI: 10.1111/j.1467-8365.1980.tb00081.x


  • Pollock G (2018) “Modernity and the spaces of femininity”, In: The Expanding Discourse: Feminism and Art History. 245-267
    DOI: 10.4324/9780429492839

    © 1988 by Griselda Pollock. Investment in the look is not as privileged in women as in men. More than other senses, the eye objectifies and masters. It sets at a distance, and maintains a distance. In our culture the predominance of the look over smell, taste, touch and hearing has brought about an impoverishment of bodily relations. The moment the look dominates, the body loses its materiality.

  • Pollock GFS (2017) “Monroe's Gestures between Trauma and Ecstacy”, In: Gesture and Film: Signalling New Critical Perspetives. London: Routledge. 99-131

  • Pollock GFS (2015) “Seeing Red, or, When Affect Becomes Form [ Louise Bourgeois Red Room (Child), Red Room (Parent) 1994]”, In: Lorz J (eds.) Louise Bourgeois: Structures of Existence: The Cells. Munich: Prestel.

  • Pollock G (2014) “The city and the event: Disturbing, forgetting and escaping memory”, In: Forty Ways to Think About Architecture: Architectural History and Theory Today. 89-94
    DOI: 10.1002/9781118822531.ch11

    © 2014 John Wiley & Sons Ltd. All rights reserved. The body-mind's experience of space and place is shaped by that which it enters, inhabits or is impressed by when confronting the architectural. The Geometry of Conscience, created by Chilean artist Alfredo Jaar, represents victims of the Pinochet dictatorship established violently on the first 9/11 with the deposition and death of Salvador Allende, the democratically elected President of Chile. In this chapter, the author makes a conversation between this work and Rue Santa Fe, a film completed in 2007 by Carmen Castillo, former teacher of Latin American history, now writer and documentarist. The documentary film-maker journeying back to a country in search of a house that she wanted to reclaim in order to appease the problem of unfinished memory allows the architectural but also symbolic and affective site, the house, to become the catalyst for the kind of enlivening of memory that Jaar also seeks: uncontained by the monuments that enable forgetting, memory reshaped as life becomes a living force that must also acknowledge the moment that is the present in which the call to responsibility is made, one to one. Both instances attest to the necessity for movement as the opposite of monumentalisation. The creation of something precarious and contingent on the human encounter transcends the pairing of remembering and forgetting and their partner forms, anamnesis and repression, in order to figure, continuously in Jaar's work and in the flash of recognition in Castillo's film, the vitality of active memory as movement.

  • Pollock G (2014) “The visual poetics of shame: A feminist reading of Freud’s Three Essays on the Theory of Sexuality (1905)”, In: Shame and Sexuality: Psychoanalysis and Visual Culture. 109-127
    DOI: 10.4324/9781315787626

  • Pollock G (2013) “From horrorism to compassion: re-facing medusan otherness in dialogue with Adriana Caverero and Bracha Ettinger”, In: Pollock GFS (eds.) Visual Politics and Psychoanalysis: Art & the Image in Post-Traumatic Cultures. New Encounters: Arts, Concepts and Cultures. London and New York: I.B.Tauris & Co Ltd. 159-189
    Repository URL: http://eprints.whiterose.ac.uk/81180/

    In the light of a story of a Palestinian suicide bomber whose body was confused with an Israeli victim of the bombing, this chapter explores Cavarero's concept of horrorism as a new form of contemporary violence posing Ettinger's theses on compassion and the the aesthetic as a counter-force

  • Pollock GFS (2013) “Sarah Kofman's Father's Pen and Bracha Ettinger's Mother's Spoon: trauma, transmission and the strings of virtuality”, In: Objects and Materials. London and New York: Routledge. 162-172

  • Pollock GFS (2013) “Writing from the heart”, In: Writing Otherwise: Experiments in Cultural Criticism. Manchester: Manchester University Press. 19-34
    Repository URL: http://eprints.whiterose.ac.uk/81181/

  • Pollock GFS (2013) “Editor's introduction”, In: Pollock G (eds.) Visual Politics and Psychoanalysis: Art & the Image in Post-traumatic Cultures. New Encounters: Arts, Cultures and Concepts. London and New York: I.B.Tauris & Co Ltd. 1-22
    Repository URL: http://eprints.whiterose.ac.uk/81184/

  • Pollock G (2013) “Auto-history: Frida Kahlo's political imagining”, In: Frida Kahlo: A Life in Art. Ostfilden, German: Hatje Cantz. 26-42
    Repository URL: http://eprints.whiterose.ac.uk/81182/

  • Pollock G (2012) “The Male Gaze”, In: Evans, Mary; Williams, C (eds.) Gender: The Key Concepts. Routledge. 141-148

    A critical reading of the misunderstood concept that explains the contradictory conditions under which the position of the gaze has been theorised in psychoanalysis and feminist theory

  • Pollock GFS (2012) “Trauma, time and painting: Bracha L. Ettinger and the matrixial aesthetic”, In: Zarzycka M; Papenburg B (eds.) Carnal Aesthetics. London and New York: I.B.Tauris & Co Ltd. 21-41
    Repository URL: http://eprints.whiterose.ac.uk/81183/

  • Pollock G (2012) “Death in the image: The responsibility of aesthetics in Night and Fog (1955) and Kapò (1959)”, In: Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's Night and Fog. 258-301

  • Pollock G, Silverman M (2012) “Introduction: Concentrationary cinema”, In: Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's Night and Fog. 1-54

  • Pollock GFS (2012) “Los Momentos de Maria Blanchard”, In: Bernardez C (eds.) Maria Blanchard. Madrid: Edicion a cargo del Museo Nacional Centro de Arte Reina Sofia y la Fundacion Botin. 81-94

  • Pollock GFS (2012) “Photographing Atrocity: Becoming Iconic”, In: Batchen G; Gidley M; Miller NK; Prosser J (eds.) Picturing Atrocity. London: Reaktion. 65-78

    A volume of essays by leading photography writers and critics, published to benefit Amnesty International, cites such examples as the work of Susan Sontag to question whether photography of disturbing images stirs empathy or voyeurism in ...

  • Pollock GFS (2011) “‘Too Early and Too Late: Melting Solids and Traumatic Encryption in the Sculptural Dissolutions of Alina Szapocznikov'”, In: Jakubowska A (eds.) Awkward Objects: Alina Szapocznikow. Museum of Modern Art in Warsaw. 71-102

    Drawing on the work of prominent art historians, curators, critics, and collectors, this exhibition catalogue presents the most current research on the work of Alina Szapocznikow.

  • Pollock G (2011) “'History versus Mythology: Van Gogh and Dutchness’”, In: Esner R; Schavemaker M (eds.) Vincent Everywhere. Amsterdam Univ Pr.

    The book ends with an analysis of van Gogh in his own time, when he was acutely aware of his own foreignness as an immigrant in England, Belgium, and France, and when conflicts first arose over the location, both figurative and literal, of ...

  • Pollock G (2011) “Aby Warburg and Memosyne: Photography as aide-memoire, Optical Unconscious and Philosophy”, In: Caraffa C (eds.) Photo Archives and the Photographic Memory of Art History. Munich: Deutscher Kunstverlag. 73-98

  • Pollock G (2011) “The Missing Future: MoMA and Modern Women”, In: Butler C (eds.) Modern Women: Women Artists at the Museum of Modern Art. New York: Museum of Modern Art in Warsaw. 12-27

  • Pollock G (2011) “What Women Want: Psychoanalysis and Cultural Critique”, In: Posner, H (eds.) The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power 1973-1991. New York: Neuberger Museum of Art; Delmonico Books-Prestel. 68-82

    re-examined the theoretical and aesthetically critiques generated by artists and cultural theorists ca 1980 in relation to the questions of identity, sexual difference and the politics of representation

  • Pollock GFS (2011) “Death in the Image: Aesthetics and Responsibility in Pontecorvo's Kapo (1959) and Alain Resnais' Night and Fog (1955)”, In: Pollock G; Silverman M (eds.) Concentrationary Cinema. (Accepted)

  • Pollock GFS (2010) “Encounters in the Virtual Feminist Museum”, In: Hayden MH; Skrubbe JS (eds.) Feminisms is still our name. Cambridge Scholars Publishing. 105-140

    Indeed, this volume provides strong arguments that historiographical critique is an inevitable part of any future feminism(s).

  • Pollock GFS (2010) “Ecoutez La Femme: Hear/Here Difference”, In: Hanson H; O'Rawe C (eds.) The Femme Fatale. Palgrave MacMillan. 9-34

    These essays trace the femme fatale across literature, visual culture and cinema, exploring the ways in which fatal femininity has been imagined in different cultural contexts and historical epochs, and moving from mythical women such as ...

  • Pollock GFS (2010) “The missing future: MOMA and modern women”, In: Butler C; Schwartz A (eds.) Modern Women: Women Artists at The Museum of Modern Art. New York: The Museum of Modern Art.
    Repository URL: http://eprints.whiterose.ac.uk/81888/

  • Pollock G (2010) “Beyond Oedipus: Feminist Thought, Psychoanalysis, and Mythical Figurations of the Feminine”, In: Laughing with Medusa: Classical Myth and Feminist Thought.
    DOI: 10.1093/acprof:oso/9780199237944.003.0004

    © Oxford University Press 2006. All rights reserved. If Virginia Woolf is icon of and legend for later 20th-century feminist theory, Jane Harrison transformed a phallic lack into a feminist legacy. While many intellectual women engaged with psychoanalysis soon after its initiation and many radically revised Freud's theses of the Oedipus complex, none truly challenged the fundamental premises of its ultimately defining role around the theme of castration in human subjectivity that frames our concepts of sexual difference and sexuality. This chapter examines feminist thought, modernity and femininity, and mythical configurations of the feminine. It looks beyond Freud's particular relationship with Oedipus to the figure of Antigone and discusses how Antigone's relationship to her brother Polyneices can be reconfigured as an unconditional bond to the maternal other. The model of trans-subjective suffering found in Antigone demonstrates the continuing power of classical myth to question the premises of psychoanalysis even as it has inspired them.

  • Pollock G (2009) “Overhearing History: Mary Kelly's Narratives of the Political Everyday”, In: Warsaw MS (eds.) Mary Kelly: Words are Things. Centre for Contemporary Art:

  • Pollock G (2009) “An Engaged Contribution to Thinking about Interpretation in Research in/into Practice”, In: Biggs M; Hertfordshire UO (eds.) The Problem of Interpretation in Research and Performing Arts Creative Practice. Working Papers in Art and Design.

  • Pollock G (2009) “Orphee et Eurydice/l'espace/le regard traumatique”, In: Kristeva J (eds.) Guerre et Paix des Sexes. Paris:

  • Pollock G (2009) “Beyond Words: the Acoustics of Movement, Memory and Loss in Three Video Works by Martina Attille, Mona Hatoum and Trcey Moffat, circa 1989”, In: Aydemir M; Rotas A (eds.) Migratory Settings: Transnational Perspectives on Place. Amsterdam:

  • Pollock G (2009) “Concentrationary Legacies: thinking through the racism of minor differences”, In: Huggan G (eds.) Racism and Postcolonial Europe. Liverpool University Press.

  • Pollock G (2009) “Modernite, Feminite, Representation”, In: Elles@Pompidou. Paris:

  • Pollock G (2008) “What Does a Woman Want? Art INvesstigating Death in Charlotte Salomon's Leben? oder Theater?1941-2”, In: Cherry D (eds.) About Mieke Bal. Wiley-Blackwell. 83-105

    Ana analysis of Charlotte Salomon's major artwork in terms of an Orphic journey to encounter dead women of the artist's family so as to pose the question of desiring death or desiring life

  • Pollock G (2008) “Feminism and culture: Theoretical perspectives”, In: The SAGE Handbook of Cultural Analysis. 249-270
    DOI: 10.4135/9781848608443.n12

  • Pollock G (2008) “Mapping the 'bios' in two graphic systems with gender in mind: reading Van Gogh through Charlotte Salomon”, In: Arnold D; Sofaer J (eds.) Biographies and Space: Placing the Subject in art and architecture. Routledge. 115-138

    Working from Walter Benjamin's proposal for a bio-mapping of a subject's history, the article reads Van Gogh's deep attachments to natal space through a later artist's exploration of the subjectivised spatiality of others as a means to inscribe her own displacement as a German Jewish artist emerging during the Third Reich

  • Pollock G (2007) “Sacred Cows: Wandering in Feminism, Psychoanalysis and Anthropology”, In: Pollock G; Sauron VT (eds.) The Sacred and the Feminine: Imagination and Sexual Difference. I B Tauris. 9-48

    Responding to Clément and Kristeva's epistolary exchanges on the topic of the feminine and the sacred, this chapter introduces a collection of papers on the sacred and the feminine, and undertakes an analysis of the deep mythic association of the feminine to life in the figure of the cow, concluding with a reading of the red cow sacrifice in the Hebrew Bible, re-interpreted

  • Pollock G (2007) “Life-Mapping: Or, Walter Benjamin and Charlotte Salomon Never Met”, In: Pollock G; Bal IBM (eds.) Conceptual Odysseys: Passages to Cultural Analysis. I B Tauris. 63-90

    The article establishes the conditions under which the artist Charlotte Salomon contemplated and resisted the lure of suicide by means of exploring the different places in which she staged the deaths of others to whom she addressed the question of living or dying in catastrophic historical and personal circumstances through a massive painting project.

  • Pollock G (2007) “Maman! Invoking the m/Other in the Web of the Spider”, In: Wachtmeister M (eds.) Louise Bourgeois : Maman. Stockholm: Atlantis. 65-102

  • Pollock G (2007) “Daydreaming before History: The Last Works of Sigmund Freud and Charlotte Salomon”, In: Durrant S; Lord CM (eds.) Essays in Migratory Aesthetics: Cultural Practices between Migration and Art-Making. Amsterdam: Rodopi ( Thamyris-Intersecting Place, Sex, Race). 205-228

    A study of Freud's Moses and Monotheism as a work shaped by the trauma of imminent exile which is juxtaposed to the images of departure in Charlotte Salomon's Leben? oder Theater. Both works are reviewed in the light of the writings by Edward Said and Jacques Derrida on Freud's last work, which is shown to be deep meditation on trauma as a cultural force in the creation of cultural memory

  • Pollock G (2007) “Diary Drawings”, In: Barrett M; Baker B (eds.) Bobby Baker: Redeeming Features of Daily Life. Routledge. 251-267

    A study of the diary drawings of Bobby Baker undertaken during her chronic mental illness.

  • Pollock G (2007) “Daily life 1: Kitchen show”, In: Bobby Baker: Redeeming Features of Daily Life. 178-184
    DOI: 10.4324/9780203938928

  • Pollock G (2007) “Femininity: Aporia or Sexual Difference”, In: Ettinger B; Massumi EB; Butler PJ (eds.) The Matrixial Borderspace. University of Minnesota Press. 1-40

    An extended introduction to Bracha Ettinger's revolutionary theories of matrix, metramorphosis and a feminine sexual difference beyond the phallic.

  • Pollock G (2007) “Not-forgetting Africa: The Dialectics of Attention/Inattention...in the work of Alfredo Jaar”, In: Lepdor C (eds.) Alfredo Jarr: La Politique des Images. jrp/ringier. 113-137

  • Pollock G (2006) “The Image in Psychoanalysis and the Archaeological Metaphor”, In: Pollock G (eds.) Psychoanalysis and the Image. Blackwell's. 1-29

  • Pollock G (2006) “Theatre of Memory: Trauma and Cure in Charlotte Salomon's Modernist Fairytale”, In: Steinberg MP; Bohm-Duchen M (eds.) Reading Charlotte Salomon. Cornell University Press. 34-72

    Study of trauma, memory and art in the work of German-Jewish refugee artist Charlotte Salomon

  • Pollock G (2006) “Theatre of Memory: Trauma and Cure in Charlotte Salomon's Modernist Fairytale”, In: Steinberg M; Bohm-Duchen M (eds.) Reading Charlotte Salomon. Cornell University Press. 34-72

    Authored under the alias of Pollock, G.

  • Pollock G (2006) “Beyond Oedipus: Feminist Thought, Psychoanalysis and Mythical Figurations of the Feminine”, In: Zajdko V; Leonard M (eds.) Laughing with Medusa. Oxford University Press. 67-120

  • Pollock G (2005) “Feminist Dilemmas with the Art/Life Problem”, In: Bal M (eds.) The Artemisia Files: Artemisia Gentileschi for Feminists and other Thinking People. Chicago University Press. 169-212

  • Pollock G (2005) “Louise Abbema's Lunch and Alfred Stevens's Studio: Theatricality, Feminine Subjectivity and Space around Sarah Bernhardt 1877-1888”, In: Helland J; Cherry D (eds.) Studio, Sociality and Space. Ashgate. pp.00+ (Accepted)

    A study of two paintings in which Sarah Bernhardt is represented by Louise Abbema, her life-time companion and Belgian painter Alfred Stevens.

  • Pollock G (2005) “Agnes Dreaming: Dreaming Agnes”, In: Zegher CD; Teicher H (eds.) 3 x Abstraction: New Methods of Drawing: Hilma Af Klimt, Emma Kunz, Agnes Martin. Yale University Press. 159-182

  • Pollock G (2004) “Femininity, Modernity and Representation: The Maternal Image, Sexual Difference and the Disjunctive Temporality of the Avant-Garde”, In: Klinger C; Muller-Funk W (eds.) Das Jahrhundert der Avant-Garden. Munich: Wilhelm Fink Verlag. 97-120

  • Pollock G (2004) “Rethinking the Artist in the Woman, and That Old Chestnut, the Gaze”, In: Armstrong C; Zegher CD (eds.) Women Artists at the Millenium. Women Artists at the Millenium. pp.00+

  • Pollock G (2004) “Amedeo Modigliani and the Bodies of Art: Carnality, Attentiveness and the Modernist Struggle”, In: Klein M (eds.) Modigliani. New York: Jewish Museum. 48-65

  • Pollock G (2003) “Becoming Cultural Studies: The Daydream of the Political”, In: Bowman P (eds.) Interrogating Cultural Studies: Theory, Politics and Practice. Pluto Press. 125-141

  • Pollock G (2003) “On Visual Literacy”, In: Raney K (eds.) Art in Question. Art in Question. 130-157

  • Pollock G (2003) “Feminist Theory: the Visual”, In: Eagleton M (eds.) Feminist Theory. Oxford: Blackwell Publishing. 173-194

    An introduction to feminist theories of the visual, the gaze, sexual differnce in the visual sphere

  • Pollock G (2003) “Does Art Think? How can we Think the Feminine Aesthetically?”, In: Arnold D; Iverson M (eds.) Art and Thought. Oxford: Blackwell Publishing. 129-155

    A study of feminist philosophical aesthetics

  • Pollock G (2003) “Holocaust Tourism”, In: Lubbren N (eds.) Tourism and Visual Culture. Berg Publishers.

    Holocaut Tourism and its critical dangers; an appraisal of Kitty Returns to Auschwitz

  • Pollock G (2003) “Image-Music-Text- Jewishness, femininity and modernity in the acoustic space of memory in Leben oder Theater by Charlotte Salomon”, In: Mann B (eds.) Image-Icon-Text: Jewish Visual Culture. Princeton University Press. (Accepted)

  • Pollock G (2002) “A History of Absence Belatedly Addressed: Impressionism with and without Mary Cassatt”, In: Hathausen CW (eds.) The Two Art Histories: The Museum and the University. Clark Studies in the Visual Arts. Yale University Press. 123-141

    An analysis of the 1998 Mary Cassatt exhibition and the implications of such museum presentation for the understanding of Imnpressionism and women's place within it. Includes a proposal for an alternative exhibition

  • Pollock G (2002) “The Aesthetics of Difference”, In: Holly MA; Moxey K (eds.) Art History, Aesthetics, Visual Studies. Clark Studies in the Visual Arts. Yale University Press. 147-174

    An analysis of the role of aesthetics in feminist artistic practice and cultural analysis reading Lacan and Ettinger on Antigone as a figure of the aesthetic in psychoanalytical terms

  • Pollock G (2002) “Nude Bodies: Transgressing the Boundaries between Art and Pornography”, In: Sweeney S (eds.) The Body. Darwin Lectures. Cambridge University Press. 94-126

    A critical study of the revised role of the naked body in art made by women in the twentieth century in contrast to the status of the nude female in both art and pornography

  • Pollock G (2001) “Catching and Losing the Sands of Time: The Dialectics of Place and No-Place in Jewish Memory and Being in the work of Lily Markiewicz”, In: Gallery TK; Gallery TUOL (eds.) Promise. Promise. 2-17

  • Pollock G (2001) “The Body, My Body, Her Body”, In: Bucher J; HAttan E (eds.) Hannah Villiger. First Scalo Edition, Zurich. 187-253

    Reading of the photographical sculpture of Hannah Villiger in relation to Merleau-Ponty and Lacan. Discussese representation of the female body as a singular and personalised location of subjectivity and the role of the inhuman gaze in creating this effect

  • Pollock G (2000) “Nichsapha: Yearning/Languishing/The Immaterial Tuche of Colour in Painting after Painting after History”, In: VandenBroek P (eds.) Bracha Lichtenberg Ettinger: A Retrospective. Bracha Lichtenberg Ettinger: A Retrospective. 45-70

  • Pollock G (2000) “The Pathos of the Political: Feminist Avant-Garde Film”, In: Mainz V; Pollock G (eds.) Work and the Image. Ashgate Press. pp.00+

  • Pollock G (2000) “Psychic Alchemy: Sexual Objects and Fantasmatic Bodies”, In: Curriger B (eds.) Hypermental. Kunstaus. 21-27

  • Pollock G (1999) “Still Working on the Subject: Feminist Poetics and its Avant-Garde Moment”, In: Weitbrieser S (eds.) Re-reading Post Partum Document Mary Kelly. Generali Foundation, Vienna.

    A reconsideration of Mary Kelly's Post Partum Document in relation to Julia Kristeva's almost contemporaneous Stabat Mater and to Riddles of the Sphinx, indicating a Kristevan reading of this moment as the delayed moment of a feminist avant-garde and a revolutionary feminist poetics

  • Pollock G “Vers le mMuseee Feministe Virtuel”, In: Morineau C (eds.) Elles@Pompidou. Paris, Centre Pompidou: 322-330

  • Pollock G “Lines of Pain; Webs of Connection”, In: Alice Anderson: Childhood Rituals. Paris: Archibooks.

  • Pollock GFS “Democratic Dreaming: Revisioning the Modern”, In: The Second Museum of Our Wishes. 118-131

  • Pollock GFS “Art History and Visual Studies in Great Britain and Ireland”, In: Rampley M; Lenain T; Locher H; Pinotti A; Schoell-Glass C; Zijlmans K (eds.) Art History and Visual Studies in Europe: Transnational Discourses and National Frameworks. Leiden and Boston: Brill. 355-379

    A historical study of the institution and history of the discipline of art history in Britain and Ireland

Conference papers

  • Pollock G (1998) Introduction. Proceedings: Parallax 4.3: 1-4.
    DOI: 10.1080/135346498250073

  • Pollock G (1998) Dialogue with Julia Kristeva. Proceedings: Parallax 4.3: 5-16.
    DOI: 10.1080/135346498250082

  • Pollock G (1998) To inscribe in the feminine: A Kristevan impossibility? Or femininity, melancholy and sublimation. Proceedings: Parallax 4.3: 81-117.
    DOI: 10.1080/135346498250136

  • Pollock G (1998) On the oddness of Phallus or the Feminine between Illusion and Disillusion. Proceedings: Parallax 4.3: 17-28.
    DOI: 10.1080/135346498250091

Research Projects & Grants

Centre for Cultural Analysis, Theory and History AHRC 2001-2007

Concentrationary Memories: The Politics of Representation AHRC 2007-2011

Trauma and Aesthetic Transformation Clark Art Institute 2011

From Trauma to Cultural Memory: Representation and the Holocaust Leverhulme Fellowship 2012-13

Leverhulme Visiting Professor Carolyn Christov-Bakagiev: Transdisciplinary Encounters in Fine Art, History of Art and Curatorial Studies through a Critical Assessment of the Significance of the Project, Process, Realization and Retrospective Analysis of dOCUMENTA13(2012)

Research Centres & Groups

Centre for Cultural Analysis,Theory and History (http://www.centrecath.leeds.ac.uk)

Culture Strand: Performing Violence, University of Leeds

External Appointments

Pilkington Professor, University of Manchester 2011-12

Getty Visiting Professor, Jawaharlal Nehru University, New Delhi, 2011

Elected International Member of the Royal Flemish Academy of Belgium of Science and the Arts 2016.

PhD & Postdoctoral Supervision

I no longer take on PhDs students but former areas of specialist supervision included:

International feminist, post-colonial and Jewish studies in the visual arts; studies in modernisms; Aby Warburg’s legacies for contemporary art history and visual culture; psychoanalysis and aesthetics with special reference to feminist theory and matrixial theory.

Recently Completed PGRs

Fiona Phillip: ‘Queer Disclosures: Borderline and Close-Up’,  2010

Hayoung JOO : Contemporary Women Artists in Korea and Diaspora Identities 2010   Fine Art Practice

Madeleine Newman: ‘Architecture, Sculpture and Autobiography: Rebecca Horn and Louise Bourgeois, 2010

Michelle Gewurtz: ‘Three  Women/Three Margins: Political Engagement and the Art of Claude Cahun, Jeanne Mammen and Paraskeva Clark’, 2011

Janis Rafailidou: ‘Cultural Travelling’,2011 Fine Art Practice 2011

Mark Dawson: ‘Suffering and Sur-vival: Considering Trauma, Trauma Studies and Living-on’,2011

Paula Farrance: ‘Class, Mother-Daughter Relations and Jo Spence’, 2011

Benjamin Hannavy-Cousen: ‘The Concentrationary Imaginary’, 2011

Francesco Ventrella: ‘The Body of Art History. Writing, Embodiment, and the Connoisseurial Imagination’, 2012

Isabelle de le Court: ‘A Tale of Two Cities: War Trauma and Visual Art in Sarajevo and Beirut’, 2012

Joanne Heath: ‘Doctor and Patient/Artist and Model’, 2012

Simon Deakin: The Analysis of Aristis in their own Words in Gagarin 2012

Leonie O’Dwyer: ‘Helen Chadwick  A Critical Catalogue Raisonné’; Collaborative Doctorate with Henry Moore Institute, 2013

Sibyl Fisher   Feminist Curatorial Practices 2014

Eileen Little: ‘Holocaust Trauma and the Image’, Fine Art Practice 2014

Current PGRs

Adriana Cerne: ‘Feminist Poetics: Chantal Akerman Between 1975 and 2001

Ella Spencer Mills: Maud Sulter: Gender and Difference in British Cultural Institutions

Hui-Hsuan HSU: Perception and the Digital Prosthesis   Fine Art Practice

Leandra Koenig Visagie: Gender in the South African Artworld

Yellin Zhao: Artists from Models in French Modernism

Marlo de Lara  Filippino American Cultural Identity

Elspeth Mitchell  Feminine Subjectivity and the Moving Image

Gillian Park  The Pavilion Feminist Photography Centre

Tom Hastings  The Inconological and the 1960s

Pamela Crawford Les Ballets Russes and the Futurists

1981-2000 (35 others)

Visiting Scholars Offered Research Supervision

Hagewara Hiroko Osaka Women’s University 1987-88
Jan Allen CAE, Melbourne, 1987
Penelope Siopis University of Witwatersrand, Johannesburg, 1992
Agata Jabukowska Poland 1998
Ulla Jorgensen University of Aarhus, Denmark 2000
Annamari Vamska University of Helsinki 2003
Manuel Segarde University of Santiago di Compostella 2004<
Francesco Ventrella Università La Sapienza, Rome 2005
Raluca Bibiri University of Bucharest 2009-10

PhD Thesis

Vincent van Gogh and Dutch Art: A critical study of Van Gogh’s Notion of the Modern  (London 1981). This is social historical study of the role of Dutch culture in the formation of Van Gogh’s concept of the modern which is then situated in relation to the critical revival in France in the mid-nineteenth century of seventeenth century Dutch Art as a model for modern art. Challenging the mythology aroudn Van Gogh, the thesis undertakes close textual readings of key bodies of Van Gogh’s letters to elaborate a new understanding of his complex relation to and misunderstanding of French modern painting.

Professional Practice


1978                 Purity and Danger in Victorian Painting University of Leeds (with Prof T J Clark)

1980                 Vincent van Gogh and His Dutch Years Guest Curator at the  Rijksmuseum Vincent van Gogh, Amsterdam 1978-80

1981                 Northern Young Contemporaries Manchester University, Whitworth Art Gallery.

1989                 Images of Women City of Leeds Art Gallery, consultant and author of catalogue essay.

1999                 Memories of Oblivion and Loss: Lydia Bauman, University of Leeds, Art  Gallery

2000                 Interventions: Alfred Stevens at the Clark , Clark Art Institute

2001                 Places: Lily Markiewicz University of Leeds Art Gallery, Leeds

2003                 Eurydice Bracha Ettinger, Jerwood Gallery, Oxford

2006                 Migratory Aesthetics,  University Art Gallery Leeds

2006                 The Face of Thinking: Hannah Arendt in Images  University of Leeds

2006                 Micro-Macro: Drawing Series Christine Taylor Patten London, Drawing Gallery

2006                 Drawing Time; Time of Drawing: Christine Taylor Patten  University of Leeds Art Gallery

2009                 Resonance/Overlay/Interweave: Bracha Ettinger in Freudian Space.

                        London: Freud Museum and the Helsinki Academy of Fine Arts



1993                 Who is the Other?  ( first shown at Vancouver Art Gallery)

1994                 Deadly Tales I ( first shown at Experimental Art Centre, Adelaide)

1997                 Parallel Lives  (first shown at Art Gallery of Western Australia, Perth)

1997                 Painting as a Backward Glance that Does Not Kill:  Euryidce  by Bracha Lichtenberg Ettinger(first shown at the Guggenheim Museum) recut 2009

1997                 Deadly Tales II Leeds Metropolitan University Art Gallery and Leeds University 2009

1999                 Visions of Sex  (Vienna)

1999                That Old Chestnut, the Gaze (Princeton University)



1997                 Seven Deadly Tales: A Self Portrait of a Feminist Intellectual Haunted by Death

installation with video, in  A Company of Strangers, Leeds Metropolitan University Gallery, April 13 – 21 May, 1997.

                        Seven Deadly Tales – a performance piece 21 April- 13 May     Leeds Metropolitan University Gallery.

2011                 ‘Deadly Tales’ A Dying Artist,  London, ICA.

micro/macro 251
4 – 28 March 2015
Curators: Griselda Pollock and Adriana Cerne
Leyden Gallery 9/9a Leyden Street London E1 7LE Tel: +44 (0)20 7655 4825
www.leydengallery.com info@leydengallery.comCHRISTINE TAYLOR PATTEN




https://www.youtube.com/watch?v=mGVtJydKHgo on new book Charlotte Salomon

Griselda Pollock: Charlotte Salomon’s theatre of memory


http://magazines.documenta.de/frontend/article.php?IdLanguage=1&NrArticle=1483  Interview

https://itunes.apple.com/gb/podcast/freud-museum-london./id427403957 no 31/32 Talks at the Freud Museum

http://www.mamsie.bbk.ac.uk articles in Studies in the Maternal

www.youtube.com/watch?v=l32AtDhZqO4 Yale University Naomi Schor Memorial Lecture

Some of the recorded lectures and talk on the internet by Griselda Pollock

https://vimeo.com/92313872   Griselda Pollock on Alina Szapocznikow at the Hammer Museum2012

http://www.moma.org/explore/multimedia/videos/16/177 Griselda Pollock at the Feminist Futures Conference, Museum of Modern Art, New York 2007


Griselda Pollock on the Concentrationary Imaginary, 2011



Griselda Pollock on Making Feminist Memory: Helen Rosenau UCL 2014


https://www.youtube.com/watch?v=ToTV8SovsaI Griselda Pollock on Disposable Life


http://www.tate.org.uk/context-comment/video/radical-thinkers-art-sex-and-politics-feminism   Griselda Pollock at the Tate 2015 on Feminism as a Bad Memory



Griselda Pollock at the launch of a French translation of the work of Carla Lonzi 2012



Griselda Pollock on Inside the Visible Whitechapel 1996



Griselda Pollock lectures at Yale on Charlotte Salomon 2013.



Griselda Pollock talks to Lynda Benglis at the Hepworth 2015



Griselda Pollock on Interpretation



Griselda Pollock at the arts and philosophy festival in 2014

Some of the recorded lectures and talk on the internet by Griselda Pollock



https://vimeo.com/92313872   Griselda Pollock on Alina Szapocnikow at the Hammer Museum2012


http://www.moma.org/explore/multimedia/videos/16/177 Griselda Pollock at the Feminist Futures Conference, Museum of Modern Art, New York 2007



Griselda Pollock on the Concentrationary Imaginary, 2011




Griselda Pollock on Making Feminist Memory: Helen Rosenau UCL 2014


https://www.youtube.com/watch?v=ToTV8SovsaI Griselda Pollock on Disposable Life


http://www.tate.org.uk/context-comment/video/radical-thinkers-art-sex-and-politics-feminism   Griselda Pollock at the Tate 2015 on Feminism as a Bad Memory



Griselda Pollock at the launch of a French translation of the work of Carla Lonzi 2012



Griselda Pollock on Inside the Visible Whitechapel 1996



Griselda Pollock lectures at Yale on Charlotte Salomon 2013.



Griselda Pollock talks to Lynda Benglis at the Hepworth 2015



Griselda Pollock on Interpretation



Griselda Pollock at the arts and philosophy festival in 2014

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