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Griselda Pollock (born 11 March 1949)[1] is a visual theorist, cultural analyst and scholar of international, postcolonial feminist studies in the visual arts. Based in England, she is well 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, feministart 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] In 2017 Griselda Pollock celebrated 40 years of teaching at the School of Fine Art, History of Art and Cultural Studies at the University of Leeds.

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. Crucially, Pollock researches the relationship between art and psychoanalysis, and draws on the work of French cultural theorists. She is 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 for a proposed remake of the 1969 television series Civilization, a series originated 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]

Personal life[edit]

She is married to Antony Bryant.[7]


  • 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, pp. 14-18
  • (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". differences: A Journal of Feminist Cultural Studies, special issue. Duke University Press. 4 (3). 1992. OCLC 936734168. 
  • (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, special issue: Feminist Pedagogies. KT Press. 27: 20–28. July 2010. 
  • 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
  • "Is feminism a trauma, a bad memory, or a virtual future?". differences: A Journal of Feminist Cultural Studies. Duke University Press. 27 (2): 27–61. September 2016. doi:10.1215/10407391-3621697. 
  • Charlotte Salomon and the Theatre of Memory, Yale University Press, 2018. ISBN 978-0300100723.

See also[edit]


External links[edit]

  1. ^"Birthdays", The Guardian, p. 33, 11 March 2014 
  2. ^ abSee 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
  7. ^"Griselda Pollock - Dictionary of Art Historians". Retrieved 2017-03-11. 
  • 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

  • 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(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.

  • Pollock G(2017)“Life? or Theatre?”,TLS-THE TIMES LITERARY SUPPLEMENT.5981: 25-26.

  • 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:

    © 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:

    © 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”,Afterall: A Journal of Art, Context and Enquiry.43: 18-29.
    DOI: 10.1086/692550

  • Pollock G(2016)“Looking Jewish: Visual Culture and Modern Diaspora”,JEWISH HISTORICAL STUDIES-TRANSACTIONS OF THE JEWISH HISTORICAL SOCIETY OF ENGLAND.48.1: 229-234.
    DOI: 10.14324/111.444.jhs.2016v48.033

  • 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:

    © 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:

    © 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:

    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:

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

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

  • 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 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:

    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 Home: Maternal Trauma, Tears and Kisses in a work by Chantal Akerman’”,Maternal 3

  • 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: maternal trauma, tears and kisses in a work by Chantal Akerman”,Studies in the Maternal.2.1: 1-32.
    Repository URL:

    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:

  • 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.

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

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

  • 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)The Visual. : 173-194.
    DOI: 10.1002/9780470756683.ch9

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

    Authored under the alias of Pollock, G.

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

  • 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(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(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 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 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(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(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:

    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:

  • 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:

  • 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:

  • 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:

  • 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)“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(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(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:

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

  • 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)“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)“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)“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)“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/ 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)“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(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(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)“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)“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:


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