Griselda Pollock is a feminist art historian and Professor of Social and Critical Histories of Art in the Department of Fine Art at the University of Leeds, England. She is director of the Center for Cultural Studies, the Center for Jewish Studies, and Graduate Studies and Research in Feminist Theory, History and Art at the University of Leeds. Pollock has written extensively on the problematic of the feminine in the fields of social history of art, cultural and psychoanalytic theory, and analysed with historical interests different artistic practices since the mid-19th century, culminating in contemporary art.
Differencing the Canon: Feminist Desire and the Writing of Art Histories. New York: Routledge, forthcoming.
Generations and Geographies in the Visual Arts: Feminist Readings. London: Routledge, 1996.
Avant-Garde Gambits: Gender and the Colour of Art History. London: Thames, 1992.
Vision and Difference: Femininity, Feminism and the Histories of Art. London: Routledge, 1988.
Framing Feminism: Art and the Women's Movement, 1970-1985. (co-authored with Rozsika parker) London: Pandora Books, 1987.
Old Mistresses: Women, Art and Ideology. (co-authored with Rozsika parker) London: Pandora Books, 1981.
Mary Cassatt. London: Jupiter Books, 1980.
Avant-Gardes and Partisans Reviewed. (co-edited with Fred Orton). Manchester University Press, 1996.
Dealing with Degas: Representations of Women and the Politics of Vision. (co-edited with R. Kendall) London: Pandora, 1992.
"Le peinture comme un coup d'oeil en arrière ne tue pas." Verso No. 8 (1997). Translations of "Painting as Backward Look that Doesn't Kill." (Hella Robay Memorial Lecture, Guggenheim Museum, New York (USA) 1997).
"Abandoned at the Mouth of Hell," in Doctor and Patient. Ed. Marketta Seppala. (Pori Art Museum, 1997).
"Rencontre avec l'histoire: stratégies de dissonance dans les années quatre-vignt et quatre-vignt-dix," in Face à Histoire. (Paris: Centre G. Pompidou, 1996).
"Inscriptions in the Feminine," in Inside the Visible. Ed. C. de Zegher. (Boston: MIT Press, 1996).
"After the Reapers," in Bracha Lichtenberg-Ettinger: Halala-Autistwork. (Aix en Provence: Arfiac, 1995).
"Territories of desire: reconsiderations of an African childhood," in Travellers' Tales. Ed. George Robertson, et. al. (London: Routledge, 1994).
"The Work of Bracha Lichtenberg-Ettinger: An Introduction." Third Text 28/29 (1994).
"Fathers of Modern Art, Mothers of Invention." Differences 4 (1992).
"Trouble in the Archives: Introduction." Differences 4 (1992).
"Feminism, Painting, History," in Destabilizing Theory. Ed. Michelle Barratt and Ann Phillips. (Cambridge: Polity Press, 1992).
"Van Gogh and the Poor Slaves." Art History 11 (1988).
"Art, art school and culture." Block (1985/86) and Exposure 24 (1986).
"The History and position of the contemporary woman artist." Aspects 28 (1984).
"Artists, media and mythologies." Screen 21 (1980).
http://pecan.srv.cs.cmu.edu/afs/cs/user/jeliza/www/Research/Pollock.htm or click here.
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