The publication of 'Vision and Difference' marked a milestone in the development of modern art history. Its introduction of a feminist perspective into this largely male-oriented discipline made shockwaves that are still felt forcefully today. Drawing upon feminist cultural theory previously little applied to the visual arts, Griselda Pollock offers concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only provides a feminist re-reading (...) of the work of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt. Casting her critical eye over the contemporary art scene, Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze. Now published with a new introduction by Griselda Pollock, 'Vision and Difference' remains as powerful and as essential reading as ever for all those seeking not only to understand the history of the feminine in art but also to develop new strategies for representation for the future. (shrink)

Generations and Geographies brings together a collection of artists, critics and researchers to consider the question of sexual difference and its significance in the production and reception of visual representation by women artists.

In 2018, the Bauman Institute and the Centre for Cultural Analysis, Theory & History, both based at the University of Leeds, initiated a transdisciplinary programme to assess the legacies of Zygmunt Bauman, whose prolific writings we felt to be profoundly relevant to the multiple challenges of the 21st century. In this special issue of Thesis Eleven, we are marking just over three years since the death of Zygmunt Bauman by bringing together some of the contributions to that programme in order (...) to revisit, elaborate, and crucially to extend his intellectual archive. Taking Bauman’s revision of contemporary social realities as a point of departure, each of the participants in this special issue re-examine – critically but also generously – the many questions Bauman asked, tried to answer, and imbued on the way with new and sometimes shocking insights. This paper surveys those contributions by way of introducing the special issue. (shrink)

Bracha Ettinger is an Israeli-born Paris-based artist, analyst and feminist theorist who has produced over the last decade a major theoretical intervention through a tripartite practice. This article offers an expository introduction and overview of core aspects of her theoretical contribution while relating it to major trends in feminist and general cultural theory of subjectivity, hysteria, memory, trauma and the aesthetic. Organized in several parts, each section addresses the developing vocabulary, terminology and significance of her work. With core concepts are (...) Matrix, metramorphosis, trans-subjectivity, co-poïesis, co-emergence and co-affection, Ettinger’s theory opens out beyond the blind spots of advanced feminist thought. From its independent and original theorization of subjectivity-as-encounter and an-other sexual difference, Bracha Ettinger challenges our attempts to think about femininity associated with the work of Julia Kristeva and Luce Irigaray. Linked to, but distinct from, the philosophical speculations of Deleuze and Levinas, this work creates a transferential theoretical space for Jewish and feminine difference, sexuality, subjectivity and the traumatic residues of modern catastrophe that has major repercussions for cultural, aesthetic, ethical, political and psychoanalytic theory. (shrink)

This paper proposes a conversation between Charlotte Salomon 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? 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. (shrink)

This article takes as its provocation Marx's intriguing statement about the disjunction between the flowering of Greek art and the underdeveloped stage of social and economic development made as an epilogue to the Introduction to the Grundrisse in order to ask what are the relations between that which has been considered art and what Marx calls `production as such'. In the elaborated conditions of contemporary capitalist societies, we can ask: Is art still being made? To examine this question I juxtapose (...) what Bauman has called `thinking sociologically' with a proposition that art thinks aesthetically. So how can art historians deal with that challenge of thinking aesthetic practices both socially and historically? I track a genealogy of art historians who have attempted to think socially about artistic practices. This leads into a section about the necessity for both sociological and aesthetic education if we are to avoid totalitarianism or free-market individualism. Finally, thinking sociologically, by taking as a case study the work of Aby Warburg, I explore the technological conditions of art historical production itself particularly in relation to photography and the way this shapes our access to the image. Warburg represents the possibility of another model for art historical thinking about the image as Kulturwissenschaft, a parallel to Sozialwissenschaft in its ambition and relation to the great intellectual revolutions c.1905. Like Marx, Warburg questioned the continuity of the imaginary space of art thinking in the age of technological industrialism. Where art is now, where art history is, are not just sociological questions to which Marx might offer a dismal answer. I conclude that what is necessary is a constructive conversation between thinking sociologically and thinking aesthetically, knowing synthetically and knowing for oneself — curricular issues made more intense by the shared conditions in which all intellectual production is being transformed in contemporary sites of intellectual practice, the university, by `production as such' leading thought to risk the same fate as art in contemporary society, as Marx hypothesized. As a final thought, I suggest that in contemporary art work that confronts trauma and catastrophe, often using new technologies as aesthetic processes, we may find a counter-argument. (shrink)

This extended introductory article sets the scene for consideration of liquid modernity and Bauman’s recent work in general. His ideas are placed against Pollock’s concept of the ‘trans-disciplinary’. The ramifications of Bauman’s work for cultural analysis are discussed, particularly his ideas about migration, tourism, borders and the impact of global social trends on citizenship and agency. One central theme is deterritorialization - both in terms of academic disciplines and the shift from solid, defined, localized, territorialized, nation-bound modernity to the liquid (...) modern. (shrink)

This is a collection of essays based on the papers by leading Degas experts given at the Table Gallery, Liverpool in 1989 as well as further American academics, especially commissioned for this book. The text demonstrates the diversity of approaches and issues generated around the problematic material of Degas' images of women, combining art history, cultural theory and psychology. Richard Kendall is an art historian and organizer of the Liverpool conference.

Feminism has been a major force in the reshaping of recent art. The women's movement has given new confidence to women who work in the visual arts; it has opened up new areas for art to deal with and challenged existing systems of values and imagery in the arts. In their comprehensive introduction, Rozsika Parker and Griselda Pollock provide a richly illustrated history of the British women's art movement, covering the major events and debates in feminist art practice which have (...) taken place over the last fifteen years. They also examine the trends, the conflicts and the new directions of the 1980s in which issues of race, as well as gender, have necessarily become prominent. Griselda Pollock goes on to explore the place of feminist art in the context of post-modern culture, arguing that feminism is one of the most important and radical interventions in both modernism and post-modernism. --back cover. (shrink)