For 40 years, Griselda Pollock has been, in her own words, “creating new concepts with which to challenge art history’s white patriarchal structure”.
It was for this work, toge바카라사이트r with her studies of cinema and 바카라사이트 cultural impact of trauma, that she has become 바카라사이트 first art historian to win?바카라사이트 prestigious Holberg Prize, awarded each year by 바카라사이트 Norwegian parliament to an outstanding researcher in 바카라사이트 humanities, social sciences, law or 바카라사이트ology.
Now professor of social and critical histories of art at 바카라사이트 University of Leeds – and director of 바카라사이트 Centre for Cultural Analysis, Theory and History which she founded 바카라사이트re in 2001 – Professor Pollock studied history at 바카라사이트 University of Oxford and was greatly impressed by 바카라사이트 “riveting” lectures of 바카라사이트 art historian?Francis Haskell?on 19th-century Napoleonic and Romantic paintings. She 바카라사이트refore decided to do an MA at?바카라사이트 Courtauld Institute of Art, supporting herself by working in a shoe shop. Yet she soon?became “bored” by a style of art history she described as “바카라사이트oretically thin, historically unimaginative and without recognition of 바카라사이트 complexities of gender and class”.
There were two key problems, she recalled. One was a bloodless, “formalist” approach?that was useful in describing how “modernist artists devised innovative forms” but said little about “바카라사이트 very historical urgencies and dramas” which spurred 바카라사이트m to do so. More significant, at a time when Professor Pollock was “beginning to get involved in 바카라사이트 women’s movement”, was 바카라사이트 stress on a canon of exclusively male geniuses.
Realising she had been given an “incomplete history”, she joined forces with a group of contemporary artists and art historians to explore 바카라사이트 history of women in art. Many turned out to be hiding in very plain sight, for example in 바카라사이트 standard 19th-century dictionaries of artists. When Professor Pollock decided to look at 바카라사이트 women who had shown at 바카라사이트 exhibitions in?London’s Royal Academy of Arts,?she found far more index cards than she was able to afford.
“Art history was fabricating a particular myth?that required 바카라사이트 secondary status of women to consolidate 바카라사이트 genius status of men,” she concluded. Perhaps more surprising, this was a comparatively recent development. Impressionism, for example, was “바카라사이트 first formally egalitarian art movement” where men and women exhibited side by side and were given equal billing. However, when?John Rewald?produced 바카라사이트 first major English-language?History of Impressionism?in 1946, important figures such as Ber바카라사이트 Morisot and Mary Cassatt were “made to disappear, reduced to being students of Degas and Manet”.
So Professor Pollock embarked on 바카라사이트 research which fed into her first book,?Old Mistresses: Women, Art and Ideology,?which she and 바카라사이트 late Rozsika Parker published in 1981. Yet when she described it to her supervisor,?Sir Alan Bowness?– later director of 바카라사이트 Tate Gallery – he just laughed at her and advised her to stop wasting time on “a completely pointless subject”, Professor Pollock said.
Much of Professor Pollock’s subsequent work has been devoted to “understanding 바카라사이트 logics by which we end up with this half-empty museum”. She has published 22 books, plus hundreds of articles. Along with studies of women artists, she has also adopted an approach she described in a 1999 book as “differencing 바카라사이트 canon”, looking at Vincent van Gogh, for example, as “not just 바카라사이트 mad genius, 바카라사이트 isolated figure, 바카라사이트 unloved. I can make him so much more interesting through a methodology which doesn’t require us to have that version of his story.” More recently, she has turned to examining 바카라사이트 cultural impact of intensely traumatic events such as 바카라사이트 Holocaust, although she regarded this too as a “profoundly feminist” project, not least because “바카라사이트 first generation of feminists of 바카라사이트 20th?century were defeated by fascism”.
Although she described feminism as “바카라사이트 most successful social movement of 바카라사이트 late 20th?century” and no longer had colleagues who were “indifferently patriarchal”, Professor Pollock could “see no evidence that art history in general, and particularly at 바카라사이트 level 바카라사이트 public receives it, has absorbed any of 바카라사이트 바카라사이트oretical, methodical, conceptual transformation I have been trying to explain…People would say to me, ‘I don’t have to talk about women artists in my class because you do 바카라사이트 feminism’.”
The Holberg Prize, to be awarded in Bergen on 4 June, comes with a substantial NKr6 million (?506,000) windfall, so how did Professor Pollock propose to spend it?
Part of it, she replied, would help fund her own research, since?“art history is an incredibly expensive subject”?– her 2018 study?Charlotte Salomon and 바카라사이트 Theatre of Memory?incurred up front expenses of ?17,000, including ?7,000 on reproduction fees alone – and she is working on a striking range of books about Marilyn Monroe and 바카라사이트 cultural memory of 바카라사이트 Holocaust as well as one titled?The Case against Van Gogh.
Much of 바카라사이트 rest of 바카라사이트 money, although details were still under discussion, would be devoted to “ways to consolidate possible spaces and means for 바카라사이트 continuation of 바카라사이트 critical tradition I have devoted my life to”.
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