Griselda Pollock, From Feminism To The Concentrationary And Beyond

317 Pages·2018·9.858 MB·English

by  Raluca Bibiri (ed.)

CENTER OF EXCELLENCE IN IMAGE STUDIES

UNIVERSITY OF BUCHAREST
IMAGES, IMAGINI, IMAGES

JOURNAL OF VISUAL AND CULTURAL STUDIES

7/2017
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Images, Imagini, Images. Journal of Visual and Cultural Studies
JVCS is a peer-reviewed periodical in Arts & Humanities, edited by the Center of Excellence in Image Studies
(CESI), University of Bucharest.
cesi.unibuc.ro

Office: Center of Excellence in Image Studies, 179 Traian Street, Sector 2, Bucharest, postal code 024045

Publisher: Institutul European Iaşi

Director of JVSC: Sorin Alexandrescu
Scientific Editor of JVSC: Laura Mesina

Editorial and Advisory Committee of JVSC:
Georges Banu (Paris) Colette Nativel (Paris)
Maaike Bleeker (Utrecht) Robin Nelson (London)
Chiel Kattenbelt (Utrecht) Isabella Pezzini (Roma)
Gianfranco Marrone (Palermo) Mary-Laure Ryan (Boulder)
Mihai Moraru (Bucharest) Andrei Ujică (Karlsruhe)

Issue Coordinator: Raluca Bibiri
Issue Editors: Aaron Goldberg, Raluca Bibiri

Cover design: George Anghelescu
Cover illustration: Bracha Lichtenberg Ettinger, Eurydice 53 - Pieta, 2015-2016, 40 x 30.2 cm, collection Castello di
Rivoli, Torino, © Courtesy of the artist

ISSN 2247 – 7950 (Print)
ISSN-L = 2247 – 7950 (Print)

Copyright: © 2018, Center of Excellence in Image Studies, University of Bucharest
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Raluca Bibiri
(Issue Coordinator)

IMAGES, IMAGINI, IMAGES

JOURNAL OF VISUAL AND CULTURAL STUDIES

7/2017

GRISELDA POLLOCK, FROM FEMINISM TO
THE CONCENTRATIONARY AND BEYOND

INSTITUTUL EUROPEAN
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Contents
Editor's Introduction ………………………………………………………9

I. Feminist Pioneering

Hilary Robinson
The Early Work of Griselda Pollock in the Context of Developing Feminist
Thinking in Art History and Criticism…………………………………..19

Tamar Garb, Adrian Rifkin, Griselda Pollock
A Public Conversation Held at University College London's Institute of
Advanced Studies, on 3rd May 2016 ………………………………...…..51

Alison Rowley
Griselda Pollock and the Spaces of Writing Painting………………...….79

II. Regimes of the Visual

Nicholas Chare
Vision and Indifference: Writing Perceptions of the Petroglyphs of
Murujuga ...................................................................................................97

Eileen Little
Return …………………………………………………………………..125

Young-Paik Chun
Looking Back on 25 Years with Professor Pollock …………………….145
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III. Trauma and the Concentrationary

Dina Comisarenco Mirkin
Art and Cultural Trauma in Griselda Pollock: to Recover Humanity….171

Brenda Hollweg
Cine-archaeology of the Camp: Olivier Zuchuat’s Like Stone Lions at the
Gateway into Night (2012) ......................................................................181

Griselda Pollock
De la ororism la compasiune: re-figurând chipul de Medusă al alterităţii,
în dialog cu Adriana Cavarero şi Bracha Ettinger .................................213
Translated by Raluca Bibiri

IV. Feminist Space in the Future

Ruth Daly, Elspeth Mitchell, Gill Park, Lenka Vráblíková, Yelin Zhao
A Feminist Space at Leeds: Collective Reflections on an ''Event'' …….261

Griselda Pollock
Reflections on Fidelity and Feminism: A Feminist Space at Leeds Past and
to Come …………………………………………………………………273
*
Notes on Contributors ………………………………………………….279
Guidelines for Contributors ………………………………………….....285
Formatting and Style Guide .....................................................................287
Illustrations ……..………………………………………..……………...293
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Editor's Introduction
ACKNOWLEDGEMENT

Permission has been granted by the author for the translation of
Griselda Pollock, ''From Horrorism To Compassion, Re-facing
Medusan Otherness in Dialogue with Adriana Cavarero and Bracha
Ettinger,'' which was originally published in English in Visual Politics
Of Psychoanalysis, Art and the Image in Post-Traumatic Cultures.
Ed. Griselda Pollock. London & New York: I.B. Tauris, 2013. 159-189.

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Images, Imagini, Images JVCS. 7 /2017

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Editor's Introduction
Editor's Introduction

''If you choose to be a feminist as an art historian, you
choose to dedicate your life to trying to understand
what women have done and said. It is not as a result of
being a woman, but as an act of absolute love.''
(Griselda Pollock, ''A Public Conversation Held at
University College London's Institute of Advanced
Studies, on 3rd May 2016'')

This volume celebrates forty years of academic service in the
life-long career of Griselda Pollock. The idea of the volume sprang up
in an apparently remote location in relation to what has been
considered the epicentre of feminist theory, namely Western Europe.
In recent years the Centre of Excellence in Image Studies in
Bucharest became closely linked to Griselda Pollock's mentorship in
a way that seems symptomatic of her long-term effort to
geographically join apparently distanced spaces, to rejuvenate
connections that powerful historical and political narratives have
made seemingly impossible. How is it that Griselda Pollock became a
referential figure for the Romanian academic environment?
The Center of Excellence in Image Studies was founded
eighteen years ago, and it began by opening an interrogation of
modernity and its aesthetic practices. Gradually it advanced towards
questioning the reminiscences of modernity in what we inherit today
under the rubric of art and culture. The initial ''Theory and Practice of
Images'' masters program eventually called for a more extended
debate at the level of society, hence the initiation of a second masters
program, titled ''Society, Multimedia, Spectacle''. It was in 2015 that
the latter enlarged its curricula with a gender studies module, a
decision that was to a great degree influenced by the feminist research
climate that Griselda Pollock developed at the University of Leeds, at
Centre CATH.
Upon my arrival in Leeds in 2010 as a PhD student, my
expectations were limited by what feminist studies presented as a
rather isolated area of Cultural Studies. However, the community
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