ФЕМІНІСТСЬКЕ МИСТЕЦТВОЗНАВСТВО ГРІЗЕЛЬДИ ПОЛЛОК ЯК ВИКЛИК МИСТЕЦТВУ МИНУЛОГО

Olena Zarytska

doi:10.17721/sophia.2021.17.8

Authors

Olena Zarytska Taras Shevchenko National University of Kyiv, Kyiv https://orcid.org/0000-0003-2024-4662

DOI:

https://doi.org/10.17721/sophia.2021.17.8

Keywords:

Griselda Pollock, feminist art history, feminist critique of art

Abstract

The theoretical work of one of the founders and leading figures of modern feminist art Griselda Pollock is considered. Representing researchers whose ideas were shaped by the radical cultural and social revolution of the 1960s and 1970s, she belongs to the second generation of feminist art criticism. The author points to the eclectic methodological position of G. Pollock, which combines a number of areas associated with its "radicalism" in relation to the classical areas of art history and social thought. In particular, it is Marxism, poststructuralism of R. Bart and M. Foucault, Freudian psychoanalysis etc. Methodological eclecticism G. Pollock suggests that the leading in her work is her ideological attitude, rather than research position. Although G. Pollock's theoretical constructions are formally based on specific biographical and art studies of artists of the past, methodological eclecticism does not allow to characterize them as scientific or at least consistently logical in their construction. The author concludes that substantively, the concept of G. Pollock is based on the interpretation of female (and male) principles in the artist's work as a gender category, defined by the prevailing social roles and stereotypes in society. G. Pollock uses the concept of "bourgeoisie" in relation to the culture of the masculine society of the past; attempts to develop the concept of "death of the author" by R. Bart in the interpretation of the socially determined figure of the artist (on the example of W. Van Gogh); quite arbitrarily uses the apparatus of Freudian psychoanalysis to read ("deconstruct") works of art, in particular, paintings by W. Van Gogh and A. de Toulouse-Lautrec. Thus, G. Pollock turns feminist art criticism into an ideological platform for the development of a range of ideological and theoretical currents, united by their radicalism and opposition to classical art and the ideological foundations of modern civilization as a whole.

References

Arslanov, V.G. Istoria zapadnogo iskysstvoznania XX veka (History of Western art history of the XX century). Moskva, Akademicheskiy proekt, 2003. 768 р.

Alloway, L. Old mistresses: women, art and ideology by Rozsika Parker, Griselda Pollock. Woman's Art Journal. 1982. Vol. 3, No 2. P. 60-61.

Ettinger, B. Art as compassion. Brussels: ASA publishers, 2011. 241 p.

Gouma-Peterson T. The feminist critique of art history. The Art Bulletin. 1987, Vol. 69, No 3. P. 326-357.

Griselda Pollock and Daniella Luxembourg awarded honours by the Courtauld Institute of art. The Courtauld, 22.01.2019, available at: https://courtauld.ac.uk/griselda-pollock-and-daniella-luxembourg-awarded-honours-by-the-courtauld-institute-of-art.

Harris, A. S. Women artists 1550–1950. Los Angeles County Museum of art, Random House, 1976. 368 p.

Horne, V. An unfinished revolution in art historiography, or how to write a feminist art history. Feminist Review. 2014. No 107. P. 75-83.

James M. Avant-Gardes and Partisans. The Burlington Magazine. 1998. Vol. 140, No 1142. P. 342–342.

Nochlin L. Why Are There No Great Women Artists? Woman in sexist society; studies in power and powerlessness. Basic Books. New York, 1971. P. 344–366.

Osborne C. Old mistresses: women, art and ideology by Rozsika Parker, Griselda Pollock. Woman's Art Journal. 1982, No 12. P. 108-110.

Parker R. Old mistresses: women, art and ideology. Pantheon Books. New York, 1981, No XXI. P. 184.

Pollock G. Agency and the Avant-Garde: thoughts on authorship and History by Way of Van Gogh. Routledge. New York, 1989. No. XV. 315 p.

Pollock G. Charlotte Salomon and the theatre of memory ‒ New Haven, Yale University Press, 2018. 542 p.

Pollock G. Differencing the canon : feminist desire and the writing of art's histories. Routledge. 1999, No XVIII. 345 p.

Pollock G. Generations & geographies in the visual arts : feminist readings. Routledge. New York, 1996, No XX. 300 p.

Pollock G. Mary Cassatt. New York, 1980. 119 p.

Pollock G. Vision and difference : femininity, feminism, and histories of art. Routledge. New York, 1988. 239 p.

Pollock G. Women, art, and ideology: questions for feminist art historians. Women's Studies. 1987, Vol. 15, No 1/2. P. 2–9.

Quigley T. R. Shooting at the father's corpse: the feminist art historian as producer. The journal of aesthetics and art criticism. 1994, Vol. 52, No 4. P. 407–413.

Tickner L. The body politic: female sexuality & women artists since 1970. Art History. 1978, Vol. 1, No 2. P. 236–251.

Wilke H. Sculpture 1960-80s: works from the Hannah Wilke Collection & Archive. London, Alison Jacques Gallery, 2014. 87 p.