Griselda Pollock
NEWS
NEWS
2026 RECENT EVENTS...
16th April 2026
An on-line lecture in Mexico City: What kind of aesthetic and political experience is possible in an environment saturated with fleeting and fragmented images?
19th April 2026
The New Wave of ‘Rediscovered’ Artists: Surprise! Mostly Women.
Royal Academy, London.
What is driving this industry of ‘rediscovery?' Why is it happening 50 years after feminist curators and art historians not only pointed out how easy it was to find artists who were women by looking for them in museums collections, on the walls of aristocratic houses and museum store rooms.
They were also listed in the great 19th-early 20th century Dictionaries of Artists, the sales and auction catalogues and in the art journals. The erasure of this knowledge of women artists is a mid-20th century phenomenon that then created a 50-year habit of 'feminist rediscovery'.
What do we recover? 'Old mistresses' to hang alongside 'old masters 'or really interesting painters, steeped in their own cultures and societies, learning all the developing techniques and using them to represent a view on their world both aligned with the common culture and shifting, sometimes, that culture’s concepts because they saw and represented the world through a doubled vision?
Artist-women, my term, privileging creative agency, were only ‘forgotten’ i.e. erased from general knowledge of the history of art in the twentieth century and in an Art History appropriating creativity as a purely, if also a selectively white, masculine attribute. To create an inclusive and expanded history of art we need to interrogate the museum and the academy but also our own assumptions and habits which are, in effect, steeped in the same ideology.
16th - 17th March 2026
Griselda Pollock delivered the opening keynote lecture: Method or Ideology? What’s at Stake? Possible Strategies at the two-day symposium organized by the Paris-based research and events organization AWARE (Archives of Women Artist, Research and Exhibitions: https://awarewomenartists.com dedicated to expanding knowledge, research and understanding of women in the visual artists, founded by Camille Morineau and now formally part of Centre Pompidou, https://awarewomenartists.com/en/
The conference was titled Elles sont à l'œuvre: Les collections des musées d'art ancien au prisme du genre Women at Work: museum collections through the prism of gender.
The international range of initiatives and projects was stunning, inspiring and informative: https://www.louvre.fr/expositions-et-evenements/evenements-activites/elles-sont-a-l-oeuvre.
12th March 2026
Griselda Pollock participated in a Roundtable at the Symposium at the University of Leeds A Continuous Circulation: de Sausmarez in Leeds organized in conjunction with an exhibition of that title curated by Bridget Riley Research Fellow the University of Leeds Dr Karry Harker and Dr Rebecca Wade, assistant curator of sculpture at Leeds Museums and Galleries, held at the Audrey and Stanley University Gallery, and in association with the exhibition ‘Art Schools of Yorkshire’ curated by Professor John Beck, Professor Matthew Cornford, Associate Professor Marianna Tsionki and Professor Sam Broadhead on the ‘Art Schools of Yorkshire’.
Maurice de Sausmarez was the first Head of Fine Art at the University of Leeds in 1950 having been Head of Drawing and Painting at Leeds College of Art. Since 1948. He was a major force in developing and disseminating what became Basic Design, a programme for introducing the major developments of modernism into art education.
4th March 2026
Griselda Pollock participated in a Doctoral Research Workshop and then gave a lecture at the University of Cambridge titled: Situated Lives: Analytical Concepts and Historical Inquiry, Biography as a Critical Resource Art History. Using four case studies, and from art historian Helen Rosenau to the artists Charlotte Salomon, Alina Szapocznikow and, dare I say I say it, Vincent van Gogh, this lecture examined methods of interpretation and deep reading of biographical information as critical resources for social and feminist historical analysis of the concept of situated subjectivity in cultural production.
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