Griselda POLLOCK

Ouvrages de l'auteur et directions d'ouvrages

• Theater of Memory : Charlotte Salomon’s Leben oder Theater 1940-1942, New Haven : Yale University Press, 2005.
• The Case Against Van Gogh : Cities and Countries of Modernism, Londres : Thames & Hudson, 2005.
• Vision and Difference : Feminism, Feminity and the Histories of Art, Londres : Routledge, 2003.
  320 p.
• Looking Back to the Future : Essays on Art, Life and Death, Amsterdam : G&B Arts International, 2001.
  419 p.
• Looking Back to the Future : 1990-1970, Londres : Routledge, 2000.
  (Critical Voices in Art, Theory and Culture).
• Work and the Image : vol. 1, Work, Craft and Labour : Visual Representations in Changing Histories, vol. 2, Work in Modern Times : Visual Mediations and Social Processes, Londres : Ashgate, 2000.
  [En collaboration avec Valérie Mainz].
• Differencing the Canon : Feminist Desire and the Writting of Art’s Histories, Londres : Routledge, 1999.
  345 p.
• Mary Cassatt : Painter of Modern Women, Londres : Thames & Hudson, 1998.
  224 p.
• Avant-Gardes and Partisans Reviewed, Manchester : Manchester University Press, 1996.
  362 p., [En collaboration avec Fred Orton].
• Generations and Geographies in the Visual Arts : Feminist Readings, Londres : Routledge, 1996.
  300 p.
• Avant-Garde Gambits 1888-1893 : Gender and the Colour of Art History, Londres : Thames & Hudson, 1993.
  80 p.
• Dealing with Degas : Representations of Women and the Politics of Vision, Londres : Pandora, 1992.
  224 p. [En collaboration avec Richard Kendall].
• Old Mistresses: Women, Art and Ideology, Londres : Pandora, 1992.
  184 p. [En collaboration avec Rozsika Parker. Réédition].
• Vision and Difference : Femininity, Feminism, and Histories of Art, Londres : Routledge, 1988.
  239 p.
• Framing Feminism : Art and the Women’s Movement 1970-1985, Londres : Routledge : Pandora, 1987.
  350 p. [En collaboration avec Rozsika Parker].
• The Journals of Marie Bashkirtseff, Londres : Virago, 1985.
• Old Mistresses: Women, Art and Ideology, Londres : Routledge & Kegan Paul, 1981.
  184 p. [En collaboration avec Rozsika Parker].
• Mary Cassatt, Londres : Jupiter Books, 1980.
  119 p.
• Vincent Van Gogh : Artist of his Time, Oxford : Phaidon, 1978.
  84 p., [En collaboration avec Fred Orton].
• Jean-François Millet, Londres : Oresko Books, 1977.
  96 p.

Ouvrages collectifs

• "Feminism and art c. 1970: Writing (art) otherwise", in Feminism and Art in Postwar Italy: The Legacy of Carla Lonzi, London : Bloomsbury Visual Arts, 2021.
  p.249-274. [eng].
• "Différence et unité : le féminin et le planétaire", in Constellations subjectives : pour une histoire féministe de l’art, Donnemarie-Dontilly : Éditions iXe, 2020.
  p.33-63.
• "Mary Kelly’s Ballad of Kastriot Rexhepi: Virtual Trauma and Indexical Witness in the Age of Mediatic Spectacle (2004/2010)", in Mary Kelly, Cambridge : MIT Press, 2016.
  p.131-152, (October Files).
• "Introduction", in Catherine de Zegher, Women’s Work Is Never Done: An Anthology, Gand : AsaMER, 2014.
  p.13-21.
• "A Response to ’26 Conceptual Artsits in London'", in From Conceptualism to Feminism: Lucy Lippard’s Numbers Shows 1969-74, Londres : Afterall, 2012.
  p.249, (Exhibition Histories).
• [Anthologie de textes parus entre 1981 et 2003], in La Rébellion du Deuxième Sexe : l’histoire de l’art au crible des théories féministes anglo-américaines (1970-2000), Dijon : Les Presses du réel, 2011.
  (Œuvres en sociétés-Anthologies).
• "Feminity/modernity : inscriptions/representations/transformation", in Inscriptions/Transgressions : Art history and gender studies, Bern : Peter Lang, 2008.
  p.83-106, (Kunstgeschichten der Gegenwart).
• "Becoming Cultural Studies", in Interrogating Cultural Studies : Theory, Politics and Practice, Londres : Pluto Press, 2004.
• "Screening the Seventies : Sexuality and Representation in Feminist Practice – a Brechtian Perspective", in The Feminism and Visual Culture Reader, Londres : Routledge, 2003.
  p.76-93.
• "Does Art Think?", in Art and Thought, Oxford : Blackwell, 2003.
• [Texte], in Art in Question, Londres : Continuum, 2003.
  p.130-157.
• [Texte], in Fresh Talk Daring Gazes : Conversations on Asian American Art, Los Angeles : California University Press, 2003.
• "Feminist Theory : the Visual", in Feminist Theory, Oxford : Blackwell, 2003.
• "Holocaust Tourism", in Tourism and Visual Culture, Oslo : Bergen Press, 2003.
• "A History of Absence Belatedly Addressed : Impressionism with and without Mary Cassatt", in The Two Art Histories, Williamstown : Clark Art Institute ; New Haven : Yale University Press, 2002.
  p.123-141.
• "The Aesthetics of Difference", in Art History, Aesthetics, and Visual Studies, Williamstown : Clark Art Institute ; New Haven : Yale University Press, 2002.
  p.147-174.
• "Nude Bodies : Transgressing the Boundaries between Art & Pornography", in The Body : The Darwin Lectures, Cambridge : University of Cambridge Press, 2002.
  p.94-162.
• "Inscripciones en lo femenino = Inscriptions in the Feminine", in Los Manifiestos del arte posmoderno : textos de exposiciones 1980-1995, Madrid : Akal/ Arte contemporaneo, 2002.
  p.322-346. [spa].
• "Avant-Gardes and Partisans Reviewed", in Pollock and After : The Critical Debate, Londres : Routledge, 2001.
  [En collaboration avec Fred Orton. Réédition].
• "Modernity and the Spaces of Feminity", in The Visual Culture Reader, Londres : Routledge, 2001.
• "Visions du sexe : représentation, féminité et modernité dans les années vingt", in Où en est l’interprétation de l’oeuvre d’art ?, Paris : Ecole Nationale Supérieure des Beaux-Arts, 2000.
  p.41-96.
• [Introduction], in Regard et espace-de-bord matrixiels : essais psychanalytiques sur le féminin et le travail de l’art, Bruxelles : La Lettre volée, 1999.
  p.7-40.
• "Tracing Figures of Presence : Naming Ciphers of Absence : Feminism , Postcolonialism and the work of Sutapa Biswas", in Race, Gender and Politics, Minneapolis : University of Minnesota Press, 1999.
• "Killing Women and Dying Men", in The Practice of Cultural Analysis : Exposing Interdisciplinary Interpretation, Stanford : University of Stanford Press, 1999.
  p.75-101.
• "On Not Seeing Provence : Van Gogh and the Painting of Consolation", in Framing France, Manchester : Manchester University Press, 1998.
  p.81-118.
• "Le Post-impressionnisme", in Histoire de l’art en occident : de l’Antiquité au XXème siècle, Paris : Flammarion, 1998.
  p.336-357.
• ""Deadly Tales" , in 1,799 of 600,000 Hours, (Mortality), Adelaide : The Experimental Art Foundation, 1996.
  p.69-77.
• "The Invitation to Look : The Female Spectator and the Working Woman in Manet’s Bar at the Folies Bergère", in Twelve Views of the Manet’s Bar, Princeton : Princeton University Press, 1996.
  p.278-318.
• "Inscriptions in the Feminine & Introduction to the With-In-Visible Screen", in Inside the Visible, Cambridge : MIT Press, 1996.
  p.67-87.
• "Is Feminism to Judaism as Modernity is to Tradition? : Critical Questions on Jewishness, Femininity and Art", in Rubies and Rebels Jewish Female Identity in Contemporary British Art, londres : Lund Himphires, 1996.
  p.15-27.
• "Art, Art School, Culture : Individualism after the Death of the Artist", in The Block Reader in Visual Culture, Londres : Routledge, 1996.
• [Préface], in Berthe Morisot : the First Lady of Impressionism, Stroud : Sutton Publishing, 1996.
• [Texte], in Issues in Art and Education : Aspects of the Fine Art Curriculum, Londres : Tate Publishing, 1996.
• "Beholding Art History : Vision, Power and Difference", in Vision and Textuality, Basingstoke Hampshire : MacMillan Press, 1995.
  p.48-67.
• "The View from Elsewhere : the Politics of Feminist Spectatorship", in Feminist Subjects : Multi-media, Manchester : Manchester University Press, 1995.
  p.2-39.
• "Empire, Identity and Place : Greystoke the Legend of Tarzan", in Me Jane : Masculinity, Movies and Women, Londres : Lawrence and Wishart, 1995.
• "Histoire et politique : l’histoire de l’art peut-elle survivre au féminisme ?", in Espaces de l’art : féminisme, art et histoire de l’art, Paris : Ecole Nationale Supérieure des Beaux-Arts, 1994.
  p.63-90.
• "Feminism and Foucault", in Visual Culture : Images and Interpretations, Wesleyan : University Press, 1994.
  p.1-42.
• "The Case of the Missing Women", in The Point of Theory, Amsterdam : University of Amsterdam, 1994.
  p.91-108.
• "Territories of Desire : an African Childhood Reconsidered’", in Travellers’ Tales, Londres : Routledge, 1994.
  p.63-92.
• "Painting, Feminism and History’", in Destabilising Theory : Western Feminism 1970s-1980s, Cambridge : Polity Press, 1992.
  p.138-176.
• "Feminism and the Visual Arts", in Feminism and Psychoanalysis : A Critical Dictionary, Oxford : Blackwell, 1992.
• "Vision, Voice and Power : Feminist Art History and Marxism", in Art in Modern Culture : an Anthology of Critical Texts, Londres : Phaidon, 1992.
  p.28-31.
• [Texte], in Van Gogh, Londres : Phaidon, 1991.
  127 p.
• "Thoughts on Kitchen Show", in Kitchen Show, Londres :Arts Admin, 1991.
• "Missing Women : Rethinking Early Thoughts on Images of Women", in The Critical Image : Essays on Contemporary Photography, Seattle : Bay Press, 1990.
  p.202-219.
• [Introduction], "Veils, Masks and Mirrors : Thoughts on the Work of Mitra Tabrizian", in Mitra Tabrizian : Correct Distance, Manchester : Cornerhouse, 1990.
• "Modernität und Die Raume der Weiblichkeit", in Blickwechsel-Zur Konstruktion von Weiblichkeit in Kunst und Kunstgeschichte, Berlin : Reimer, 1989.
  p.1-13.
• "Whose Images of Women?", in Images of Women, Leeds : City Art Gallery, 1989.
  p.6-15.
• "The Partial View : The Visual Representation of the Early Nineteenth Century City", in The Culture of Capital Art, Power and the Nineteenth Century Middle Class, Manchester : Manchester University Press, 1988.
• "Madness, Media and Mythologies…", in Picture This : Media Representations of Visual Art and Artists, Londres : Arts Council, 1988.
• "What’s Wrong with Images of Women?", in Looking On, Londres : Pandora, 1987.
• "Avant-Gardes and Partisans Reviewed", in Pollock and After, Londres : Harper & Row, 1985.
  [En collaboration avec Fred Orton].
• "The Bretons Themes : the Meadows of Representation", in Modern Art and Modernism : A Critical Anthology, Londres : Harper & Row, 1983.
  [En collaboration avec Fred Orton].
• "Women’s Knowledge, Women’s Ignorance, Women’s Studies", in Knowledge and Higher Education, Stockholm : National Board of Universities and Colleges, 1983.
• "Van Gogh and the Poor Slaves", in Peasants and Countrymen in Literature, Londres : Roehampton Institute, 1982.
• "Theory and Pleasure", in Sense and Sensibility in Feminist Artistic Practice, Nottingham : Midland Group, 1982.

Catalogues

• "Abstraction ? Cocréation ?", in Catalogue Elles font l’abstraction, Paris : Ed. du Centre Pompidou, 2021.
  p.25-30.
• "Seeing Is Not Knowing: Saying Makes Us See. An Essay on the World-Work of Hito Steyerl", in Catalogue Hito Steyerl: The City of Broken Windows, Milan : Skira ; Rivoli : Castello di Rivoli, 2018.
  p.46-53. [eng].
• "Queer Precarity, The Search for Work and the Question of Persona", in Catalogue Cabello/Carceller : borrador para una trama en curso = Draft for an Ongoing Plot, Madrid : CA2M Centro de Arte Dos de Mayo, 2017.
  p.59-67(spa), p.69-75(eng).
• "La Virtualité, l’esthétique, la différence des sexes et l’exposition : vers le musée féministe virtuel ", in Catalogue elles@centrepompidou : artistes femmes dans la collection du Musée national d’art moderne, centre de création industrielle, Paris : Ed. du Centre Pompidou, 2009.
  p.322-329.
• "Sans oublier l’Afrique : dialectiques de l’attention/inattention, du voir/ignorer et du connaître/comprendre dans la position de spectateur face à l’oeuvre d’Alfredo Jaar", in Catalogue Alfredo Jaar : la politique des images, Zurich : JRP/Ringier, 2007.
  p.113-135. [fre/eng].
• "Catching and Losing the Sands of Time : The Dialectics of Place and No-Place in Jewish Memory and Being in the work of Lily Markiewicz’", in Catalogue Promise, Leeds : The Koeffler Gallery, the University of Leeds Gallery, 2001.
  p.2-17.
• [Texte], in Catalogue Hypermental : Rampant Reality 1950-2000 : From Salvador Dali to Jeff Koons, Zurich : Kunsthaus, 2001.
• "My Body, Her Body, The Body : The Inhuman Gaze of Hannah Villiger", in Catalogue Hannah Villiger Retrospective, Zurich : Scalo Press, 2001.
  p.186-203.
• "Nichsapha : Yearning/ Languishing/ The Immaterial Touché of Colour in Painting after Painting after History", in Catalogue Artworking : Bracha Lichtenberg Ettinger : a Retrospective, Bruxelles : Musée des Beaux Arts ; Gand : Ludion, 2000.
  p.45-70.
• "Psychic Alchemy : Sexual Objects and Fantasmatic Bodies", in Catalogue Hypermental, Zurich : Kunstaus, 2000.
  p.21-27.
• "Still Working on the Subject : Feminist Poetics and the Avant-Garde Moment’", in Catalogue Rereading Mary Kelly Post-Partum Document, Vienne : Generali Foundation, 1999.
  p.237-263.
• "The Cities and Countries of Modernity : Van Gogh Among His Dutch Contemporaries", in Catalogue Art in the Age of Van Gogh, Toronto : Art Gallery of Ontario, 1998.
  p.23-64.
• "Conversation with Griselda Pollock (extract) 1989", in Catalogue Mary Kelly : Social Process / Collaborative Action, 1970-1975, Londres : Phaidon, 1997.
  p.130-137.
• "Abandoned at the Mouth of Hell : Bracha Lichtenberg Ettinger’s Eurydice 1992-1996’", in Catalogue Patient and Doctor : Memory and Pain, Pori : Art Museum, 1997.
  p.126-162.
• "After the Reapers : Gleaning the Past, the Feminine and another Future from the work of Bracha Lichtenberg Ettinger", in Catalogue Bracha Lichtenberg Ettinger : Halala-Autistwork, Jerusalem : The Israel Museum, 1996.
  p.78-165.
• "Rencontre avec l’histoire : stratégie de dissonance dans les années quatre-vingt et quatre-vingt dix’", in Catalogue Face à l’histoire 1933-1996 : l’artiste moderne devant l’évènement historique, Paris : Flammarion : Ed. du Centre Pompidou, 1996.
  p.535-540.
• "Derrière les moissonneurs : glanant le passé, le féminin et un autre futur d’après l’oeuvre de Bracha Lichtenberg Ettinger’", in Catalogue Bracha Lichtenberg Ettinger : Halala-Autistwork, Aix-en-Provence : Arfiac, 1995.
• [Préface], in Catalogue Bracha Lichtenberg Ettinger : Matrix – Borderlines, Oxford : Museum of Modern Art, 1993.
• "Crows, Blossoms and Lust for Death : Cinema and the Myth of Van Gogh, the Modern Artist", in Catalogue The Mythologie of Vincent Van Gogh, Tokyo : Asahi National Broadcasting Co. ; Amsterdam : John Benjamins, 1993.
  p.217-239.
• "Feminist Interventions in History: on the Historical, the Subjective and the Textual", in Catalogue Mary Kelly : Interim : The Complete Work, 1984-1989, New York : The New Museum of Contemporary Art, 1990.
  p.39-52.
• [Texte], in Catalogue Vincent Van Gogh in zijn Hollandse Jaaren, Amsterdam : Rijksmuseum Vincent Van Gogh, 1980.
  168 p.

Articles de périodiques

• "L'Esthétique de l'abstraction et la question de la différence", Les Cahiers du MNAM, printemps 2022, n°159.
  p.4-15. [Colloque "Elles font l'abstraction"].
• ""How the political world crashes in on my personal everyday": Lubaina Himid's Conversations and Voices: Towards an essay About Cotton.com", Afterall, printemps/été 2017, n°43.
  p.19-29.
• "Hahha Wilke : elective affinities", Art Monthly, sept. 2010, n°339.
  p.34-35.
• "Opened, closed and opening : reflections on feminist pedagogy in a UK university", n. paradoxa, 2010, n°26.
  p.20-29. [eng].
• "Femmes artistes / artistes femmes", Critique d’art, printemps 2008, n°31.
  p.17-20. [fre/eng]. [Article en ligne].
• "Louise Bourgeois : seeing red", Parkett, juin 2008, n°82.
  p.54-61(eng), p.62-71(ger).
• "Griselda Pollock : féminisme et histoire de l’art" [Débat avec Jacqueline Lichtenstein], Perspective, 2007, 2007-4.
  p.568-584.
• "Cockfights and Other Parades : Gesture, Difference and the Staging of Meaning in Three Paintings by Zoffany, Pollock and Krasner", Oxford Art Journal, 2003, vol.26, n°2.
  p.141-165.
• "Responses to Mieke Bal’s Visual Essentialism and the Object of Visual Culture : Visual Culture and its Discontents – Joining the Debate", Journal of Visual Culture, août 2003, vol.2, n°2.
  p.253-260.
• "The Grace of Time : Narrativity, Sexuality and a Visual Encounter in the Virtual Feminist Museum", Art History, avril 2003, vol.26, n°2.
  p.174-213.
• "Painting as a Backward Glance That Does not Kill : Fascism and Aesthetics", Renaissance and Modern Studies, 2001, n°43.
  p.116-144.
• "Om Kanoer och kulturkrig (On Canons and Cultural War)", Paletten, 2000, vol. 61, n°1.
  p.3-6.
• "Dossier Colette Deblé : introduction : fragments d’un musée", Verso Arts et Lettres, avril 2000, n°18.
  p.4.
• "Yoyoi Kusama : Three Thoughts of Feminity, Creativity and Elapsed Time", Parkett, 2000, n°59.
  p.107-123.
• "Old Bones and Cocktail Dresses : Louise Bourgeois and the Question of Age", Oxford Art Journal, 1999, vol.22, n°2.
  p.71-101.
• "A Hungry Eye", Sight and Sound, nov. 1998.
  p.26-30.
• "To Inscribe in the Feminine : A Kristevan Impossibility? Or Femininity, Melancholia and Sublimation", Parallax, 1998, n°8.
  p.81-118.
• "Griselda Pollock y Mary Kelly" [Entretien], Zehar, printemps 1998, n°36.
  p.30-37.
• "The Presence of the Future : Feminine and Jewish Difference", Issues in Architecture, Art & Design, automne-hiver 1997, vol.5, n°1.
  p.37-63.
• "La Peinture comme un coup d’oeil en arrière qui ne tue pas : à la rencontre d’Eurydice (1992-1996) de Bracha Lichtenberg-Ettinger dans Face à l’Histoire", Verso Arts et Lettres, oct. 1997, n°8.
  p.8-16.
• "Dangerous Places : Ponar – an Installation by Pam Skelton", Third Text, automne 1996, n°36.
  p.45-53.
• "Into Inside the Visible", Make, août-sept. 1996, n°71.
  p.25-28.
• "Theory, Ideology, Politics : Art History and its Myths’", Art Bulletin, mars 1996, vol.78, n°1.
  p.16-22.
• "What’s Critical about New Feminist Criticism?", Women’s Art Magazine, nov.-déc. 1995, n°67.
• "Power of Feminist Art", Women’s Art Magazine, janvier-février 1995, n°62.
• "Trouble in the Archives", Agenda, nov. 1994-fév. 1995, n°39-40.
  p.33-40.
• "The Work of Bracha Lichtenberg Ettinger : an Introduction", Third Text, automne-hiver 1994, n°28-29.
  p.61-70.
• "Shooting at the Father’s Corpse : The Feminist Art Historian as Produce", The Journal of Aesthetics and Art Criticism, automne 1994, vol. 52, n°4.
• "With my Own Eyes’ : Fetishism and the Colour of the Labouring Body and the Color of its Sex", Art History, sept. 1994, vol.17, n°3.
  p.342-382.
• "Pollock on Greenberg", Art Monthly, juillet-août 1994, n°178.
  p.14, p.17-18.
• "Oeuvres Autistes", Versus, 1994, n°3.
  p.14-18.
• "The Ambivalence of the Maternal Body : Psychoanalytic Readings of the Legends of Van Gogh", International Journal of Psychoanalysis, 1994, vol.75, n°4.
  p.801-813.
• "Proximity and Desire Sexuality in the Spaces of Femininity", Discourse, 1994, vol.15, n°1.
  p.1-64.
• "Bracha Lichtenberg : Matrix, Beyond the Phallus", Women’s Art Magazine, janvier-février 1994, n°56.
  p.12-15.
• "Critical Critics and Historical Critiques : The Case of the Missing Women", University of Leeds Review, 1993, n°36.
  p.211-247.
• "Mieke Bal : Reading Rembrandt", Art Bulletin, 1993, vol. 75, n°3.
  p.529-535.
• "Rewriting the Story of Art : Angelica Kauffmann", Women’s Art Magazine, 1993, n°50.
  p.4-8.
• "Trouble in the Archives", "Fathers of Modern Art and Mothers of Invention", Differences, 1993, vol. 4, n°3.
  p.3-14, 91-132.
• "The Politics of Theory : Generations and Geographies : Feminist Theory and the Histories of Art Histories", Genders, 1993, n°17.
  p.97-120.
• "The Crime of Candor : Feminist Art Criticism", Studio Potter, déc. 1991.
• "Van Gogh and Holland : Nationalism and Modernism", Dutch Crossing, 1991, n°44.
  p.45-59.
• "Don’t Take the Pissarro : but Take the Monet and Run! or Memoirs of a Dutiful Daughter", "Paul Hayes Tucker : Monet in the 90’s", "Richard R. Brettell : Pissarro and Pontoise", Oxford Art Journal, 1991, vol. 14, n°2.
• "Drawing on a Mother’s Experience by Bobby Baker", Performance Magazine, nov. 1990.
• "Sidney Geist : Interpreting Cezanne", "Mary Tompkins Lewis : Cezanne’s Early Imagery", "Theodore Reff : Paul Cezanne, Two Sketchbooks", "John Rewald : Cezanne and America", "What Can We Say about Cézanne these Days?’", Oxford Art Journal, 1990, vol. 13, n°1.
  p.95-101.
• "Artemisia Gentileschi : Reading Mary Garrard’s Artemisia Gentileschi, The Image of the Female Hero in Italian Baroque Art", Art Bulletin, sept. 1990, vol. 72, n°3.
  p.499-503.
• "Keynote Address : Can Art History Survive Feminism?", "More on Firing the Canon – and Going off Half Cocked", Women Artists News, printemps-été 1990.
• "Feminist Interventions, Shifting Terrains", Afterimage, mars 1990, vol.17.
• "Critical Reflections", Artforum, février 1990, vol. 28, n°6.
  p.126-127.
• "Agency and the Avant-Garde : Studies in Authorship and History by Way of Van Gogh", Block, 1989, n°15.
  p.5-15.
• "Framing Feminism", Women Artists Slide Library Journal, 1988, n°26.
  p.22-23.
• "Feminist Interventions in Art’s Histories", Kritische Berichte, 1988, vol. 16, n°1.
  p 5-14.
• "Van Gogh and the Poor Slaves : Images of Rural Labour as Modern Art", Art History, sept. 1988, vol. 11, n°3.
  p.408-432.
• "Vicarious Excitement : London, a Pilgrimage by G Dore and B Jerrold 1872", New Formations, 1988, n°4.
  p.25-51.
• "Labour, Modern and Rural : Representing Handloom Weavers in Brabant in 1884", Australian Journal of Art, 1987, vol. 6.
• "The Feminist Critique of Art History", The Art Bulletin, sept. 1987, vol. 69, n°3.
• "Women, Art and Ideology : Questions for Feminist Art Historians", Women’s Studies, 1987, vol. 15, n°1-2.
  p.2-8.
• "Labour, Modern and Rural : The Contradictions of Representing Handloom Weavers in 1884", Dutch Crossing, 1987, n°33.
  p 81-121.
• "Art, Art School and Culture", Exposure, 1986, vol. 24, n°3.
  p.20-33.
• "Art, Art School and Culture", Block, 1986, n°11.
  p.8-18.
• "What’s the Difference? : Feminism, Representation and Sexuality", Aspects, 1986, n°32.
  p.2-5.
• "The History and Position of the Contemporary Woman Artist", Aspects, 1984, n°28.
  p.1-3.
• "PreRaphaelitism and Patriarchal Power", Art History, 1984, vol. 7, n°4.
  p.480- 494.
• "Reviving or Revising Realism?", Art History, 1984, vol. 7, n°3.
  p.359-68.
• "Woman as Sign : The Representation of Elizabeth Siddall in PreRaphaelite Literature’", Art History, 1984, vol. 7, n° 2.
  p.206-227.
• "The Hague School at the Royal Academy", Burlington Magazine, 1983, vol. 125, n°963.
  p.375-379.
• "Stark Encounters : Modern Life and Urban Work in Van Gogh’s Drawings in the Hague 1881-1883", Art History, 1983, vol. 6, n°3.
  p.330-358.
• "Jackson Pollock, Painting and the Myth of Photography", Art History, 1983, vol. 6, n°1.
  p.114-121.
• "Women, Art and Ideology : Questions for Feminist Art Historians", Women’s Art Journal, 1983, vol. 4, n°1.
  p.39-47.
• "Cloisonism?", Art History, vol. 5, n°3.
  p.341-348. [En collaboration avec Fred Orton].
• "Vision, Voice and Power : Feminist Art History and Marxism", Block, 1982, n°6.
  p.2-21.
• "More than Methodology : Feminism and Film Theory", Screen, 1982, vol. 23, n°3-4.
  p.122-126.
• "The Politics of Art or an Aesthetics for Women", Feminist Art News, 1981, n°5.
  p.15-19.
• "Issue Social Strategies by Women Artists : a Review’", Spare Rib, 1981, n°103.
  p.49-51.
• "Window-Dressing : A Poster Competition for Dressed to Kill", Framework, 1981, n°15-17.
  p.25-29.
• "Avant-gardes and Partisans Reviewed", Art History, 1981, vol. 4, n°3.
  p.304-327.
• "Vision, Voice and Power : Feminist Art History and Marxism", Kvinnovetenskapligtidskrift, 1981, n°4.
  p.6-30.
• "Artists, Media and Mythologies; Genius, Madness and Art History", Screen, 1980, vol. 21, n°3.
  p.57-96.
• "The Breton Themes : the Meadows of Representation", Art History, 1980, vol. 3, n°3.
  p.314-344. [En collaboration avec Fred Orton].
• "Three Perspectives on Photography, a Review", Screen Education, 1979, n°31.
  p.49-54.
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