POLLOCK Griselda - Archives de la critique d'Art

Griselda POLLOCK


Griselda Pollock est professeur d'Histoires de l'art sociales et critiques à la School of Fine Art, History of Art & Cultural Studies de l'Université de Leeds (Grande-Bretagne).


Ouvrages de l’auteur et directions d’ouvrages

Jean-François Millet, London : Oresko Books, 1977, 96 p.

Vincent Van Gogh : Artist of his Time, Oxford : Phaidon, 1978, 84 p., [En collaboration avec Fred Orton].

Mary Cassatt, London : Jupiter Books, 1980, 119 p.

Old Mistresses; Women, Art and Ideology, London : Routledge & Kegan Paul, 1981, 184 p. [En collaboration avec Rozsika Parker].

The Journals of Marie Bashkirtseff, London : Virago, 1985.

Framing Feminism : Art and the Women’s Movement 1970-1985, London : Routledge : Pandora, 1987, 350 p. [En collaboration avec Rozsika Parker].

Vision and Difference : Femininity, Feminism, and Histories of Art, London ; New York : Routledge, 1988, 239 p.

Dealing with Degas : Representations of Women and the Politics of Vision, London : Pandora, 1992, 224 p. [En collaboration avec Richard Kendall].

Old Mistresses : Women, Art and Ideology, London : Pandora, 1992, 184 p. [En collaboration avec Rozsika Parker. Réédition].

Avant-Garde Gambits 1888-1893 : Gender and the Colour of Art History, London : Thames & Hudson, [1993], 80 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, London ; New York : Routledge 1996, 300 p

Mary Cassatt : Painter of Modern Women, London : Thames & Hudson, 1998, 224 p.

Differencing the Canon : Feminist Desire and the Writting of Art’s Histories, London : Routledge, 1999, 345 p.

Looking Back to the Future : 1990-1970, London : Routledge, 2000, (Critical Voices in Art, Theory and Culture). [Introduction de Penny Florence].

Looking Back to the Future : Essays on Art, Life and Death, Amsterdam : G&B Arts International, 2001, 419 p. [Introduction de Penny Florence].

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, London : Ashgate, 2000, [En collaboration avec Valérie Mainz].

Vision and Difference : Feminism, Feminity and the Histories of Art, London ; New York : Routledge, 2003, 320 p.

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, London : Thames & Hudson, 2005.

Ouvrages collectifs

‘Van Gogh and the Poor Slaves’, in Peasants and Countrymen in Literature, London : Roehampton Institute, 1982.

‘Theory and Pleasure’, in Sense and Sensibility in Feminist Artistic Practice, Nottingham : Midland Group, 1982.

‘The Bretons Themes : the Meadows of Representation’, in Modern Art and Modernism : A Critical Anthology, London ; New York : 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.

‘Avant-Gardes and Partisans Reviewed’, in Pollock and After, London ; New York : Harper & Row, 1985, [En collaboration avec Fred Orton].

‘What’s Wrong with Images of Women?’, in Looking On, London : Pandora Press, 1987.

‘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 : University Press, 1988.

‘Madness, Media and Mythologies…’, in Picture This : Media Representations of Visual Art and Artists, London : Arts Council, 1988.

‘Modernität und Die Raume der Weiblichkeit’, in Blickwechsel-Zur Konstruktion von Weiblichkeit in Kunst und Kunstgeschichte, Berlin : Reimer Verlag, 1989, p.1-13.

‘Whose Images of Women?’, in Images of Women, Leeds : City Art Gallery, 1989, p.6-15.

‘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, n. p.

[Texte], in Van Gogh, London : Phaidon, 1991, 127 p.

‘Thoughts on Kitchen Show’, in Kitchen Show, London : Arts Admin, 1991.

‘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, London : Phaidon, 1992 p.28-31.

‘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, London : Routledge, 1994, p.63-92.

‘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 : University Press, 1995, p.2-39.

‘Empire, Identity and Place : Greystoke the Legend of Tarzan‘, in Me Jane : Masculinity, Movies and Women, London : Lawrence and Wishart, 1995.

‘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 : University Press, 1996, p.278-318.

‘Inscriptions in the Feminine & Introduction to the With-In-Visible Screen’, in Inside the Visible, Cambridge ; London : 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, London : Lund Himphires, 1996, p.15-27.

‘Art, Art School, Culture : Individualism after the Death of the Artist’, in The Block Reader in Visual Culture, London : Routledge, 1996.

[Preface], 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, London : Tate Publishing, 1996.

‘On Not Seeing Provence : Van Gogh and the Painting of Consolation’, in Framing France, 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.

[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.

‘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.

‘Avant-Gardes and Partisans Reviewed’, in Pollock and After : The Critical Debate, London ; New York : Routledge, [2001]. [En collaboration avec Fred Orton. Réédition].

‘Modernity and the Spaces of Feminity’, in The Visual Culture Reader, London ; New York : Routledge, 2001.

‘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.

‘Incripciones en lo femenino = Inscriptions in the Feminine’, in Los Manifiestos del arte posmoderno : textos de exposiciones 1980-1995, Madrid : Akal/ Arte contemporaneo, p.322-346. [spa].

‘Screening the Seventies : Sexuality and Representation in Feminist Practice – a Brechtian Perspective’, in The Feminism and Visual Culture Reader, London ; New York : Routledge, 2003, p.76-93.

‘Does Art Think?’, in Art and Thought, Oxford : Blackwell, 2003.

[Texte], in Art in Question, London : 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

‘Becoming Cultural Studies’, in Interrogating Cultural Studies : Theory, Politics and Practice, London : Pluto Press, 2004.

« Feminity/modernity : inscriptions/representations/transformation », in Inscriptions/Transgressions : Art history and gender studies, Bern : Peter Lang, 2008, p.83-106, (Kunstgeschichten der Gegenwart).

[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).

« 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).

« Introduction », in Catherine de Zegher, Women’s Work Is Never Done: An Anthology, Gand : AsaMER, 2014, p.13-21. [eng].

« 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). [eng].


[Texte], in Catalogue Vincent Van Gogh in zijn Hollandse Jaaren, Amsterdam : Rijksmuseum Vincent Van Gogh, 1980, 168 p.

‘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.

[Preface], in Catalogue Bracha Lichtenberg Ettinger : Matrix – Borderlines, Oxford : Museum of Modern Art, 1993, 31 p.

‘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.

‘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.

‘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.

‘Conversation with Griselda Pollock (extract) 1989’, in Catalogue Mary Kelly : Social Process / Collaborative Action, 1970-1975, London : 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.

‘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

‘Still Working on the Subject : Feminist Poetics and the Avant-Garde Moment’, in Catalogue Rereading Mary Kelly Post-Partum Document, Vienna : Generali Foundation, 1999, p.237-263.

‘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 ; Gent : Ludion, 2000, p.45-70.

‘Psychic Alchemy : Sexual Objects and Fantasmatic Bodies’, in Catalogue Hypermental, Zurich : Kunstaus, 2000, p.21-27.

‘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.

‘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].

« 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.

Articles de périodiques

‘Vincent Van Gogh and the British Museum’, in Burlington Magazine, 1974, vol. 116, n°860, p.671-672.

‘What’s Wrong with Images of Women?’, in Screen Education, 1977, n°24, p.25-34.

‘Feminism, Femininity and the Hayward Annual 1978’, in Feminist Review, 1979, vol. 1, n°2, p.33-55.

‘Three Perspectives on Photography, a Review’, in Screen Education, 1979, n°31, p.49-54.

‘The Breton Themes : the Meadows of Representation’, in Art History, 1980, vol. 3, n°3, p.314-344. [En collaboration avec Fred Orton].

‘Artists, Media and Mythologies; Genius, Madness and Art History’, in Screen, 1980, vol. 21, n°3, p.57-96.

‘Vision, Voice and Power : Feminist Art History and Marxism’, in Kvinnovetenskapligtidskrift, 1981, n°4, p.6-30.

‘Avant-gardes and Partisans Reviewed’, in Art History, 1981, vol. 4, n°3, p.304-327.

‘Window-Dressing : A Poster Competition for Dressed to Kill’, in Framework, 1981, n°15-17, p.25-29.

‘Issue Social Strategies by Women Artists : a Review’, in Spare Rib, 1981, n°103, p.49-51.

‘The Politics of Art or an Aesthetics for Women’, in Feminist Art News, 1981, n°5, p.15-19.

‘More than Methodology : Feminism and Film Theory’, in Screen, 1982, vol. 23, n°3-4, p.122-126.

‘Vision, Voice and Power : Feminist Art History and Marxism’, in Block, 1982, n°6, p.2-21.

‘Cloisonism?’, in Art History, 1982, vol. 5, n°3, p.341-348. [En collaboration avec Fred Orton].

‘Women, Art and Ideology : Questions for Feminist Art Historians’, in Women’s Art Journal, 1983, vol. 4, n°1, p.39-47.

‘Jackson Pollock, Painting and the Myth of Photography’, in Art History, 1983, vol. 6, n°1, p.114-121.

‘Stark Encounters : Modern Life and Urban Work in Van Gogh’s Drawings in the Hague 1881-1883’, in Art History, 1983, vol. 6, n°3, p.330-358.

‘The Hague School at the Royal Academy’, in Burlington Magazine, 1983, vol. 125, n°963, p.375-379.

‘Woman as Sign : The Representation of Elizabeth Siddall in PreRaphaelite Literature’, in Art History, 1984, vol. 7, n° 2 , p.206-227.

‘Reviving or Revising Realism?’, in Art History, 1984, vol. 7, n°3, p.359-68.

‘PreRaphaelitism and Patriarchal Power’, in Art History, 1984, vol. 7, n°4, p.480- 494.

‘The History and Position of the Contemporary Woman Artist’, in Aspects, 1984, n°28, p.1-3.

‘What’s the Difference? : Feminism, Representation and Sexuality’, in Aspects, 1986, n°32, p.2-5.

‘Art, Art School and Culture’, in Block, 1986, n°11, p.8-18.

‘Art, Art School and Culture’, in Exposure, 1986, vol. 24, n°3, p.20-33.

‘Labour, Modern and Rural : The Contradictions of Representing Handloom Weavers in 1884’, in Dutch Crossing, 1987, n°33, p 81-121.

‘Women, Art and Ideology : Questions for Feminist Art Historians’, in Women’s Studies, 1987, vol. 15, n°1-2, p.2-8.

‘Labour, Modern and Rural : Representing Handloom Weavers in Brabant in 1884’, in Australian Journal of Art, 1987, vol. 6.

‘The Feminist Critique of Art History’, in The Art Bulletin, sept. 1987, vol. 69, n°3.

‘Vicarious Excitement : London, a Pilgrimage by G Dore and B Jerrold 1872’, in New Formations, 1988, n°4, p.25-51.

‘Power and Visibility in the City’, ‘Celina Fox : Londoners‘, ‘Peter Jackson : George Scharf’s London Sketches and Watercolours of a Changing City, 1820-1850′, in Art History, juin 1988, vol. 11, n°2, n. p.

‘Van Gogh and the Poor Slaves : Images of Rural Labour as Modern Art’, in Art History, sept. 1988, vol. 11, n°3, p.408-432.

‘Feminist Interventions in Art’s Histories’, in Kritische Berichte, 1988, vol. 16, n°1, p 5-14

‘Framing Feminism’, in Women Artists Slide Library Journal, 1988, n°26, p.22-23.

‘Agency and the Avant-Garde : Studies in Authorship and History by Way of Van Gogh’, in Block, 1989, n°15, p.5-15.

‘Critical Reflections’, in Art Forum, fév. 1990, vol. 28, n°6, p.126-127.

‘Feminist Interventions, Shifting Terrains’, in Afterimage, mars 1990, vol. 17.

‘Keynote Address : Can Art History Survive Feminism?’, ‘More on Firing the Canon – and Going off Half Cocked’, in Women Artists News, printemps-été 1990.

‘Artemisia Gentileschi : Reading Mary Garrard’s Artemisia Gentileschi, The Image of the Female Hero in Italian Baroque Art’, in Art Bulletin, sept. 1990, vol. 72, n°3, p.499-503.

‘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?’, in Oxford Art Journal, 1990, vol. 13, n°1, p.95-101.

‘Drawing on a Mother’s Experience by Bobby Baker’, in Performance Magazine, nov. 1990.

‘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‘, in Oxford Art Journal, 1991, vol. 14, pt.2, p.96-103, n. p., n. p.

‘Van Gogh and Holland : Nationalism and Modernism’, in Dutch Crossing, 1991, n°44, p.45-59.

‘The Crime of Candor : Feminist Art Criticism’, in Studio Potter, déc. 1991.

‘The Politics of Theory : Generations and Geographies : Feminist Theory and the Histories of Art Histories’, in Genders, 1993, n°17, p.97-120.

‘Trouble in the Archives’, ‘Fathers of Modern Art and Mothers of Invention’, in Differences, 1993, vol. 4, n°3, p.3-14, 91-132.

‘Rewriting the Story of Art : Angelica Kauffmann’, in Women’s Art Magazine, 1993, n°50, p.4-8.

‘Mieke Bal : Reading Rembrandt’, in Art Bulletin, 1993, vol. 75, n°3, p.529- 535.

‘Critical Critics and Historical Critiques : The Case of the Missing Women’, in University of Leeds Review, 1993, n°36, p.211-247.

‘Bracha Lichtenberg : Matrix, Beyond the Phallus’, in Women’s Art Magazine, janv.-fév. 1994, n°56, p.12-15.

‘Proximity and Desire Sexuality in the Spaces of Femininity’, in Discourse, 1994, vol. 15, n°1, p.1-64.

‘The Ambivalence of the Maternal Body : Psychoanalytic Readings of the Legends of Van Gogh’, in International Journal of Psychoanalysis, 1994, vol. 75, n°4, p.801-813.

‘Oeuvres Autistes’, in Versus, 1994, n°3, p.14-18.

‘Pollock on Greenberg’, in Art Monthly, juillet-août 1994, n°178, p.14, 17-18.

‘With my Own Eyes’ : Fetishism and the Colour of the Labouring Body and the Color of its Sex’, in Art History, sept. 1994, vol. 17, n°3, p.342-382.

‘Shooting at the Father’s Corpse : The Feminist Art Historian as Produce’, in The Journal of Aesthetics and Art Criticism, automne 1994, vol. 52, n°4.

‘The Work of Bracha Lichtenberg Ettinger : an Introduction’, in Third Text, automne-hiver 1994, n°28-29, p.61-70.

‘Trouble in the Archives’, in Agenda, nov. 1994-fév. 1995, n°39-40, p.33-40.

‘Power of Feminist Art’, in Women’s Art Magazine, janv.-fév. 1995, n°62.

‘What’s Critical about New Feminist Criticism?’, in Women’s Art Magazine, nov.-déc. 1995, n°67.

‘Dangerous Places : Ponar – an Installation by Pam Skelton’, in Third Text, automne 1996, n°36, p.45-53.

‘Into Inside the Visible‘, in Make, août-sept. 1996, n°71, p.25-28.

‘Theory, Ideology, Politics : Art History and its Myths’, in Art Bulletin, mars 1996, vol. 78, n°1, p.16-22.

‘The Presence of the Future : Feminine and Jewish Difference’, in Issues in Architecture, Art & Design, automne-hiver 1997, vol. 5, n°1, p.37-63.

‘To Inscribe in the Feminine : A Kristevan Impossibility? Or Femininity, Melancholia and Sublimation’, in Parallax, 1998, n°8, p.81-118.

‘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‘, in Verso Arts et Lettres, oct. 1997, n°8, p.8-16.

‘A Hungry Eye’, in Sight and Sound, nov. 1998, p.26-30

‘Griselda Pollock y Mary Kelly’, in Zehar, printemps 1998, n°36, p.30-37, [Entretiens entre Griselda Pollock et Mary Kelly].

‘Old Bones and Cocktail Dresses : Louise Bourgeois and the Question of Age’, in Oxford Art Journal, 1999, vol. 22, n°2, p.71-101.

‘Yoyoi Kusama : Three Thoughts of Feminity, Creativity and Elapsed Time’, in Parkett, 2000, n°59, p.107-123.

‘Dossier Colette Deblé : introduction : fragments d’un musée’, in Verso Arts et Lettres, avril 2000, n°18, p.4.

‘Om Kanoer och kulturkrig (On Canons and Cultural War)’, in Paletten, 2000, vol. 61, n°1, p.3-6.

‘Painting as a Backward Glance That Does not Kill : Fascism and Aesthetics’, in Renaissance and Modern Studies, 2001, n°43, p.116-144.

‘The Grace of Time : Narrativity, Sexuality and a Visual Encounter in the Virtual Feminist Museum’, in Art History, avril 2003, vol. 26, n°2, p.174-213.

‘Responses to Mieke Bal’s Visual Essentialism and the Object of Visual Culture : Visual Culture and its Discontents – Joining the Debate’, in Journal of Visual Culture, août 2003, vol. 2, n°2, p.253-260.

‘Cockfights and Other Parades : Gesture, Difference and the Staging of Meaning in Three Paintings by Zoffany, Pollock and Krasner’, in Oxford Art Journal, 2003, vol. 26, n°2, p.141-165.

« Griselda Pollock : féminisme et histoire de l’art » [Débat avec Jacqueline Lichtenstein], in Perspective, 2007-4, p.568-584.

« Femmes artistes / artistes femmes », in Critique d’art, printemps 2008, n°31, p.17-20. [fre/eng].

« Louise Bourgeois : seeing red », in Parkett, juin 2008, n°82, p.54-61(eng), p.62-71(ger).

« Opened, closed and opening : reflections on feminist pedagogy in a UK university », in n. paradoxa, juillet 2010, n°26, p.20-29. [eng].

« Hahha Wilke : elective affinities », in Art Monthly, sept. 2010, n°339, p.34-35. [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).

Articles de périodiques

  • ""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.
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