Intensive seminar in art history with Griselda Pollock

Venue: Estonian Academy of Arts, Institute of Art History and Visual Culture, Suur-Kloostri 11, Tallinn, room 303

6 ECTS

Griselda Pollock is a visual theorist and cultural analyst, and scholar of international, postcolonial feminist studies in the visual arts. Based in England, she is well known for her theoretical and methodological innovation, combined with readings of historical and contemporary art, film and cultural theory. Since 1977, Pollock has been one of the most influential scholars of modern, avant-garde art, postmodern art, and contemporary art. She is also a major influence in feminist theory, feminist art history and gender studies (Sue Malvern, “Griselda Pollock”, in Chris Murray (ed.), Key Writers on Art: The Twentieth Century (London: Routledge, 2002).​

In Tallinn Griselda Pollock will addresses the issues of relations of political thought and feminist thinking, the problems of psychoanalytic interpretation, and of the contemporary exhibitionary practices.

Programme

Day 1 – Getting to know me: the unknown 1990s and the 2016 abstract expressionist show.

Day 2 – Arendtian political thought and feminist thinking about sexual difference.

Day 3 – Bracha Ettinger: Psychoanalysis, aesthetics and amnamesis.

Day 4 – The virtuality of feminism and the contemporary exhibitionary and the curatorial.

Registration

Reading the required texts is the prerequisite for participating in the course (max 15 participants).
The final registration deadline is May, 2.

Readings

Adriana Cavarero and Elisabetta Bertolino, ‘Beyond Ontology and Sexual Difference: An Interview with the Italian Feminist Philosopher Adriana Cavarero’ differences 2008 Volume 19, Number 1: 128-167

Carolyn Christov Bakargiev ‘The Brain’ at DOCUMENTA(13) 2012

Carolyn Christov-Bakargiev ‘Letter to a Friend’ dOCUMENTA (13) 26/10/2010

Karen Barad, ‘On Touching-The Inhuman that therefore I am’ differences 23: 3 (2012 ) 206-223

Bracha Ettinger, ‘Matrixial Transubjectivity’ Theory Culture and Society 21:2-3 (2004) 218-22

Bracha Ettinger, ‘Weaving, Weaving a Woman Artist within the Matrixial Encounter-Event

Theory, Culture & Society Vol. 21:1 (2004) 69–93

Bracha Ettinger, ‘The Sublime Beauty Beyond Uncanny Anxiety’ in F. Dombois, U. M. Bauer, C. Marais and M. Schwab. (eds) Intellectual Birdhouse. Artistic Practice as Research. (London: Koenig Books, 2011), pp197-215

Mary Kelly ‘Reviewing Modernist Criticism’ Screen Screen (1981) 22 (3): 41-52.

Jean-François Lyotard ‘Scriptures: Diffracted Traces’, Theory, Culture and Society 21:1 (2004) 101-105, also printed in Jean-François Lyotard, Writings on Contemporary Art Leuven University Press 2012

Brian Massumi ‘Painting: The Voice of the Grain’ in Bracha Ettinger, The Matrixial Borderspace edited Brian Massumi Minneapolis: University of Minnesota Press, 2006), pp. 201-214.

Griselda Pollock Encounters in the Virtual Feminist Museum; Time Space and the Archive (London: Routledge, 2007)

Griselda Pollock ‘Killing Men and Dying Women: AWomen’s Touch in the Cold Zone of American Painting in the 1950s ’ In Griselda Pollock and Fred Orton, Avant-Gardes and Partisans Reviewed (Manchester: Manchester University Press, 1996)

Griselda Pollock ‘Inscriptions from the feminine ‘ in Catherine de Zegher, Inside the Visible: An Elliptical Traverse of Twentieth Century art in, of and from the feminine (Cambridge, MA: MIT Press, 1996)

Griselda Pollock Is Feminism a Trauma, a Bad Memory, or a Virtual Future? differences (2016) 27(2): 27-61

Reference points:

Hannah Arendt ‘Crisis in Culture’ Between Past and Future: Eight Exercises in Political Thought [1961] Harmondsworth: Penguin Books, 2006) pp. 194-223

Julia Kristeva ‘Women’s Time’ [1982] in Toril Moi, The Kristeva Reader (Oxford: Basil Blackwell, 1986)

Eva Plonowska Ziarek Right to Vote or Right to Revolt? Arendt and the British Suffrage Militancy’, differences (2008) 19(3): 1-27;

This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).