BIOGRAPHY

Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History (CentreCATH) at the University of Leeds. Committed to creating and extending an international- postcolonial- queer- feminist analysis of the visual arts, visual culture and cultural theory, her work focusses on trauma and aesthetic transformation by developing Aby Warburg's concept of the pathosformula for the study of art since 1945: After-affects /After-images: Trauma and Aesthetic Transformation(Manchester University Press, 2013) and for curatorial work and ‘art writing after the event’: Art in the Time-Space of Memory and Migration—Sigmund Freud, Anna Freud and Bracha Ettinger (Freud Museum and Wild Pansy Press, 2013). Since 2011 Pollock has published extensively on the political aesthetics of concentrationary memory developed in relation to Hannah Arendt’s postwar analysis of the totalitarian as the political assault on democracy and the human condition creating the necessity for a vigilant political memory: Concentrationary Cinema (Berghahn, 2011) Concentrationary Memories: Totalitarian Terror and Cultural Resistance (I. B. Tauris, 2013) and Concentrationary Imaginaries: Tracing Totalitarian Violence in Popular Culture (I. B. Tauris, 2015) and, forthcoming, Concentrationary Art: Jean Cayrol, the Lazarean and the Everyday in Post-war Film, Literature, Music and the Visual Arts, (Berghahn, 2018), all edited with Max Silverman. She is currently analyzing the ‘bad’ (politically destructive) cultural memory of feminism with specific reference to feminist interventions in art and art history in Is Feminism a Bad Memory?, (Verso, 2018) and writing a feminist Warburgian reading of the agency and image-making of Marilyn Monroe at the intersection of cinema, photography, visual arts, and cultural memory (Monroe’s Mov(i)e: Class, Gender and Nation in the work, image-making and agency of Marilyn Monroe, 2019), For which several articles have already been published in Journal of Visual Culture, Journal of Visual Art Practice and a collection on Gesture in Film (Chare & Watkins, 2017). Just published is her major monograph on the monumental painting cycle, Leben? Oder Theater? (1941-42) by Charlotte Salomon (1917-43): Charlotte Salomon in the Theatre of Memory (Yale University Press, 2018), and she is completing her long-term project: The Case against “Van Gogh”: Place, Memory and the Retreat from the Modern (Thames & Hudson, 2019).