“Mapping the ‘Bios’ in Two Graphic Systems with Gender in Mind: Van Gogh and Charlotte Salomon.” Biographies and Space.
“Is Feminism a Trauma, a Bad Memory, or a Virtual Future?” differences: Journal of Feminist Cultural Studies 27.2 (2016): 27–61. Encounters in the Virtual Feminist Museum: Time, Space and the Archive. “Crimes, Confession and the Everyday: Challenges in Reading Charlotte Salomon’s Leben? oder Theater? 1941–1942.” Journal of Visual Culture 13.2 (2014): 200–35. Charlotte Salomon in the Theatre of Memory. “Artists, Mythologies and Media: Genius, Madness and Art History.” Screen 21.3 (1980): 57–96. Reprinted as: “Rooted in the Earth: A Van Gogh Primer.” Avant-Gardes and Partisans Reviewed. “Friedrich Nietzsche’s ‘Venice’: An Interpretation.” Hermathena 105 (Autumn 1967): 60–73. Relating Narratives: Storytelling and Selfhood. “Strange Bedfellows: How Edvard Munch and Jasper Johns Painted Sex and Death.” .uk. “Form and Formation of Edvard Munch’s Frieze of Life.” Edvard Munch: “The Frieze of Life.” Ed. Edvard Munch: Between the Clock and the Bed. L’Image-survivante: Histoire de l’Art et temps des fantômes selon Aby Warburg.
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Atlas: How to Carry the World on One’s Back? Madrid: Museo Reina Sofía and TF Editores, 2010. “Melancholia and Cézanne’s Portraits: Faces Beyond the Mirror.” Psychoanalysis and the Image: Transdisciplinary Perspectives. Google Scholarīreuer, Josef, and Sigmund Freud. Travelling Concepts in the Humanities: A Rough Guide. Quoting Caravaggio: Contemporary Art, Preposterous History. “Aby Warburg and the Nameless Science.” Potentialities: Collected Essays in Philosophy.
Her forthcoming books include The Nameless Artist in the Theatre of Memory: Charlotte Salomon’s “Life? or Theatre?” (Yale, 2017) and The Memory Politics of Feminism (Verso, 2018).Īgamben, Giorgio. Tauris, 2013) Art in the Time-Space of Memory and Migration (Freud Museum and Wild Pansy P, 2013), and Visual Politics of Psychoanalysis: Art and the Image in Post-traumatic Cultures (I. Her recent writings include Differencing the Canon: Feminist Desire and the Writing of Art’s Histories (Routledge, 1999) After-affects / After-images: Trauma and Aesthetic Transformation (Manchester UP, 2013) Bracha Ettinger: Art as Compassion (with Catherine de Zegher ASP, 2011) Concentrationary Memories: Totalitarian Terror and Cultural Resistance (with Max Silverman I. She is committed to developing an international, postcolonial, queer feminist analysis of the visual arts and cultures. 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.
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Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist museum” as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche. This paper proposes a conversation between Charlotte Salomon (1917–43) and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? (1941–42) as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Edvard Munch, Charlotte Salomon, subjectivity, painting, loneliness, Friedrich Nietzsche Abstract
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