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Vision and Difference: Femininity, Feminism and Histories of Art

4.07  ·  Rating details ·  263 ratings  ·  13 reviews
The publication of 'Vision and Difference' marked a milestone in the development of modern art history. Its introduction of a feminist perspective into this largely male-oriented discipline made shockwaves that are still felt forcefully today.
Drawing upon feminist cultural theory previously little applied to the visual arts, Griselda Pollock offers concrete historical ana
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Paperback, 256 pages
Published July 11th 1988 by Routledge (first published February 1st 1988)
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Khoi
Jun 17, 2014 rated it it was amazing  ·  review of another edition
Along with Linda Nochlin, Griselda Pollock is undoubtedly one of the most significant figure in feminist art history. Her essays are written with great clarity and her ideas thoroughly excavated. She posed the questions of whether the belated inclusion of female artists in established art histories is truly appropriate and adequate, and explored the root errors dated back long before Manet's Olympia. Being a sterling researcher and unabashed champion of female artists, in her monographic essays ...more
Mohamed
Apr 30, 2016 rated it really liked it  ·  review of another edition
This book was a great read. It spoke mainly of four broad topics: the level to which sexism and misogyny are systematised in art history, the benefits to he had from incorporating Marxist and feminist theory to build a new art history, the creation of the individual creative masculine artist as a subject indépendant of its conditions throughout the modernist movement, and the voyeuristic and fetishistic dynamic which occupies the space of viewing art. Many great works analysed and used to back u ...more
Anna
Jun 04, 2008 rated it really liked it
This is not an easy read, very academic. But if you enjoy art history like I do, you'll like it :)
Braden Scott
May 23, 2013 rated it it was amazing  ·  review of another edition
Pollock analyses psychoanalytic theory in art in such a way that acknowledges some sillyness, but does not refute the field as one with strong attributes. Also, insisting on repositioning marxism as something outside of feminism is so obvious and refreshing to see in academia.
Emily
Mar 06, 2007 rated it it was amazing  ·  review of another edition
Recommends it for: everyone with an interest in art and the framings of history
Shelves: favorites
This book taught me to think differently about history-- not just art history, but all of history and the political perspectives inherent within it. I highly reccomend this to everyone-- especially those with an interest in art.
Sibel
Jun 28, 2012 added it
History of Art!
Whitney Gao
Jul 30, 2016 rated it it was amazing
Used this book for my thesis research, but honestly loved reading it so much that I bought my own copy.
Nguyen Bich
May 12, 2016 rated it it was amazing
Interesting
Jeremy Blank
May 21, 2019 rated it liked it
Re-read from a long time ago. I wanted to see what had changed (from my perspective) since I read this book nineteen years ago. Quite a lot really and some aspects I missed in the initial read of this dense and forceful book I did not contest but have more confidence now. e.g. the failure to acknowledge that large flat areas of paint or space in Impressionist/Post-Impressionist painting (the interpretation of internalised space within painting p63 final paragraph ) were directly linked to the in ...more
George Millership
Jun 14, 2019 rated it really liked it
I'd say groundbreaking, but it feels like Pollock is introducing common sense into a hegemonic and wanky art world! (That, of course, is a disservice).
These are incredible essays, and an essential reader for understanding art and how its histories/politics are constructed.
That being said, I wouldn't say it is an accessible work. There's lots of dense, technical language - Pollock certainly doesn't treat you like an idiot.

(9/10)
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Griselda Pollock is a visual theorist, 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. She is professor of social and critical histories of art at the University of Leeds.

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