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CRITICAL POSITIONS lecture series featuring Professor Griselda Pollock

March 15, 2013 | 6:00pm — 7:30pm

The CU Art Museum and the Art History Program, University of Colorado at Boulder present an annual lecture series:

Critical Positions:
Perspectives on Art History, Curatorial Practice, and Art Criticism


Griselda Pollock, Professor of Social & Critical Histories of Art at the University of Leeds, will give a presentation entitled "Raphael after the Holocaust: Aesthetics and the Maternal in the Face of History and Contemporary Violence." The Lecture will take place Friday, March 15 in Humanities Rm. 150 at 6 pm and is preceded by a reception in the Humanities Living Room from 5 - 6 pm.

Reconsidering three texts linking Raphael's Sistine Madonna and the post-Shoah human condition, Professor Pollock's lecture will explore the contribution of specifically feminist analyses of art, history and contemporary violence to these massive questions.  The lecture will bring together her research into concentrationary memory,  trauma, representation and the Holocaust, contemporary post-conceptual  painting, and feminist-psychoanalytical aesthetics in relation to art history, art criticism and curatorial practice.

Speaker Profile: Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the transdisciplinary Centre for Cultural Analysis, Theory and History at the University of Leeds. Known for her critical interventions in feminist, social and postcolonial studies in art's histories, her current interests focus on feminist interventions in psychoanalytical aesthetics and trauma, cultural memory and the Holocaust. Her major feminist interventions include Old Mistresses: Women, Art and Ideology of 1981, co-authored with Roszika Parker, new edition 2013, Vision and Difference(1988), Differencing the Canon (1999), and Encounters in the Virtual Feminist Museum: Time, Space and the Archive (2007). With Catherine de Zegher she edited Bracha Ettinger: Art as Compassion (Brussels: ASP 2011). She is co-editor with Max Silverman ofConcentrationary Cinema: Aesthetics and Political Resistance in Night and Fog by Alain Resnais (1955) (London: Berghahn Press 2012). She has just completed After-images/After-Effects: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (Manchester University Press, 2013) and is completing a monograph on Charlotte Salomon The Nameless Artist (Yale University Press) on whom she wrote Allo-thanatography or Allo-auto-biography: A Few Thoughts on One painting in Charlotte Salomon's Leben? oder Theater? 1941-42 as a dOCUMENTA(13) Notebook (Hatje Cantz 2011).