ABSTRACT

Continuing her feminist reconceptualisation of the ways we can experience and study the visual arts, world renowned art historian and cultural analyst, Griselda Pollock proposes a series of new encounters through virtual exhibitions with art made by women over the twentieth century. Challenging the dominant museum models of art and history that have been so exclusive of women's artistic contributions to the twentieth century, the virtual feminist museum stages some of the complex relations between femininity, modernity and representation.



Griselda Pollock draws on the models of both Aby Warburg's Mnemosyne Atlas and Freud's private museum of antiquities as well as Ettinger's concept of subjectivity as encounter to propose a differencing journey through time, space and archive. Featuring studies of Canova 's Three Graces and women artist's modernist reclamations of the female body, the book traverses the rupture of fascism and the Holocaust and ponders the significance of painting and drawing in their aftermath.



Artists featured include: Georgia O'Keeffe, Josephine Baker, Gluck, Charlotte Salomon, Bracha Ettinger and Christine Taylor Patten.

part I|86 pages

The Afterlife of Images

chapter 1|24 pages

What the Graces Made Me Do.... Time, Space and the Archive

Questions of feminist method

chapter 2|36 pages

The Grace of Time

Narrativity, sexuality and the visual encounter

part II|48 pages

Femininity, Modernity and Representation

chapter 4|47 pages

Visions of Sex c. 1920

part III|64 pages

After Auschwitz

chapter 5|30 pages

Jewish Space/Women's Time

Encounters with history in the artworking of Charlotte Salomon 1941 to 1942

chapter 6|33 pages

The Graces of Catastrophe

Matrixial time and aesthetic space confront the archive of disaster

part IV|35 pages

Time and the Mark

chapter 7|34 pages

The Time of Drawing: Drawing Time

Micro/macro (1998– )