British art historian, born in South Africa, who studied at Oxford University and the Courtauld Institute of Art, London. Most of her career has been spent at the University of Leeds, where she is currently Professor of Social and Critical Histories of Art. She has been a central figure in promoting the argument that feminist approaches to the study of art are not merely an adjunct, adding a few women artists to the canon, but crucial to the project of rethinking the role of art in society, in so far as that society is predicated on gender inequalities. She has combined historical studies of 19th-century artists such as van Gogh and Degas, who have a privileged role within traditional art history, the biases of which she has attacked, with that of female artists past and present, including Mary Cassatt and Mary Kelly. Her work employs an array of theoretical resources from psychoanalytic and Marxist theory. The most influential and widely read works in her substantial output are probably Old Mistresses: Women Art and Ideology (with Roszika Parker, 1981) and Vision and Difference (1988).
J. G. Istrabadi, ‘Griselda Pollock’, in C. Murray (ed.), Key Writers on Art: The Twentieth Century (2003)