Griselda Pollock, feminist art historian and longstanding advocate of gender and racial inclusivity, unpacks the racist, sexist, and imperialist underpinnings of works created by Gauguin and others as they competed for preeminence in the European artistic avant-garde of the 1880s and ’90s.
Acclaimed feminist art historian Griselda Pollock dismantles the racist, sexist and imperialist underpinnings of works by Paul Gauguin and others as they competed for pre-eminence in the European avant-garde of the 1880s and 1890s. First delivered as a lecture in 1993, long before decolonizing and decentering the field of art history became an urgent clamor in art historical readership, this essay remains a powerful and ever-relevant riposte to mainstream art historical narratives.
Through a thorough textual and social reading of Gauguin’s 1892 painting of his Tahitian wife, Manao Tapapau, Pollock proposes a new theory about the avant-garde asa series of gambits, a game of reference, deference and difference. Pollock’s intersectional reading of these avant-garde works reveals how race and gender colored the colonial imaginary and exposes the way in which racist discourse structures art and art history. By posing questions of cultural, sexual, and ethnic difference, Pollock endeavors to make us all self-critical, not only in regard to the gender, but also the color of art history.
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Griselda Pollock is a professor of social and critical histories of art, director of the Centre for Cultural Analysis, Theory and History (Centre CATH) at the University of Leeds, and internationally recognized as a leading feminist art historian and cultural theorist. Recipient of the 2020 Holberg Prize for her contributions to feminist art history and cultural studies, her many books include Old Mistresses: Women, Art and Ideology (coauthored with Roszika Parker), Vision and Difference: Femininity, Feminism and Histories of Art, and Differencing the Canon: Feminism and the Writing of Art’s Histories.
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