Laura Gonzalez


New job — 27 May 2005

The Glasgow School of Art have offered me the 0.6 Research Degrees Coordinator job, which I was delighted to accept. I will start on the week begining 18 July, after moving all the way up from London.

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Research Map v.1 — 15 May 2005

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Art vs Design — 13 May 2005

Conference Abstract

What could art learn from design, what might design learn from art? Some practice-based art doctorates.

Beryl Graham,
University of Sunderland, UK

Aimed at artists and designers involved in Ph.D. research, this paper briefly outlines four examples of doctoral research projects at Sunderland University: Johnston’s glass Ph.D. involving materials research, Hogarth’s practice-led sculpture Ph.D., Baker’s theory-informed photography research, and the author’s hybrid approach concerning interactive art. Varying positions of practice within research are explored, and some problems of interdisciplinarity are highlighted.
As starting points for discussion, some areas of common ground between art and design research are suggested (including the space for ‘failure’ and humility in a research process). Referring briefly to some other examples of art research, the paper goes on to pose some opinions on what artists might learn from designers (and vice versa) in a research context. Suggested areas concern process and method, as well as parricide and infanticide.


Yesterday, I attended the ‘Revealing Practice’ conference, led a some of my research students at Wimbledon School of Art in collaboration with Kingston University. I was very interested in one of the speakers, Dr Beryl Graham. In 2000, Beryl wrote a really interesting paper, that may reinforce some of the emphasis of my own research on seduction.

In “What could art learn from design, what might design learn from art?” (In: Friedman, Ken and David Durling (eds.) Proceedings of the conference Doctoral Education in Design: Foundations for the future. Stoke-on-Trent: Staffordshire University Press. 425-434), Beryl outlines how Art could learn a willingness to kill one‚Äôs children from Design, to incorporate feedback as part opf the creative process, to be less protective about the outcome, to be unsuccessful but have mechanisms to overcome that. In contrast, Design could learn a willinfgness to kill one‚Äôs parent‚Äôs from Art, to challenge one‚Äôs peers, to reject tradition to be more readily inclined to innovate radically.

Why would I introduce feedback mechanisms into the artistic creative process was one of the questions that cropped up in my PhD interview at Chelsea. I tried to argue the point as best as I could but I framed it in research terms instead of a difference encountered in Art and Design creative processes, ie: “This is not Art, it is research and feedback is necessary for the research process”. Beryl’s argument provides a new strengh to mine, a subject specific one, rather than simply an activity one and it may be that this new emphasis informs my original contribution to knowledge, which will be in the area of methodologies.

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Calle and Medem en Español — 9 May 2005

For those of you who are Spanish or hispanophiles, I have uploaded translations of my writings on Sophie Calle and Julio Medem, published in The Mind’s Construction. Great thanks go to Juan Martin Pinila, who helped me undertand the boundaries between the two languages and made shake off some of this provincial Spanglish.


Para vosotros Españoles o hispanófilos, he cargado traducciones de los articulos sobre Sophie Calle y Julio Medem, originalmente publicados en The Mind‚Äôs Construction. Eterno agradecimiento a Juan Martin Pinilla que me ha hecho comprender algunas de las diferencias entre las dos lenguas y me ha ayudado a quitarme este Spanglish provincial.

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White worship — 8 May 2005

In January, I decided to chose 12 seductive objects and write an article about each one of them. My first choice was an obvious one, being an object adored by those who own it, desired by those who don’t. You can read all about it in the updated writings page.

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The edge of emptiness — 5 May 2005

The most recent addition to the site is an essay on the photographer Thomas Joshua Cooper, which was originally published in Arttra. Read it in the writings section.

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About Me

I am an artist and writer. My recent practice performance, film, dance, photography and text, and my work has been performed, exhibited and published in many venues in Europe and the US. I have spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When I am not following Freud, Lacan and Marx’s footsteps with my camera or creating performance works as part of my Athenaeum Research Fellowship at the Royal Conservatoire of Scotland, I teach postgraduate students at Transart Institute.

I am currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric. In 2013, together with Child and Adolescent Mental Health practitioner Frances Davies, I co-edited the book ‘Madness, Women and the Power of Art’, to which I contributed a work authored with Eleanor Bowen. My book ‘Make Me Yours: How Art Seduces’ was published by Cambridge Scholars in 2016. In this text, investigates psychoanalytic approaches to making and understanding objects of seduction, including an examination of parallels between artistic and analytic practices, a study of Manolo Blahnik’s shoes as objects of desire, a disturbing encounter with Marcel Duchamp’s last work, and the creation of a psychoanalytically inspired Discourse of the Artefact, a framework enabling the circulation of questions and answers through a relational approach to artworks.