Laura Gonzalez


4 Aug 2006

On pink

This was brought to my attention by the excellent blogger Momus. Needless to say, it has taken Freud’s case studies out of the top of my wish list

Pink book

The Exposed Color in Contemporary Art and Culture.
Edited by Barbara Nemitz. Essays by Hideto Fuse, Karl Schawelka and Thomas von Taschitzki. Numerous contributing artists.
Hatje Cantz, Ostfildern, 2006. 283 pp., 200 color illustrations, 6¬æx9¬?”.

Publisher’s Description From the rosy tint of wind-reddened cheeks to the first flush of arousal, from cherry blossoms to Pepto-Bismol, pink is a sweet, intimate, fragile and sickening shade. Few colors trigger more contradictory associations and emotions‚Äîtender, childish, plastic, pornographic‚Äîor are so symbolic of both high and low culture. Pink is sometimes awkward, even embarrassing, but on the other hand it is enjoyed and associated with the idea of beauty. Artists of all hues, from Jean-Honor?© Fragonard to Pablo Picasso, Caspar David Friedrich, Louise Bourgeois, Sylvie Fleury or Pipilotti Rist, have studied it in their works. The examples collected here include those and more, featuring Caspar David Friedrich, the early Joseph Beuys, Willem De Kooning, Andy Warhol and Yves Klein, not to mention contemporaries like Christo, Nan Goldin, Vanessa Beecroft, Wolfgang Tillmans and Takashi Murakami. In addition, Pink gathers work by a group of young talents from the Bauhaus University in Vienna and the Tokyo National University of Fine Arts and Music, where working students cooperated over an interactive web site to investigate the color‚Äôs most current perceptions and uses. Their final selection suggests, among other things, that viewer reactions are determined by cultural factors. For example, the positive perception of pink in Japan seems strikingly masculine to the Western viewer; every year the country pauses to contemplate the pink blossoms of the cherry trees, which, after just a few days, drift like snow to the ground, symbols of the death of the samurai, who falls in the bloom of youth.

Pink Desire I bought this book solely on the relationship between its title ((Subjects of Desire: Hegelian Reflections in Twentieth-century France. At least it turned out to be quite interesting!)) and the cover and I know I will buy the above for similar reasons. Pink is the ultimate reversible colour. At least, this is what I found out when deadling with my web and print designer. When gathering material for the new look of the lauragonzalez site and stationery, I told him I wanted something very fleshy. I was more specific with the business cards: I said I wanted people (or their wives) not be able to know the provenance of the cards; they could wither come from a researcher or a call girl. if they managed to follow the links of the cards, the website’s content would clear part of the mystery. Noble Savage did a remarkable job, the basis of which was simple detachment, pink and the interaction of two contradictory fonts: Edwardian script and Helvetica Neue Ultra Light.

business card

Posted in Blog, Peripheral thoughts, Seductive artworks, Seductive things

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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.