- UC Santa Cruz
- Visual Studies PhD
Laura Richard works in modern and contemporary art with a designated emphasis in film. Her recently completed dissertation, “In Situ and On Location: The Early Works of Maria Nordman,” is a political reappraisal of the films, performances and rooms made by the artist between 1967 and 1979. Other current research interests include Judy Chicago’s smoke works, theories of temporality and the everyday, avant-garde women filmmakers, human geographies, performance art, and, in particular, its subset, Endurance Art.
Richard, Laura. “Travis Somerville: Painting a Self-Determined History.” In Travis Somerville: More Songs of the South,1-12. San Francisco: Catherine Clark Gallery, 2003.
Richard, Laura. “Aaron Plant’s Plagued Playgrounds.” In Aaron Plant: Playground Series, 7-10. San Francisco: Catharine Clark Gallery, 2005.
Richard, Laura. “Tuttle’s Armamentarium.” artUS (October/November 2005): 8-11.
Richard, Laura. “William Kentridge: In Conversation.” artUS (July-September 2006): 8-11.
Richard, Laura. “Lucy Puls: However Often.” In Lucy Puls: However Often. San Francisco: Stephen Wirtz Gallery, 2006.
Richard, Laura. “(Inter)action Figures.” CMYK (Winter 2006/2007): 78-81.
Richard, Laura. “Two Way Walks: An Interview with Janet Cardiff and George Bures Miller.” Uovo (April-June 2007): 346-69. Richard, Laura. “Perpetuum Carmen: Sutapa Biswas’s Metamorphoses.” artUS (May/June 2007): 48-51.
Richard, Laura. “Tony Feher: How High the Moon.” In Tony Feher. New York: PaceWildenstein, 2008.
Richard, Laura. “Olafur Eliasson: Impresario of the Senses.” Sculpture (January/February 2008): 36-41.
Richard, Laura. “Anthony McCall: The Long Shadow of Ambient Light.” Oxford Art Journal 35 (June 2012): 251-283.
Richard, Laura. “’Richard Diebenkorn: The Berkeley Years 1953–1966’ at the DeYoung Museum.” caa.reviews. (December 2014):
In a world overflowing with data but lagging in complex, nuanced ideas, my classes focus on critical reading, thinking, writing, and, especially, discussion. Using the objects, histories, and theories of modern and contemporary art, students synthesize information, observation, intuition, and evidence to construct meaningful and analytical arguments. It is my hope that, with art as the point of departure for myriad disciplines and inquiries, this line of inquiry will not only develop their written and verbal fluency, but might also have some kind of significant academic, political, and personal impact.