In this article the author uses a key moment in Michael Fried’s essay ‘Art and Objecthood’ - Fried’s reference to Tony Smith’s car ride on the unfinished New Jersey Turnpike with his Masters of Fine Art students - to think about the possibilities offered to art education by psychoanalysis. \ud \ud In considering Smith’s experience and Fried’s interpretation of it as instances of both pedagogy and Winnicottian ‘use’, the author allows this analogy to echo and expand throughout three different pedagogical moments in which she has put ‘Art and Objecthood’ to use within her teaching and back through to Sigmund Freud’s notion of ‘after-education’. \ud \ud In this article, she asks: How have I used Fried’s text? How, in turn, do art students use it? How and why do we as teachers and students use theory? What does all this using tell us about art education and the academy? And, ultimately, what is the role of psychoanalysis within art education

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Visual culture studies is a contemporary, emerging interdisciplinary field of inquiry that employs a variety of approaches to analyze and interpret visual images. Visual culture studies does not designate a discipline so much as what John Walker and Sarah Chaplin call “a hybrid, an inter‐ or multi‐disciplinary enterprise formed as a consequence of a convergence of, or borrowing from, a variety of disciplines and methodologies” (1997: 1). Visual culture studies borrows from many disciplines in the arts and humanities, such as art history, cultural studies, media studies, literary criticism, feminism, queer studies, postcolonial theory, anthropology, and sociology. As a result of these borrowings or convergences, visual culture studies offers us a variety of interpretive ways of engaging with our past and present visual cultures – including semiotics, Marxism, feminism, historiography, social history, psychoanalysis, queer theory, deconstruction, postcolonial studies, ethnography, and museology. From these interpretive strategies, visual culture studies enables a wider range of analyses. It sustains investigations that are concerned with the production, circulation, and consumption of images; the changing nature of subjectivity; the ways in which we visualize or reflect upon or represent the world to ourselves; what Irit Rogoff (1998) has called “viewing apparatuses,” which include our ways of seeing and practices of looking, knowing, and doing, and even sometimes our misunderstandings and unsettling curiosity in imagining the as yet unthought.

In this article, the author posits and argues for a new category of museums: the conceptual museum. By taking the Sigmund Freud Museum Vienna and its Contemporary Art Collection as a case study, she suggests that museums that are seemingly empty, for instance, without objects, are, in fact, filled with their own histories, contingencies and epistemological confluences, which, when they come into contact with the personal histories, fantasies, knowledge, expectations and longings of their visitors produce a rather full encounter. KeywordsConceptual Art • conceptual museum • Joseph Kosuth • Sigmund Freud • Sigmund Freud Museum Vienna