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," . . A handsome and highly readable collection of essays, apologia, manifestos, and interviews about sound art. There are historical overviews, surveys of recent work, discussions of copyright (a big issue in the age of digital sampling) and even some recipes for reproducing works of sound art."NRobert Everett-Green, "The Globe & Mail"
Artist and naturalist Tony Angell has used Puget Sound's natural diversity as his palette for nearly 50 years. He describes the methods he uses in his art and his observations and encounters with the species that make up the complex communities of the Sound's rivers, tidal flats, islands, and beaches: the flight of a young peregrine, an otter playfully herding a small red rockfish, the grasp of a curious octopus. Tony Angell is an illustrator, sculptor, and author of RAVENS, CROWS, MAGPIES, AND JAYS and OWLS. He served for thirty years as Washington State Director of Environmental Education.
Essays and images that map art's new sonic cosmos, illustrated in color throughout. This milestone volume maps fifty years of artists' engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established sound art as an artistic genre in its own right, with an accepted genealogy that begins with Futurism, Dada, and Fluxus, as well as disciplinary classifications that effectively restrict artistic practice to particular tools and venues. This book, companion volume to a massive exhibition at ZKM | Karlsruhe, goes beyond these established disciplinary divides to chart the evolution and the full potential of sound as a medium of art. The book begins with an extensive overview by volume editor Peter Weibel that considers the history of sound as media art, examining work by visual artists, composers, musicians, and architects alike. Subsequent essays examine sound experiments in antiquity, sonification of art and science, and internet-based sound art. Contributors then survey the global field of sound art research and practice, in essays that describe the past, present, and future of sound art in Germany, Japan, China, the United States, the United Kingdom, Russia, Canada, Turkey, Australia, and Scandinavia. The texts are accompanied by an extensive photographic documentation of the ZKM exhibition. Texts by Achille Bonito Oliva, Dmitry Bulatov, Germano Celant, Seth Cluett, Christoph Cox, Julia Gerlach, Ryo Ikeshiro und/and Atau Tanaka, Caleb Kelly, Brandon LaBelle, Christof Migone, László Moholy-Nagy, Daniel Muzyczuk, Tony Myatt, Irene Noy, Giuliano Obici, Carsten Seiffarth und/and Bernd Schulz, Başak Şenova, Linnea Semmerling, Morten Søndergaard, Alexandra Supper, David Toop und/and Adam Parkinson, Peter Weibel, Dajuin Yao, Siegfried Zielinski
Environmental Sound Artists: In Their Own Words is an incisive and imaginative look at the international environmental sound art movement, which emerged in the late 1960s. The term environmental sound art is generally applied to the work of sound artists who incorporate processes in which the artist actively engages with the environment. While the field of environmental sound art is diverse and includes a variety of approaches, the art form diverges from traditional contemporary music by the conscious and strategic integration of environmental impulses and natural processes. This book presents a current perspective on the environmental sound art movement through a collection of personal writings by important environmental sound artists. Dismayed by the limitations and gradual breakdown of contemporary compositional strategies, environmental sound artists have sought alternate venues, genres, technologies, and delivery methods for their creative expression. Environmental sound art is especially relevant because it addresses political, social, economic, scientific, and aesthetic issues. As a result, it has attracted the participation of artists internationally. Awareness and concern for the environment has connected and unified artists across the globe and has achieved a solidarity and clarity of purpose that is singularly unique and optimistic. The environmental sound art movement is borderless and thriving.
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The artists’ books made in Russia between 1910 and 1915 are like no others. Unique in their fusion of the verbal, visual, and sonic, these books are meant to be read, looked at, and listened to. Painters and poets—including Natalia Goncharova, Velimir Khlebnikov, Mikhail Larionov, Kazimir Malevich, and Vladimir Mayakovsky— collaborated to fabricate hand-lithographed books, for which they invented a new language called zaum (a neologism meaning “beyond the mind”), which was distinctive in its emphasis on “sound as such” and its rejection of definite logical meaning. At the heart of this volume are close analyses of two of the most significant and experimental futurist books: Mirskontsa (Worldbackwards) and Vzorval’ (Explodity). In addition, Nancy Perloff examines the profound differences between the Russian avant-garde and Western art movements, including futurism, and she uncovers a wide-ranging legacy in the midcentury global movement of sound and concrete poetry (the Brazilian Noigandres group, Ian Hamilton Finlay, and Henri Chopin), contemporary Western conceptual art, and the artist’s book. Sound recordings of zaum poems featured in the book are available at www.getty.edu.
Now in an updated English edition with full color illustrations, Kandinsky's fascinating and witty artist's book represents a crucial moment in the painter's move toward abstraction.
Episodes in the transformation of our understanding of sound and space, from binaural listening in the nineteenth century to contemporary sound art. The relationship between sound and space has become central to both creative practices in music and sound art and contemporary scholarship on sound. Entire subfields have emerged in connection to the spatial aspects of sound, from spatial audio and sound installation to acoustic ecology and soundscape studies. But how did our understanding of sound become spatial? In Stereophonica, Gascia Ouzounian examines a series of historical episodes that transformed ideas of sound and space, from the advent of stereo technologies in the nineteenth century to visual representations of sonic environments today. Developing a uniquely interdisciplinary perspective, Ouzounian draws on both the history of science and technology and the history of music and sound art. She investigates the binaural apparatus that allowed nineteenth-century listeners to observe sound in three dimensions; examines the development of military technologies for sound location during World War I; revisits experiments in stereo sound at Bell Telephone Laboratories in the 1930s; and considers the creation of "optimized acoustical environments" for theaters and factories. She explores the development of multichannel "spatial music" in the 1950s and sound installation art in the 1960s; analyzes the mapping of soundscapes; and investigates contemporary approaches to sonic urbanism, sonic practices that reimagine urban environments through sound. Rich in detail but accessible and engaging, and generously illustrated with photographs, drawings, maps, and diagrams of devices and artworks, Stereophonica brings an acute, imaginative, and much-needed historical sensibility to the growing literature around sound and space.
Sound art has long been resistant to its own definition. Emerging from a liminal space between movements of thought and practice in the twentieth century, sound art has often been described in terms of the things that it is understood to have left behind: a space between music, fine art, and performance. The Oxford Handbook of Sound Art surveys the practices, politics, and emerging frameworks of thought that now define this previously amorphous area of study. Throughout the Handbook, artists and thinkers explore the uses of sound in contemporary arts practice. Imbued with global perspectives, chapters are organized in six overarching themes of Space, Time, Things, Fabric, Senses and Relationality. Each theme represents a key area of development in the visual arts and music during the second half of the twentieth century from which sound art emerged. By offering a set of thematic frameworks through which to understand these themes, this Handbook situates constellations of disparate thought and practice into recognized centers of activity.
“There are more than 50 creative prompts for the artist (or artist at heart) to explore. Take the title of this book as affirmation, and get started.” —Fast Company More than 50 assignments, ideas, and prompts to expand your world and help you make outstanding new things to put into it Curator Sarah Urist Green left her office in the basement of an art museum to travel and visit a diverse range of artists, asking them to share prompts that relate to their own ways of working. The result is You Are an Artist, a journey of creation through which you'll invent imaginary friends, sort books, declare a cause, construct a landscape, find your band, and become someone else (or at least try). Your challenge is to filter these assignments through the lens of your own experience and make art that reflects the world as you see it. You don't have to know how to draw well, stretch a canvas, or mix a paint color that perfectly matches that of a mountain stream. This book is for anyone who wants to make art, regardless of experience level. The only materials you'll need are what you already have on hand or can source for free. Full of insights, techniques, and inspiration from art history, this book opens up the processes and practices of artists and proves that you, too, have what it takes to call yourself one. You Are an Artist brings together more than 50 assignments gathered from some of the most innovative creators working today, including Sonya Clark, Michelle Grabner, The Guerrilla Girls, Fritz Haeg, Pablo Helguera, Nina Katchadourian, Toyin Ojih Odutola, J. Morgan Puett, Dread Scott, Alec Soth, Gillian Wearing, and many others.