Sound art

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Sound art is a diverse group of art practices that considers wide notions of sound, listening and hearing as its predominant focus. There are often distinct relationships forged between the visual and aural domains of art and perception by sound artists.

Like many genres of contemporary art, sound art is interdisciplinary in nature, or takes on hybrid forms. Sound art often engages with the subjects of acoustics, psychoacoustics, electronics, noise music, audio media and technology (both analog and digital), found or environmental sound, explorations of the human body, sculpture, film or video and an ever-expanding set of subjects that are part of the current discourse of contemporary art.[1]

From the Western art historical tradition early examples include Luigi Russolo's Intonarumori or noise intoners, and subsequent experiments by Dadaists, Surrealists, the Situationist International, and in Fluxus happenings. Because of the diversity of sound art, there is often debate about whether sound art falls within the domain of either the visual art or experimental music categories, or both.[2] Other artistic lineages from which sound art emerges are conceptual art, minimalism, site-specific art, sound poetry, spoken word, avant-garde poetry, and experimental theatre.

Scottish artist Susan Philipsz's 2010 British Turner Prize win for her piece Lowlands (overlapping recordings of the artist singing an ancient Scottish lament in three different versions, played back over a loudspeaker system, without any visual component) was seen as an important boost for this relatively new genre (it was the first time a work of sound art won this prestigious prize), and, in winning an art prize, again highlighted the genre's blurred boundaries with other, more visual artforms. In the same year, British artist Haroon Mirza won the Northern Art Prize for his sculptural installation that bought together video, sculptural assemblages and works from Leeds Art Gallery collection to compose a piece of music.

Origin of the term in the United States[edit]

The earliest documented use of the term in the U.S. is from a catalogue for a show called "Sound/Art" at The Sculpture Center in New York City, created by William Hellerman in 1983. The show was sponsored by "The SoundArt Foundation," which Hellerman founded in 1982.[citation needed] The artists featured in the show were as follows: Vito Acconci, Connie Beckley, Bill and Mary Buchen, Nicolas Collins, Sari Dienes and Pauline Oliveros, Richard Dunlap, Terry Fox, William Hellermann, Jim Hobart, Richard Lerman, Les Levine, Joe Lewis, Tom Marioni, Jim Pomeroy, Alan Scarritt, Carolee Schneeman, Bonnie Sherk, Keith Sonnier, Norman Tuck, Hannah Wilke, Yom Gagatzi. The following is an excerpt from the catalogue essay by art historian Don Goddard: "It may be that sound art adheres to curator Hellermann's perception that "hearing is another form of seeing,' that sound has meaning only when its connection with an image is understood... The conjunction of sound and image insists on the engagement of the viewer, forcing participation in real space and concrete, responsive thought rather than illusionary space and thought."[3]

Sound artists[edit]

Sound art organizations and festivals[edit]

See also[edit]

Gallery[edit]

Notes[edit]

  1. ^ Kahn. 2001,[page needed].
  2. ^ Licht 2007,[page needed].
  3. ^ Hellerman and Goddard 1983,[page needed].

Sources and further reading[edit]