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Full Description
Art history traditionally concentrates on the visual. Sound has either been ignored or has been appreciated in a highly selective manner within a different discipline: music. This book is about recent attempts by artists trained in (West) Germany to provoke listening experiences to awaken the senses. Their work is revolutionary in artistic terms and in what it reveals about human relations, especially concerning issues of gender.
The main focus of the book is to explore a gendered reading of the unity between the visual and the aural, a strand most prominently expressed within sound art in the period from the beginning of the 1960s to the 1980s. The book juxtaposes sources that have not been considered in conjunction with each other before and questions sound art's premise: is it a separate field or a novel way of understanding art? The study also opens up sound art to gender considerations, asking if the genre possesses the capacity to disrupt conventional, gendered role models and facilitate alternative possibilities of self-definition and agency across genders. Emergency Noises brings to light the work of underrepresented female artists and explores new intersections of sound, art and gender.
Contents
CONTENTS: Sound Art or Sound in Art: What Matters? - Sound Art and the Hierarchy of Senses - From the Bauhaus to Für Augen und Ohren: Gender and the Institutional Incorporation of the Senses of Sight and Hearing - Noise in Painting: Mary Bauermeister's Early Practice and Collaboration with Karlheinz Stockhausen - Unmasking the Masquerade: Aural and Visual Gender Dynamics in the Performance Series Emergency Solos by Christina Kubisch - Playful Imagination: A Comparative Study of Gerda Nettesheim's and Monika von Wedel's Sound Objects - Listen to His Master's Voice: Authoritative Acousmatic Voices in an Audio Piece by Hildegard Westerkamp - Epilogue: Signifying Matter.
