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Full Description
Listening on Display provides an empirical investigation of the historically, culturally, and socially contingent ways in which artists, curators, and visitors relate to sounds in contemporary art exhibitions.
Since the 1960s, sounding artworks regularly appear in exhibitions of contemporary art. However, scholars of art history, musicology, sound studies, and museum studies lament the experiential difficulties of this development. They describe how sounds challenge the sensory hierarchy of the museum, how they disrupt the venerable silence of the white cube, or how they drown in the overall noise level of the galleries.
This book examines the listening experiences of artists, visitors, curators, and technicians in more than twenty exhibitions that have taken place at contemporary art museums, alternative art spaces, and other venues in Germany and the US since the 1960s. Through archival research, visitor book analysis, interviews, and observations drawing on sensory ethnography, the book brings together their ideas and ideals about aesthetic ambitions, sensory abilities, cultural conventions, and technological standards.
Contents
Acknowledgments
Introduction: Listening on Display
1. Studying Exhibitions with Sounding Artworks: Methodological Reflections
2. The Exhibition as Social Ritual: How to Do Things with Sound
3. The Exhibition as Institutional Convention: Rehearsing Sensory Repertoires
4. The Exhibition as Taskscape: Negotiations of Attention
Conclusions: Beyond Noisy White Cubes and Silent Black Boxes
Appendix: Exhibition Overview
Bibliography
Index
