Sound sculpture is an intermedia and time based artform in which sculpture or any kind of art object produces sound, or the reverse (in the sense that sound is manipulated in such a way as to create a sculptural as opposed to temporal form or mass). Sound sculpture is sometimes site-specific. Cymatics and kinetic art has influenced sound sculpture.
Most often sound sculpture artists were primarily either visual artists or composers, not having started out directly making sound sculpture.
From Wikipedia, the free encyclopedia
list of various artists working in the fields of sound art + installation + architecture ::::::
Harry Bertoia ( 1915 – 1978)an Italian-born jeweler, printmaker, furniture designer, sculptor, and philosopher
At the age of 15 he traveled from Italy to Detroit to visit his older brother, however he chose to stay and enrolled in Cass Technical High School, where he studied art and design and learned the art of handmade jewelry making. In 1938 he attended the Art School of the Detroit Society of Arts and Crafts, now known as the College for Creative Studies. The following year in 1937 he received a scholarship to study at the Cranbrook Academy of Art .Opening his own metal workshop in 1939 he taught jewelry design and metal work. Later, as the war effort made metal a rare and very expensive commodity he began to focus his efforts on jewelry making, even designing and creating wedding rings.In 1950, he moved to Pennsylvania, to establish a studio, and to work with Hans
and Florence Knoll
. During this period he designed five wire pieces that became known as the Bertoia Collection for Knoll. Among them the famous ‘Diamond chair
‘ a fluid, sculptural form made from a molded lattice work of welded steel.
In the mid-50’s the chairs being produced by Knoll sold so well, that the royalties Bertoia received for them allowed him to devote himself exclusively to sculpture. In 1957 he was a fellow at the Graham Foundation
in Chicago. The sculptural work that he produced on his own explored the ways in which metal could be manipulated to produce sound. By stretching and bending the metal, he made it respond to wind or to touch, creating different tones.
He performed with the pieces in a number of concerts and even produced a series of nine albums, all entitled “Sonambient
“, of the music made by his art, manipulated by his hands along with the elements of nature.
Sonambient was Bertoia’s term to describe the spatial and tonal environment created by these sound sculptures. Harry Bertoia created them of different shapes, length and thickness in order to achieve a range of gentle and sharp sounds. He experimented as a way to seek harmonic balance with the metal, resulting in pure, unique tones.When touched, struck or brushed, these sculptures became abstractions of sound as they sway and knock against one another. The sounds are organic and mysterious, as tones resonate and flow into each other.
The completed Sonambient also consists of gongs and suspended sonic-bars. Within his renovated barn, Bertoia made more than 360 magnetic-tape recordings, some of which are available on CD in this online Studio Store
more info on Bertoia`s artworks >> here
These are two French brothers named François (b. 1920) and Bernard (b. 1917) Baschet who collaborate on creating sound sculptures and inventing instruments. François Baschet is a sculptor and Bernard Baschet is an engineer. In 1952, the Baschet Brothers reveal a new acoustic principle. They manage to amplify the internal vibration of metal, thus founding a new acoustic instrumental family ,called “educational instrumentarium” for exposing young people to musical concepts.
François had wanted to be an artist, but his father warned him against pursuing the instable life of an artist. He decided to study business in college, but felt no passion for it. After World War II, which had interrupted his education he decided to travel around the world. He brought with him on his trip a guitar to help him earn a living, but wanting something more portable he invented an inflatable guitar using a balloon and a collapsible wood neck. He continued to perform with this guitar upon his return to Paris. Soon he and his brother, who had studied engineering, began collaborating on sculptural musical instruments.
Beginning in 1952, the Baschets started research into all existing musical instruments and put this knowledge to work in creating dozens of structures sonores
(i.e., ‘sonorous sculptures’). Their visually striking instruments are crafted out of steel and aluminum and amplified by large curved conical sheets of metal, and are most often easy to play and accessible to people with any level of experience. One example of this is the Hemisfair Musical Fountain
, which consists of an array of posts at the top of which are groups of conical sound diffusers, and above them circles of metal prongs. These are played by jets of water aimed by observers.
In 1954, the brother met Jacques and Yvonne Lasry. Jacques was a pianist and composer and Yvonne was an organist. The four formed an association which they called “Lasry-Baschet Sound Structures.” They held their first concerts in 1955. The group was successful and in 1960 were asked by Jean Cocteau
to provide music for his film, Le Testament d’Orphée
. The group toured, appearing on television shows including the Ed Sullivan Show
. In 1966 they were invited to hold an exhibition at the Museum of Modern Art
and director Alfred Barr
purchased a sculpture for the museum’s collection
In the 1960s the Lasrys immigrated to Israel. In 1977 Bernard met Michel Deneuve, a musician, who joined them, starting a new association, and assisted creating instruments. Deneuve was especially dedicated to working on their instrument called the “Cristal”.
Jean Tinguely (1925 – 1991) a Swiss painter and sculptor.
|Kurt Wyss_Jean Tinguely, 1985
He is best known for his sculptural machines or kinetic art, in the Dada tradition; known officially as metamechanics. Tinguely’s art satirized the mindless overproduction of material goods in advanced industrial society.
Tinguely belonged to the Parisian avantgarde in the mid-twentieth century and was one of the artists who signed the New Realist’s manifesto (Nouveau réalisme) in 1960.
His best-known work, a self-destroying sculpture titled Homage to New York (1960), only partially self-destructed at the Museum of Modern Art, New York City, although his later work, Study for an End of the World No. 2 (1962), detonated successfully in front of an audience gathered in the desert outside Las Vegas.
” I am an artist of movement. Initially I did painting but I got blocked there, I found myself stuck. I was handicapped by the whole history of art and the Ecole des Beaux Arts. I got hung up in the pictures, on the pictures – finally all I could do is wait until they were tired; I could never find their end. So I decided to introduce movement. I started from Constructivist elements, taken from the vocabulary of the Russian Suprematist painter Malevich, and from Kandinsky and Arp and a few others. I re-used their elements and set them in motion. I was trying to get away from the imperative, the power of these artists, also from Mondrian. I began to use movement simply to make a re-creation. It was a way of re-doing a painting so that it would become infinite – it would go on making new compositions by means of the physical and mechanical movements that I gave it.”
Jean Tinguely in a radio conversation, Radio Télevision Belge (RTB), Brussels, 13 December 1982.[Pontus Hulten: Jean Tinguely. A Magic Stronger than Death. New York: Abbeville Press, 1987, p. 350.]
Noise music recordings of his kinetic works:
1963 ‘Sounds of Sculpture’, 7”, Minami Gallery, Tokyo, Japan [Tinguely’s sculptures recorded by avant-garde composer Toshi Ichiyanagi during Japanese exhibition];
1972 ‘Méta’, book+7_, Propyläen Verlag, Stockholm;
1983 ‘‘Sculptures at The Tate Gallery,
1982_, Audio Arts cassette;
1983 ‘Meta-Harmonie H’ incl. in ‘Meridians 2 compmqenan ate a pie;
2001 ‘Relief Meta-Mechanique Sonore I’ incl. in ‘A Diagnosis’ compilation, Revolver-Archiv Für Aktuelle Kunst, Frankfurt am Main, Germany
hear his sculptures >> here
Maryanne Amacher (1938– 2009), an American composer,computer scientist and installation artist.
Her major pieces have almost exclusively been site specific, often using many loudspeakers to create what she called “structure borne sound”, which is a differentiation with “airborne sound”, the paradox intentional. By using many diffuse sound sources (either not in the space or speakers facing at the walls or floors) she would create the psychoacoustic illusions
of sound shapes/”precense”. Amacher’s early work is best represented in the three series of multimedia installations produced in the United States, Europe, and Japan: the sonic telepresence series, “CITY LINKS” 1-22 (1967- ); the architecturally staged “MUSIC FOR SOUND JOINED ROOMS” (1980- ) and the “MINI-SOUND SERIES” (1985- ) a new multimedia form which she created, that is unique in its use of architecture and serialized narrative.
She worked extensively with the physiological (not psychoacoustic) phenomenon called otoacoustic emission
, in which the ears themselves act as sound generating devices. Amacher composed several “ear dances” designed to stimulate clear “third” tones coming from the listener’s ears. It’s not yet adequately researched and clear was to whether these works are solely from otoacoustic emissions or perhaps also combination and difference tones. The subtitle of her first Tzadik Records
album Sound Characters (Making the Third Ear)
references these “ear tones”. Amacher describes this phenomenon:
When played at the right sound level, which is quite high and exciting, the tones in this music will cause your ears to act as neurophonic instruments that emit sounds that will seem to be issuing directly from your head … (my audiences) discover they are producing a tonal dimension of the music which interacts melodically, rhythmically, and spatially with the tones in the room. Tones ‘dance’ in the immediate space of their body, around them like a sonic wrap, cascade inside ears, and out to space in front of their eyes … Do not be alarmed! Your ears are not behaving strange or being damaged! … these virtual tones are a natural and very real physical aspect of auditory perception, similar to the fusing of two images resulting in a third three dimensional image in binocular perception … I want to release this music which is produced by the listener … (4 more info click here)
Over the years she received several major commissions in the United States and Europe with occasional work in Asia and Central and South America. In 1998 she was awarded a grant from the FCA
Grants to Artists Award. In 2005, she was awarded the Prix Ars Electronica
(the Golden Nica) in the “Digital Musics” category for her project “TEO! A sonic sculpture”
. At the time of her death she had been working three years on a 40 channel piece commissioned by The Experimental Media and Performing Arts Center
in Troy, New York.
She never held a full-time job after being a typist in the early 1960s and, after leaving New York City, lived in two rooms of a run-down house in Kingston, NY until her death. For the last decade of her life she taught at the Bard College MFA program.
for more info visit this link
Terry Fox (1943 – 2008) an American painter, video, conceptual, sound, and performance artist.
He studied at the Cornish School of Applied Arts in Seattle and the Accademia di Belli Arti in Rome. Fox was an important figure in post-minimal sculpture, conceptual art, performance, and video art on the West Coast.
His seminal series of works (environments, performances, sculptures, drawings) produced over an eight year period was based on the theme of the configuration of the Chartres Labyrinth. Terry Fox counts beside Joseph Beuys
, Wolf Vostell
or Nam June Paik
to the representatives of the Fluxus
and the public polarizes with its actions, with which it mostly includes its own body. Fox was called more American „protest artist” and of the 70’s 60’s. Terry Fox reflects with its art actions and Installations
mostly on its own life and death. He suffered from one Krebserkankung
and one had Close death experience
after a heart surgery; thus it called one of its installations in the Saarbrücker city gallery Ataraxia
(dt. „Soul peace “, after Epikur
) in which it points important stations out of its life with sound installations and further objects.
At first Fox felt still strongly the painting course-bent, felt this artistically however as too rigid and restricting and in such a way gives it after some stays in Rome (1962) and Paris (1963) the painting completely on around itself toward end 60’s that Happening movement
in San Francisco and N Y to attach, those, in the course that Peace movement
new aspects on a rigid destructive of Viet Nam war overshadowed society to throw wanted. Meanwhile moved to Germany Fox at the beginning of the 70’s together with Joseph Beuys leads the action Isolation unit
in that Academy of arts Duesseldorf up.
In the process Fox implements some flux US actions, mostly in Europe; often in co-operation both with Beuys and other Fluxuskünstlern. Fox documents most of its actions and installations thereby by means of audiovisual photographs or in sketches and designs.
Specialized in its work Terry Fox is predominant on clay/tone and sound sculptures.
his art nomading bio >> here
performances & videoworks >> here
Bill Fontana (b. 1947,Ohio) internationally known for his pioneering experiments in sound art.
|Bill Fontana at work on the SFMOMA turret bridge
Fontana attended New School for Social Research in New York and studied both music and philosophy. He traveled to Australia, and also stayed in Japan and Germany composing. Fontana began making sound sculptures
in 1976. Bill Fontana
is a sonic artist whose work focuses on the relocation of ambient sounds
in public, urban spaces and the resulting recontextualization of both the sounds themselves and the sites of his installations.
Several of his better-known projects include:Satellite Ear Bridge Cologne-San Francisco,
Journey Through My Sound Sculptures,The Sound of an Unblown Flute,Panoramic Echoes,
Distant Trains (Realvideo clip): In West Berlin in 1984, Fontana constructed the acoustic space of a living train station (the Köln Hauptbahnhof, the busiest European train station at the time) inside what had been one of the busiest stations in Europe before WWII, the Anhalter Bahnhof, but had become a bombed-out ruin. He was unable to use live sound in this installation due to technological limitations, so instead used a live recording of train station hustle and bustle made from eight microphones placed inside the Köln Hauptbahnhof, then played on loudspeakers hidden among the ruins of the Anhalter Bahnhof.
Sound Island (Realvideo clip): In 1994 as part of the commemoration of the 50th anniversary of the D-Day landing at Normandy and the liberation of Paris, Fontana transmitted the white noise of the sea live from the Normandy coast to loudspeakers hidden in Paris’ Arc de Triomphe.
Acoustical Visions of Venice (Realvideo clip): For the Venice Biennale in 1999, Fontana created a “sound map” of the city by piping audio live from twelve sites around the city, chosen for historic and cultural significance as well as acoustic character, to the Punta della Dogana. As this spot has one of the best views of the city and its landmarks, the installation allowed visitors to hear as far as they could see, in some cases hearing even further, reversing the way they normally experience the balance between these two senses.
more on Bill Fontana >>here
Dennis Báthory-Kitsz (b.1949, New Jersey) – a Hungarian-American composer – engraver – author – editor – photographer.
(pseudonyms: Dennis Bathory, Dennis Kitsz, Dennis J. Kitsz, Dennis Bathory Kitsz, Kalvos Gesamte, Grey Shadé, D.B. Cowell, Brady Kynans, Kalvos Zondrios, Báthory Dénes, Orra Maussade, Don Johnson, Kerry Merritt, Calvin Dion, Enimtu Bemanyna)
He has composed more than 700 works, including sound sculpture, solo and chamber music
for the instruments of classical music, electronic music, stage shows, orchestral pieces, dance music, opera, interactive multimedia, sound installations, and performance art events. He has also designed and built new musical instruments. He has advocated what he calls contemporary “nonpop” music, and the performance of contemporary classical music
(new music) in preference to the music of composers of past eras.
Christopher Janney (b.1950) an American composer/artist/architect
Alumnus Christopher Janney is an architect who makes music, a musician who designs buildings & an artist whose work can be found in the permanent collection of the Smithsonian Institution.In 1976, three years after graduating from Princeton in architecture and sculpture, he entered the newly-formed masters program in environmental art at SA+P`s Center for Advanced Visual Studies and began to experiment with combining his two great passions – architecture and jazz.Since then he has developed his own multimedia studio, PhenomenArts, touring the US and Europe with his sound/architecture installations & performance pieces. Most recently, he ` s been working on permanent pieces that he refers to as `Urban musical instruments`- landmark installations in airports, libraries, parks, plazas and subway platforms across the country that combine interactive technology, architecture, light and original sound scores into what he calls, in the title of his recent book, `ARCHITECTURE OF THE AIR ` .
Sometimes he attempts to make architecture more like music as in his sound sculptures. Other times, he develops performance projects which make music more like architecture as in his “Physical Music” series which includes “HeartBeat,” a piece danced by Mikhail Baryshnikov. Much of Janney’s permanent work has sought to create “permanent participatory soundworks for public spaces” .Janney has toured his “Sonic Forest” in both the US and Europe at major music festivals.
He has been awarded the Gryorgy Kepes Price from MIT (1986), “Sound Designer of the Year,” by LDI/Theater Arts Magazine (1985) and the Edison Award from General Electric for Innovation in Design (1996).
Janney lectures widely on his work. He has been a visiting professor at both The Cooper Union School of Architecture and Pratt Institute School of Architecture, where he has taught his seminar “Sound as a Visual Medium”.
Ellen Fullman(b.1957) an American sculptor, composer, instrument builder and performer
|the artist playing with her Long String Instrument
Ellen Fullman was born in Memphis, Tennessee in 1957. She studied sculpture at the Kansas City Art Institute before heading to New York in the early 1980s. In Kansas City she created and performed in an amplified metal sound-producing skirt and wrote art-songs which she recorded in New York for a small cassette label. In 1981, at her studio in Brooklyn she began developing her major project, the 70 foot (21 meter) Long String Instrument
, in which rosin-coated fingers brush across dozens of metallic strings, producing a chorus of minimal organ-like partials which has been compared to the experience of standing inside an enormous grand piano. She has recorded extensively with this unusual instrument and has collaborated with such luminary figures as composer Pauline Oliveros
, choreographer Deborah Hay
, the Kronos Quartet
, and Francis-Marie Uitti. She has been the recipient of numerous awards, commissions and residencies including: a McKnight Visiting Composer Residency from American Composers Forum
(2010), Artist-In-Residence, Headlands Center for the Arts
(2008); Center for Cultural Innovation Investing in Artists Grant (2008); Japan/U.S. Friendship Commission/NEA Fellowship for Japan (2007); DAAD Artists-in-Berlin Program residency (2000); Artist Trust/Washington State Arts Commission Fellowship (1999); and Meet the Composer, Reader’s Digest Consortium Commission (1993). Her recent performance with Austin New Music Co-op at the Seaholm Power Plant was given a Critic’s Table Award for Best Chamber Performance, 2009-2010. Fullman has performed in numerous festivals, art spaces and museums. Fullman’s commissioned works include: Post Futurist Reverie, for the project: Music for 16 Futurist Noise Intoners, presented by the San Francisco Museum of Modern Art, and a piece for Trimpin’s Klavier Nonette, an installation of nine midi-controlled toy pianos. Fullman has presented numerous lectures on her work including: the Songlines series, Center for Contemporary Music, Mills College
; and Improv:21 a lecture series presented by Rova:Arts, San Francisco.
video documentation of her work >> here
listening some releases >> here
Nigel Heyler(aka Doctor Sonique) a prolific Australian sculptor, interactive and installation sound artist
His work explores and actively mines the intersections between science, art, culture, and technology. There are in excess of 60 projects listed on Helyer’s web site and most of these are indeed distinct and substantial projects in their own right.
Helyer’s work is what his website describes as ‘actively interdisciplinary’- linking creative expression, scientific research and technical development. More specifically Helyer’s work is characterised by an interest in the potential for technical architectures to reveal otherwise unseen or marginalised dynamics that span and interweave the development of culture, environment, history and technology .
Installation is the most common vehicle for Helyer’s work which tends to employ elements of computer and mechanical interaction as the basis for an establishing and exploring the visceral relation between body and ecology that it potentialises.
Helyer’s most recent work has developed out of a collaboration with the Satellite Navigation and Positioning Group and Human Computer Interaction Lab of the University of New South Wales (Most notably with Daniel Woo and Michael Lake of UNSW). That work is based on the Audio Nomad system that provides for the mapping of geo-tagged media and geospatial information in a interactive system that immerses the user in a sonified representation of the environment. That representation juxtaposes sonified meteorological and environmental data with recorded histories, cultural fragments, field recordings (both visual and sonic) making the relations between these ‘readings’ visceral. The user traverses this sonic topology produced via an immersive multiscreen and surround sound system and the unique Audio Nomad interface to explore the transitions and relations between the human, biological, and environmental systems.
The small Sussex fishing village in which I spent my childhood contained two significant buildings, significant not for their formal qualities, they were both simple cottages, but because one had been the home William Blake the poet, whist the other, ‘Comet Cottage’ was named for the astronomer Halley. Without being conscious of the fact, I grew up in a cosmos in which the arts and science were intertwined, it has marked my endeavours ever since.
Heyler`s projects @ sonicobjects.com
Bernhard Gál (born 1971) an Austrian artist, composer curator and musicologist.
|Bernhard Gál (a.k.a. Gal) works between the categories, creating music for instruments and electro-acoustic compositions, as well as art installations. Many of his intermedia art projects and sound installations present combinations of sound, light, objects, video projections and spatial concepts.
He is director of the Austrian art organization “sp ce” and runs the record label Gromoga Records. Gals work has been presented in concerts, installations and exhibitions throughout Europe, Asia and The Americas. He has collaborated with artists such as Yumi Kori, P. Michael Schultes, G.S. Sedlak, and Emre Tuncer. For his work, Gal has received numerous awards, including the Karl Hofer Prize Berlin 2001, a fellowship from the DAAD Artists in Berlin Programme 2003, the Austrian State Scholarship for Composition 2004, and the Outstanding Artist Award for Music of the City of Vienna 2010. His music has been made available on ca. 30 audio publications, by record labels such as Durian
, Plate Lunch
, Intransitive Records
, and Gromoga
. Currently Gál lives and works in Vienna and Salzburg, Austria.
Yuri Landman (b. 1973) a Dutch experimental luthier,builder of experimental electric string instruments, a comic book creator, musician, and singer.
| lecture at Black Box, Belfast
as part of Oscillations Festival
Yuri Landman started as a comic book artist and made his debut in the comics field in 1997 with ‘Je Mag Alles Met Me Doen’ (in Dutch). In the follow-up, released in 1998, ‘Het Verdiende Loon’, Landman described his negative experiences on a daily job. For the second title he received the 1998 Breda Prize, an award for rising new comic artists in Holland. Since then he has published no other comic books.
Landman began creating and building several experimental string instruments, including electric zithers, electric Cymbalum, and electric Koto. Most of them are not regular instruments, but look more like multi-string crossbows and their sounds derive from string resonance, microtonality and overtoning spectra based on the no wave aesthetics of Glenn Branca and the microtonal consonant theory developed by Harry Partch.
From November 2006 to January 2007 Landman finished 2 copies of The Moonlander
, a biheaded electric 18 string drone guitar, one for Sonic Youth
guitarist Lee Ranaldo
and one for himself.
Besides building instruments Landman also gave musicological lectures at venues, festivals and music related educational institutes about a theory based on physical laws. . Landman published the essay 3rd Bridge Helix – From Experimental Punk to Ancient Chinese Music & the Universal Physical Laws of Consonance in which he clarifies the relation between this prepared guitar technique and the consonant values present in non-Western scales especially the musical scale used on the Ancient Chinese musical instrument the guqin. He published an extensive 8 chapter guide how to prepare a guitar.
In the same year he developed the Home Swinger project. A gesamtkunstwerk consisting of a workshop where people build a DIY-variant of the Moodswinger in four hours and a musical ensemble performance with the instruments.
In 2010 he forms the KRGGHH*@#$%!!-ensemble, a group of 10-15 musicians playing on his Home Swingers and other self built instruments. Meanwhile he continues on building instruments for artists and comes up with a second DIY-workshop for festivals for building an electric 12 tone Lamellophone.