1994
Max Neuhaus, Sound Works, Volume I, Inscription, Volume II, Drawings, Volume III, Place.
Max Neuhaus, Sound Works, Volume I, Inscription, Volume II, Drawings, Volume III, Place.
(Ostfildern-Stuttgart: Cantz, 1994)
Max Neuhaus, Sound Works, Volume I, Inscription Max Neuhaus, Sound Works, Volume I, Inscription
CONTENTS
1. Calvin Tomkins
2. Modus Operandi
3. Jean-Christophe Ammann
4. Carter Ratcliff
5. Program Notes
6. John Rockwell
7. Joan La Barbara
8. Tom Johnson
9. Interview with William Duckworth
10. Arthur Danto
11. Wulf Herzogenrath
12. Lecture at the Siebu Museum Tokyo: Talk and question
period
13. Lecture at the University of Miami: Excerpts from talk and question period
14. The Institutional Beast
15. Harald Szeemann
16. Alain Cueff
17. Franz Kaiser
18. Susanne Weingarten
19. Notes on Place and Moment
20. Denys Zacharopoulos
21. Doris von Drathen
22. Germano Celant
23. Conversation with Ulrich Loock
24. Provenance of the Chapters
25. Appendix
Preface
Introduction
Chronology
Index
Preface
These three volumes mark the beginning of a publication project of
ten volumes with Max Neuhaus. His oeuvre is diverse, ranging from
works in the plastic arts, drawings, music, sound walks, communal
sound signals, aural spaces composed of communication networks,
sound topographies in water, to inventions of sound-producing and
dispersing systems and sound applied to problems of urban and
personal design. This structure of separate volumes was chosen to
clarify: to encompass the oeuvre, while allowing each of its
diverse parts to remain distinct on its own ground.
The first volume projects an overview with many voices, including
his own. The second articulates some of the issues surrounding his
drawings which are unusual partly because of their invisible
subject: sound. Although some of these drawings are included in
this volume, most appear in the succeeding volumes relevant to their
area. The third volume contains the largest section of his oeuvre,
those works which use sound to transform space into place.
Markus Hartmann
Introduction
The writings collected here are responses - reactions of others to
these works, and of myself to questions about them. They range from
journalism to essays from museum catalogs, from views of specific
works to overviews which encompass many. Together they form a body
of writing which recounts and interprets, thus inscribing, with many
lines, an image of both my person and what it is that I do.
M. N.
Max Neuhaus, SOUND WORKS, Volume II, Drawings
CONTENTS
Introduction
Yehuda Safran, Drawing By Ear
Max Neuhaus, Notes on the Drawings
Selected Working and Proposal Drawings, 1978 - 1992
Introduction
Drawings are ways of speaking for me - statements, indicators and
tracings of these invisible sound works. They circumscribe them in
much the same way that drawings by other sculptors do their visible
works.
Speaking in a different language, outside the medium of sound, they
cannot be mistaken for reductions or imitations. Restrained by
their medium, neither can they disclose what happens when sound
actually engages mind, in place.
These drawings are neither guides to the experience of a sound work
nor descriptions of it. They are, however, manifestations of the
ideas: forming catalysts for individual trains of thought, active
memories, viewpoints into process, and projections of what a thought
might become. m.n.
Max Neuhaus, Sound Works, Volume III, Place
CONTENTS
Introduction
Place Works 1968-1993
Appendix
Introduction
Communion with sound has always been bound by time. Meaning in
speech and music appears only as their sound events unfold word by
word, phrase by phrase, from moment to moment.
The works collected in this volume share a different fundamental
idea - that of removing sound from time,and setting it, instead, in
place.