Music, Art and Performance from Liszt to Riot Grrrl
The Musicalization of Art
Published on 13. December 2018
Book
Hardback
288 pages
978-1-5013-3013-1 (ISBN)
Description
A 2019 Choice Outstanding Academic Title
Opening with an account of print portraiture facilitating Franz Liszt's celebrity status and concluding with Riot Grrrl's noisy politics of feminism and performance, this interdisciplinary anthology charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to 'postmodernism', while crossing from Western art to the Middle East.
Focused on music as a central experience of art and life, these essays scrutinize 'the musicalisation of art' focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and- silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the "isms" of the last two hundred years is best achieved when music's influential presence in the visual arts is acknowledged and interrogated.
Opening with an account of print portraiture facilitating Franz Liszt's celebrity status and concluding with Riot Grrrl's noisy politics of feminism and performance, this interdisciplinary anthology charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to 'postmodernism', while crossing from Western art to the Middle East.
Focused on music as a central experience of art and life, these essays scrutinize 'the musicalisation of art' focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and- silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the "isms" of the last two hundred years is best achieved when music's influential presence in the visual arts is acknowledged and interrogated.
Reviews / Votes
Silverthorne brings together a bold and diverse collection of essays that summarise modern and contemporary themes in the field and offer many innovative insights. Highly recommended. * Simon Shaw-Miller, author of Eye hEar The Visual in Music (2013), Professor and Chair in History of Art, University of Bristol, UK *More details
Language
English
Place of publication
London
United Kingdom
Publishing group
Bloomsbury Publishing PLC
Target group
College/higher education
Illustrations
16 colour and 13 bw illus
Dimensions
Height: 229 mm
Width: 152 mm
Weight
572 gr
ISBN-13
978-1-5013-3013-1 (9781501330131)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
E-Book
10/2018
1st Edition
Bloomsbury Visual Arts
€30.99
Available for download
Person
Diane V. Silverthorne is an art historian and a 'Vienna 1900' scholar, with research interests in the synchronicity of music and the visual arts from the mid-nineteenth century onwards. She has published in several anthologies including Music and Modernism 1849-1950 (2012), The Routledge Companion to Music and Visual Culture (2013) and Music and Transcendence (2015). She holds a post in cultural studies at the University of the Arts, London and is working on a monograph about Vienna Secessionist and stage designer Alfred Roller (1864-1932) and the aesthetics of the Gesamtkunstwerk.
Content
Contents
Introduction - A Work in Two Parts: Continuities and Discontinuities from Romanticism to Postmodernism
Diane V. Silverthorne (Central Saint Martins, University of the Arts, London, UK)
Prelude - The Musical in Art
Jed Rasula (University of Georgia, Athens, USA)
Part 1: The Musicalization of Art
SPACES OF INTIMACY, TOUCH AND TEMPORALITY
1. Romantic Musical Celebrity and Printed Portraits: Visual Intimacy and Mass-Market Distance
Alan Davison (University of Technology, Sydney, Australia)
2. Making an Entrance: Manet's Still Life with Hat and Guitar
Therese Dolan (Temple University, Tyler School of Art, Philadelphia, USA)
3. Time in Fin-de-Siecle Painting
Anne Leonard (University of Chicago, USA)
4. Erik Satie and the Interart Genre
Ann-Marie Hanlon (Dundalk Institute of Technology, Co. Louth, Ireland)
5. The "Figure in the Carpet": M. K. Ciurlionis and the synthesis of the arts
Spyros Petritakis (University of Crete, Greece)
Part 2: The Musicalization of Art
SPACES OF PERFORMANCE, SOUND AND SILENCE
6. Music, sound and light: Embodied experiences of the modernist and postmodern Gesamtkunstwerk
Diane V. Silverthorne (University of the Arts, London, UK)
7. Squaring the Circle: Wilfred's Lumia and his rejection of "colour music"
Nick Lambert (Ravensbourne College, London, UK)
8. In concert: The emergence of the audio-visual moment in minimalism
Meredith Mowder (Hunter College, The City University of New York, USA)
9. Riffing the Index: Romare Bearden and the Hand of Jazz
Nikki A. Greene (Wellesley College, Mass., USA)
10. The Politics of Music and Image in Contemporary Iranian art: "the impossibility of putting one's body and voice on a stage"
Kirstie Imber (Birkbeck, University of London, UK)
11. Contemporary Feminist Art, the Musical: Listening to the Visual Legacy of Riot Grrrl
Cara Smulevitz (University of Illinois, Chicago, USA)
Postlude
Diane V. Silverthorne and Alan Davison
Bibliography
Introduction - A Work in Two Parts: Continuities and Discontinuities from Romanticism to Postmodernism
Diane V. Silverthorne (Central Saint Martins, University of the Arts, London, UK)
Prelude - The Musical in Art
Jed Rasula (University of Georgia, Athens, USA)
Part 1: The Musicalization of Art
SPACES OF INTIMACY, TOUCH AND TEMPORALITY
1. Romantic Musical Celebrity and Printed Portraits: Visual Intimacy and Mass-Market Distance
Alan Davison (University of Technology, Sydney, Australia)
2. Making an Entrance: Manet's Still Life with Hat and Guitar
Therese Dolan (Temple University, Tyler School of Art, Philadelphia, USA)
3. Time in Fin-de-Siecle Painting
Anne Leonard (University of Chicago, USA)
4. Erik Satie and the Interart Genre
Ann-Marie Hanlon (Dundalk Institute of Technology, Co. Louth, Ireland)
5. The "Figure in the Carpet": M. K. Ciurlionis and the synthesis of the arts
Spyros Petritakis (University of Crete, Greece)
Part 2: The Musicalization of Art
SPACES OF PERFORMANCE, SOUND AND SILENCE
6. Music, sound and light: Embodied experiences of the modernist and postmodern Gesamtkunstwerk
Diane V. Silverthorne (University of the Arts, London, UK)
7. Squaring the Circle: Wilfred's Lumia and his rejection of "colour music"
Nick Lambert (Ravensbourne College, London, UK)
8. In concert: The emergence of the audio-visual moment in minimalism
Meredith Mowder (Hunter College, The City University of New York, USA)
9. Riffing the Index: Romare Bearden and the Hand of Jazz
Nikki A. Greene (Wellesley College, Mass., USA)
10. The Politics of Music and Image in Contemporary Iranian art: "the impossibility of putting one's body and voice on a stage"
Kirstie Imber (Birkbeck, University of London, UK)
11. Contemporary Feminist Art, the Musical: Listening to the Visual Legacy of Riot Grrrl
Cara Smulevitz (University of Illinois, Chicago, USA)
Postlude
Diane V. Silverthorne and Alan Davison
Bibliography