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Max neuhaus: the collection (museo d'arte contemporanea) - Max Neuhaus



I make a point of walking directly over Neuhaus’s sound installation most evenings to experience a fleeting 5-second experience of its basso continuo ambient drone.  Neuhaus’s work is somewhat odd in that once you notice it, it gets you thinking for a moment, but about nothing in particular.  It’s just one more voice blending in among the thousands of other sounds sounding in Times Square.  You hear and notice the drone for a few seconds, then just move on.

"In our daily lives, our eye and ear are constantly working together as a closely linked team to form our perception of the world. Traditionally practitioners in the plastic arts have adjusted this perception through the vision, forming with shape and colour. I on the other hand work with our sense of hearing."

Max Neuhaus was renowned for his interpretation of contemporary music while still in his twenties. In the early sixties, he toured America as a percussion soloist. The world of the percussionist is one focused on the sound timbre: Neuhaus travelled with one thousand kilos of percussion instruments to perform his solo repertoire. He extended the palette of sound colour by inventing several early electro-acoustic instruments. His solo album recorded in 1968 stands as one of the first examples of what is now called live electronic music.

Neuhaus went on to pioneer artistic activities outside conventional cultural contexts and began to realize sound works anonymously in public places, developing art forms of his own. Utilising his sense of sound and people's reaction to it, gained after fourteen years as a musician, he began to make sound works which were neither music nor events and coined the term "sound installation" to describe them.

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I make a point of walking directly over Neuhaus’s sound installation most evenings to experience a fleeting 5-second experience of its basso continuo ambient drone.  Neuhaus’s work is somewhat odd in that once you notice it, it gets you thinking for a moment, but about nothing in particular.  It’s just one more voice blending in among the thousands of other sounds sounding in Times Square.  You hear and notice the drone for a few seconds, then just move on.

I make a point of walking directly over Neuhaus’s sound installation most evenings to experience a fleeting 5-second experience of its basso continuo ambient drone.  Neuhaus’s work is somewhat odd in that once you notice it, it gets you thinking for a moment, but about nothing in particular.  It’s just one more voice blending in among the thousands of other sounds sounding in Times Square.  You hear and notice the drone for a few seconds, then just move on.

"In our daily lives, our eye and ear are constantly working together as a closely linked team to form our perception of the world. Traditionally practitioners in the plastic arts have adjusted this perception through the vision, forming with shape and colour. I on the other hand work with our sense of hearing."

Max Neuhaus was renowned for his interpretation of contemporary music while still in his twenties. In the early sixties, he toured America as a percussion soloist. The world of the percussionist is one focused on the sound timbre: Neuhaus travelled with one thousand kilos of percussion instruments to perform his solo repertoire. He extended the palette of sound colour by inventing several early electro-acoustic instruments. His solo album recorded in 1968 stands as one of the first examples of what is now called live electronic music.

Neuhaus went on to pioneer artistic activities outside conventional cultural contexts and began to realize sound works anonymously in public places, developing art forms of his own. Utilising his sense of sound and people's reaction to it, gained after fourteen years as a musician, he began to make sound works which were neither music nor events and coined the term "sound installation" to describe them.


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