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!!!Acoustics {br}{br} ---- \|t {cap}'''NAUMAN - ACOUSTIC WALLS'''{/cap}{br}{br}{small}{cap}In December 1969, Nauman constructed his first ''Acoustic Walls'' at the Galerie Ileana Sonnabend in Paris.{br}{br} « It was a large L-shaped piece covering two walls of her Paris gallery. It was flush with the wall of the gallery, and had very thing speakers built into it. Two different tapes were played over the speakers : one was of exhaling sounds, and the other alternated between pounding and laughing. You couldn’t locate the sound. That was quite a threatening piece, especially the exhaling sounds » — (Bruce Nauman, quoted in Willoughby Sharp, Nauman Interview, Arts Magazine, March 1970, p. 26).{br} The false wall, 9 feet high and 12 feet long on each wing of the L shape, served no support function and so was built roughly to create a sculptural presence in the room.{br}{br}In most of the ''Acoustic Walls'' installations, sound is used not only to disorient but also to impart a psychological impact to otherwise neutral surroundings. The advantage of using sound in this way is that it does not cover up « true » materials, something that must be done to create a sculptural presence in the gallery. To reinforce both their tactility and their ambiguity — are these false walls art, or are they part of construction work being done in the gallery ? — most of these walls are smooth on the inside but rough and unfinished on the outside. In the 1969-70 ''Acoustic Wall'', Nauman shifts the emphasis from visual experience to physical involvement. He explained his intent in such works :{br}« When the corridors had to do with sound damping, the wall relied on soundproofing material which altered the sound in the corridor and also caused pressure on your ears, which is what I was really interested in : pressure changes that occurred while you were passing by the material. And then one thing to do was to make a V. When you are at the open of the V, there’s not too much effect, but as you walk into the V the pressure increases quite a bit, it’s very claustrophobic. » — (Bruce Nauman, quoted in Willoughby Sharp, Bruce Nauman, Avalanche 2, Winter 1971, p. 23){/cap}{/small}{br}{br}[../files/articles/nauman/1970_acoustic7.jpg]{br}{small}Bruce Nauman, Acoustic Pressure Piece, 1971{/small}{br}{br}{small}{cap}^[…^] As hard as it is to measure the impact of « emotional overload » on the participants, it is as senseless, in accordance with Nauman’s intent, to attempt to describe the ''Acoustic Wall'' pieces, which « relies in words less and less ».{br} Already in 1970 Nauman had written that « it has become really difficult to explain the pieces. Although it’s easier to describe them now, it’s almost impossible to explain what they do when you’re here. ^[…^] And the pieces increasingly have to do with physical or physiological responses » — (Bruce Nauman, quoted in Willoughby Sharp, Nauman Interview, Arts Magazine, March 1970, p. 26).{br}Information from two sources, touching and hearing, disorients and confuses the participants in the Acoustic Wall installations. Sometimes the sources are inseparable ; at other times they do not align at all. The artist can then restrict the participants physically, guiding their experiences.{/cap}{/small}{br}{small} — (Coosje van Bruggen, Sounddance, In Bruce Nauman, Edited by Robert C. Morgan, Baltimore Mar. / London : The John Hopkins University Press, 2002, pp. 64-65){br}---- Other reference : http://notations.aboutdrawing.org/category/bruce-nauman/ {/small}---- {br}{br}{br}{br}{br}---- ---- ---- {br}{br}[../files/articles/nauman/1970_acoustic4_500.jpg\|../files/articles/nauman/1970_acoustic4.jpg]{br}{small}Bruce Nauman, Performance Corridor, 1969, wallboard and wood, 96 × 240 × 20 in. (243.8 × 609.6 × 50.8 cm), Anti-Illusion : Procedures/Materials exhibition, Whitney Museum of American Art{/small}{br}{br}{br}{small}{cap}''Performance Corridor'' (1969), included in the collective exhibition ''[Anti-Illusion : Procedures/Materials\|https://archive.org/details/antiillusionproc61whit]'', which was held at The Whitney Museum of American Art in May 19, 1969-July 6, 1969, began as a prop for Nauman’s videotape ''[Walk with Contrapposto\|https://www.youtube.com/watch?v=V3wz7r8kzM4]'' (1968). The artist wanted to record himself walking back and forth in a narrow space, so he constructed two freestanding walls, each 8 feet high and 20 feet long. When placed 20 inches apart with the ends abutting a wall, they formed a closed and quite narrow corridor. He remade this makeshift corridor for the Whitney, with the implicit invitation to viewers to enter and experience the cramped space. Indeed, the critic Peter Schjeldahl described Performance Corridor at the time as « ruthless », a « somber corridor » that induces « claustrophobic discomfort ».{/cap}{/small}{br} — {small}(Neal Benezra, Surveying Nauman, In Bruce Nauman, Edited by Robert C. Morgan, Baltimore Mar. / London : The John Hopkins University Press, 2002, pp. 125-126){/small}{br}{br}{br}[../files/articles/nauman/1970_acoustic5_500.jpg\|../files/articles/nauman/1970_acoustic5.jpg]{br}{small}Bruce Nauman, Performance Corridor, 1969, wallboard and wood, 96 × 240 × 20 in. (243.8 × 609.6 × 50.8 cm), Anti-Illusion : Procedures/Materials exhibition, Whitney Museum of American Art{/small}{br}{br}{br}---- ---- ---- {br}{br} [../files/articles/nauman/1969_acousticwall_400.jpg\|../files/articles/nauman/1969_acousticwall_1000.jpg]{br}{small}Bruce Nauman, Acoustic Wall, 1969 — Konrad Fischer gallery, Zürich{/small}{br}---- {small}{cap}Bruce Nauman ^[...^] warps our habitual way of hearing and its capacity to inform our sense of proper physical location in space by removing or reflecting the ambient sound along his thirty-foot wall constructed from acoustical insulation.{br}When we walk past Nauman's wall, the presence of ambient sound in one of our ears and its absence from the other alters our customary sense of balance.{/cap}{/small}{br}— {small}(Suzanne Delehanty, Soundings, In Soundings / Neuberger Museum, catalog of the collective exhibition, State University of New York at Purchase, 20 sept - 23 dec 1981, p. 11 & p. 72){/small} \|t \|t \|t \|t \|t \|t \|t \|t {small}(Click to enlarge){/small}{br}[../files/articles/nauman/1970_acoustic1_500.jpg\|../files/articles/nauman/1970_acoustic1.jpg]{br}{small}Bruce Nauman, Acoustic Pressure Piece, c. 1969, Installation at the artist’s studio, Pasadena, CA{/small}{br}{br}[../files/articles/nauman/1970_acoustic2_500.jpg\|../files/articles/nauman/1970_acoustic2.jpg]{br}{small}Bruce Nauman, Acoustic Pressure Piece, 1971, Installation at the Castelli Gallery, New York, 1973{/small}{br}{br}[../files/articles/nauman/1970_acoustic3_300.jpg\|../files/articles/nauman/1970_acoustic3.jpg]{br}{small}Bruce Nauman, Acoustic Pressure Piece, 1971, Installation at the Castelli Gallery, New York, 1973{/small}{br}{br}[../files/articles/nauman/1970_acoustic6_500.jpg\|../files/articles/nauman/1970_acoustic6.jpg]{br}{small}Bruce Nauman, acoustic panels / 10 panels – 4′ x 8′ each / arranged in studio / sept. 1969, 1970{/small}{br}{br} [../files/articles/nauman/1971_acousticpressure_500.jpg\|../files/articles/nauman/1971_acousticpressure.jpg]{br}{small}Bruce Nauman, Acoustic Pressure Piece, drawing, 1971{/small}{br}---- {small}''Dans ''Acoustic Pressure Piece'' (ou ''Acoustic Corridor''), 1971, un couloir aux parois recouvertes de matériaux d’insonorisation modifie le son, crée des différences de pression acoustique et réduit le champ visuel.''{/small}{br}{br}{br}---- ---- ---- {br}{br} [../files/articles/nauman/1971_acousticcorridor_400.jpg\|../files/articles/nauman/1971_acousticcorridor.jpg]{br}{small}Bruce Nauman, Acoustic Corridor, 1971 — Musée d'Art Moderne de la Ville de Paris 1990{/small}{br}{br}{br}---- {small}(Click to enlarge){/small}{br}[../files/articles/nauman/1974_bodypressure3.jpg\|../files/articles/nauman/1974_bodypressure2.jpg]{br}{small}Bruce Nauman, Body Pressure, 1974{/small}\| {br}{br}{br}{br}
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