Central to our performance is the use of audio coupled with visuals. Along with the pictures of hands around cups, the audio from the interviews will be layered, creating a sonic experience for the beholder that incorporates many voices in one article; incarnating our perception that many characters come together to make a unit (multiple individuals equating to a community).
The importance of audio in art has been apparent to me since seeing an interview with Marina Abramovic. She states that “if [she created] a hierarchy of art, [she] would always put the music on the top because it’s so immaterial” (MoMA, 2010). This immateriality therefore relates to any audio within art. This thought has stayed with me for a while. I have since been captivated by this notion, and since we started our work performing the gallery, I have been in constant reflection upon this theory.
On a recent trip to the Andy Warhol – I’m OK, and Salvador Dali exhibitions in Gallery of Art Prague, this thought recurred. Seeing the original artwork for The Velvet Underground & Nico by Andy Warhol at this exhibition (The Velvet Underground, 1967, CD) made me realise how fundamental the link between audio and visual art is within modern culture. The most prevalent use of this amalgamation of mediums is undoubtedly music. Album artwork is at the forefront of this notion, from iconic graphic designs such as that of Storm Thorgeson’s for Pink Floyd’s Dark Side of The Moon, and Peter Saville’s artwork for Joy Division’s Unknown Pleasures, to paintings for album cover art such as George Condo‘s for Kanye West’s My Beautiful Dark Twisted Fantasy, and the use of Henri Fantin-Latour’s A Basket of Roses for New Order’s Power, Corruption and Lies (Pink Floyd, 1973, CD; Joy Division, 1979, CD; Kanye West, 2010, CD; Fantin-Latour, 1890, Art; New Order, 1983, CD).
Realising the significance of intertwining audio and visuals for art is now paramount to me. It creates another layer of meaning for the piece, making it a multifaceted element, one that contains more detail leading to a greater level of comprehensiveness and specificity. This is something that Tom and I are working toward. Our performance markedly lends itself to this layering. The pictures are no longer a muted symbol, they are given a literal voice by pairing a seemingly vague image with an immaterial idea trough sound. Owing to the idea of Lincoln’s diverse and varied community.
Fantin-Latour, H. (1890) A Basket of Roses. [oil on canvas] London: The National Gallery.
Joy Division (1979) Unknown Pleasures. [CD] Strawberry Studios, Stockport, England: Factory Records.
Kanye West (2010) My Beautiful Dark Twisted Fantasy. [CD] Avex Recording Studio, Honolulu, Hawaii, USA; Glenwood Place Studios, California, USA; Electric Lady Studios and Platinum Sound Recording Studios, New York City, USA: Roc-A-Fella Records.
MoMA (2010) The Artist Is Present, The Body as Medium (Marina Abramovic). [online] Available from http://www.moma.org/interactives/exhibitions/2010/marinaabramovic/marina_planes.html [Accessed 19 November 2013].
New Order (1983) Power, Corruption & Lies. [CD] Britannia Row, London, England: Factory Records.
Pink Floyd (1973) The Dark Side of the Moon. [CD] Abbey Road Studios, London, England: Harvest Records.
The Velvet Underground (1967) The Velvet Underground & Nico. [CD] Scepter Studios, Manhattan, USA: Verve Records.
The picture is my own.