Music, Art and Performance from Liszt to Riot Grrrl

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 interaction between music and the visual arts from late Romanticism through to the birth of modernism and emergence of postmodernism, while crossing from Western art to the Middle East. Focusing on music as a central experience of art and life, the essays in this volume scrutinize the musicalization 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 and 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.

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, UK and is working on a monograph about Vienna Secessionist and stage designer Alfred Roller (1864-1932) and the aesthetics of the Gesamtkunstwerk.

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-Siècle 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 Index