Irene Noy is an art historian and a curator exploring twentieth-century aural and visual culture in Germany and Britain, particularly in relation to gender and the senses. She holds a PhD from The Courtauld Institute of Art, London, where she also completed a postdoctoral fellowship. Previously, she received her education from the University of Edinburgh, University of Bonn and University of British Columbia.

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• CONTENTS: Sound Art or Sound in Art: What Matters? – Sound Art and the Hierarchy of Senses – From the Bauhaus to Für Augen und Ohren: Gender and the Institutional Incorporation of the Senses of Sight and Hearing – Noise in Painting: Mary Bauermeister’s Early Practice and Collaboration with Karlheinz Stockhausen – Unmasking the Masquerade: Aural and Visual Gender Dynamics in the Performance Series Emergency Solos by Christina Kubisch – Playful Imagination: A Comparative Study of Gerda Nettesheim’s and Monika von Wedel’s Sound Objects – Listen to His Master’s Voice: Authoritative Acousmatic Voices in an Audio Piece by Hildegard Westerkamp – Epilogue: Signifying Matter.

Irene Noy is an art historian and a curator exploring twentieth-century aural and visual culture in Germany and Britain, particularly in relation to gender and the senses. She holds a PhD from The Courtauld Institute of Art, London, where she also completed a postdoctoral fellowship. Previously, she received her education from the University of Edinburgh, University of Bonn and University of British Columbia.

Select Guide Rating

• CONTENTS: Sound Art or Sound in Art: What Matters? – Sound Art and the Hierarchy of Senses – From the Bauhaus to Für Augen und Ohren: Gender and the Institutional Incorporation of the Senses of Sight and Hearing – Noise in Painting: Mary Bauermeister’s Early Practice and Collaboration with Karlheinz Stockhausen – Unmasking the Masquerade: Aural and Visual Gender Dynamics in the Performance Series Emergency Solos by Christina Kubisch – Playful Imagination: A Comparative Study of Gerda Nettesheim’s and Monika von Wedel’s Sound Objects – Listen to His Master’s Voice: Authoritative Acousmatic Voices in an Audio Piece by Hildegard Westerkamp – Epilogue: Signifying Matter.

Irene Noy is an art historian and a curator exploring twentieth-century aural and visual culture in Germany and Britain, particularly in relation to gender and the senses. She holds a PhD from The Courtauld Institute of Art, London, where she also completed a postdoctoral fellowship. Previously, she received her education from the University of Edinburgh, University of Bonn and University of British Columbia.

Select Guide Rating

• CONTENTS: Sound Art or Sound in Art: What Matters? – Sound Art and the Hierarchy of Senses – From the Bauhaus to Für Augen und Ohren: Gender and the Institutional Incorporation of the Senses of Sight and Hearing – Noise in Painting: Mary Bauermeister’s Early Practice and Collaboration with Karlheinz Stockhausen – Unmasking the Masquerade: Aural and Visual Gender Dynamics in the Performance Series Emergency Solos by Christina Kubisch – Playful Imagination: A Comparative Study of Gerda Nettesheim’s and Monika von Wedel’s Sound Objects – Listen to His Master’s Voice: Authoritative Acousmatic Voices in an Audio Piece by Hildegard Westerkamp – Epilogue: Signifying Matter.