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bunch of sensation around being here, in the realm of the actual, the physical, in this multi-dimensional world. Iâm trying to expand the sculptural experience by addressing, if not celebrating, our own existence as spatial, physical entities inhabiting all our dimensions. Sculpture should be a category of experience, not just a category of physical objects for us to stand back and behold.â Brewster's two major bodies of works are his
Acoustic Sculptures and his Sonic Drawings. Brewster describes these works as follows:
196:"A typical Acoustic Sculpture is a mix of electronic tones emitted into a bare room by a single loudspeaker. The sounds echoing through each other produce a field of sound populated by places of differing loudness and tonal content. To see an Acoustic Sculpture, we must shift our sculpture viewing habits from the "stand and look" behavior to an exploratory "move and listen" approach; slowly walking our ears, instead of moving our eyes, through the elaborate spaces of "the room.â
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113:(August 15, 1946 – June 19, 2016) was an American artist, recognized for coining the term âacoustic sculpture.â He worked with sound to create sonic environments beginning in the 1970s until 2016. His works were shown across the United States and Europe, and are in permanent collections, notably the
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in
Claremont. He debuted them for his Master of Fine Arts Exhibition in 1969. This body of work has two forms: âClickersâ and âWhistlers.â Clickers are hidden in the gallery walls while Whistlers are visible, and require the gallery visitor to activate them. The Clickers were exhibited in New York,
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Brewster explained his sonic sculptures: âMy means is sound, especially its effects; but my issues are sculptural, not musical. Sculpture, in its most expanded sense, is the mode of experience that I find truest. I like to think about what an expanded sculptural experience could be: a full bodied
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in Santa Ana) in 1971. Originally, these pieces used one single tone. However, during the 1980s and 1990s, they became more complex. They began using multiple sounds and activation switches that give someone the ability to activate the piece thus making them participatory. These pieces generated
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Pagel, D., & Brewster, M. (2011). Part 3: Michael
Brewster. In R. McGrew (Ed.), It Happened at Pomona: Art at the edge of Los Angeles 1969-1973: August 30, 2011, to May 13, 2012: In three parts (pp. 270-271). Claremont, CA, CA:
199:âA Sonic Drawing uses devices that emit sounds at intervals. This work relies on the coincidence of intervals to draw âholesâ in the activity, producing moments when, through a union of all elements, nothing happens."
282:; and COLA, at Barnsdall Municipal Gallery, Los Angeles in 1998. In 2002, ââSee Hear Now:â a sonic drawing and five acoustic sculptures,â a retrospective exhibition of Brewsterâs work was shown at
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as an expatriate between 1950 and 1964. In high school, he became fluent in
Portuguese and developed an interest in theater and set design. Brewster returned to the United States in 1964 to attend
426:"Where, There or Here" was published in "Site of Sound: of Architecture and the Ear," edited by Brandon LaBelle and Steve Roden, Errant Bodies Press in Association with Smart Art Press, 1999
322:, Artist's Fellowship Grant in the years 1976, 1978, 1984, and 1990. In 1996, Brewster received an Individual Artists Grant from the Los Angeles Cultural Affairs Department.
156:, where he remained for forty-one years, building the studio art program, chairing the department, and expanding the school's reputation nationally. He was awarded the first
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Throughout his career, his work was exhibited at
Artists Space, New York; Galleria del Cavallino, Venice, Italy; the Marum Overpass- Kw IX A, Groningen, the Netherlands;
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in Peoria, Illinois. He moved back to the West Coast to instruct in sculpture and painting at La Verne and Pomona
Colleges. In 1973, Brewster began teaching at
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In the late 1960s, Brewster built a set of 25 light units he named âFlashers.â These were used in various outdoor installations in the
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392:"Claremont Graduate University mourns loss of longtime art Professor Michael Brewster ¡Claremont Graduate University"
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In April 1988, Brewster was awarded the J. S. Guggenheim
Memorial Foundation Fellowship. He was the recipient of the
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at the outdoor exhibition, Artpark, in
Lewiston, New York. In 1985, he was a part of New Music America, at The
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in New York. That same year, he was a part of Art in Los
Angeles: The Museum as Site, Sixteen Projects at the
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J. S. Guggenheim
Memorial Foundation, National Endowment for the Arts, Los Angeles Cultural Affairs Dept
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in the early 1970s, Brewster constructed his first Acoustic Sculpture Fixed Frequency at F Space (an
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The Acoustic Sculptures came from Brewster's study of sound waves. Learning about the phenomenon of
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Brewster's work is held in permanent public and private collections worldwide, including the
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scholarship by the sound theorist Brandon LaBelle and are in the permanent collection of the
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501:"Michael Brewster - See Hear Now - A Sonic Drawing and Five Acoustic Sculptures"
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Brewster conceived of Sonic Drawings in the late 1960s while attending
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480:"Radical Formalism: Michael Brewster's collaborative-materialism"
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It Happened at Pomona: Art at the Edge of Los Angeles 1969-1973
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in Venice, Italy, Groningen, Holland, and Gumsluk Bay, Turkey.
506:. Los Angeles Contemporary Exhibitions. 2002. Archived from
302:, New York; Fondo per l' Ambiente Italiano, Varese, Italy;
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McGrew, Rebecca; Phillips, Glenn, eds. (August 31, 2011).
343:"John Simon Guggenheim Foundation | Michael Brewster"
360:"Michael Brewster gets John Simon Guggenheim fellowship"
444:"Michael Brewster / Acoustic Sculpture, Sonic Drawings"
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Michael Brewster / Acoustic Sculpture, Sonic Drawings
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Michael Brewster / Acoustic Sculpture, Sonic Drawings
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Michael Brewster / Acoustic Sculpture, Sonic Drawings
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163:Brewster died on June 19, 2016, at the age of 69.
290:at Pomona College Museum of Art, Claremont, CA.
257:Southern California Institute of Architecture
133:in 1946. He spent a majority of his youth in
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119:Museum of Contemporary Art Los Angeles
630:Claremont Graduate University faculty
262:Michael Brewster participated in the
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625:Claremont Graduate University alumni
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308:San Diego Museum of Contemporary Art
284:Los Angeles Contemporary Exhibitions
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96:Acoustic Sculpture, Sonic Drawing
272:Los Angeles County Museum of Art
145:) to receive his M.F.A in 1970.
320:National Endowment for the Arts
117:, the Fondo per Arte Italiano,
478:Arnold, H. C. (January 2020).
268:Whitney Museum of American Art
207:Dallas, and were collected by
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635:20th-century American artists
486:– via www.academia.edu.
396:Claremont Graduate University
154:Claremont Graduate University
143:Claremont Graduate University
87:Claremont Graduate University
575:Pomona College Museum of Art
463:Pomona College Museum of Art
300:Solomon R. Guggenheim Museum
645:American multimedia artists
615:Artists from Eugene, Oregon
484:Michael Brewster: Frequency
253:San Francisco Art Institute
16:American artist (1946-2016)
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366:. 1988-05-28. p. 218
115:Solomon Guggenheim Museum
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552:"Whitney Biennial 1981"
111:Michael Leslie Brewster
71:Los Angeles, California
640:American sound artists
410:"Outdoor Installation"
160:Endowed Chair in Art.
620:Pomona College alumni
364:The Los Angeles Times
129:Brewster was born in
243:Selected exhibitions
294:Public collections
150:Bradley University
584:978-0-9818955-8-1
135:SĂŁo Paulo, Brazil
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534:"EXHIBITIONS"
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63:June 19, 2016
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217:Merry Norris
209:Helene Winer
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158:Roland Reiss
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65:(2016-06-19)
610:2016 deaths
605:1946 births
556:whitney.org
314:Recognition
276:Mowry Baden
259:(SCI-Arc).
182:Grand Canal
599:Categories
370:2020-08-23
326:References
44:1946-08-15
79:Education
255:and the
249:MoMA PS1
266:at the
233:MOCA LA
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215:, and
172:Lights
101:Awards
511:(PDF)
504:(PDF)
188:Sound
579:ISBN
428:ISBN
235:and
125:Life
73:, US
60:Died
54:, US
38:Born
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