Noise music is a category of music, characterised by the expressive use of noise within a musical context. This type of music tends to challenge the distinction, made in conventional musical practices between musical and non-musical sound. Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect; some of the music can feature acoustically or electronically generated noise, both traditional and unconventional musical instruments. It may incorporate live machine sounds, non-musical vocal techniques, physically manipulated audio media, processed sound recordings, field recording, computer-generated noise, stochastic process, other randomly produced electronic signals such as distortion, static and hum. There may be emphasis on high volume levels and lengthy, continuous pieces. More noise music may contain aspects such as improvisation, extended technique and indeterminacy. In many instances, conventional use of melody, rhythm or pulse is dispensed with.
The Futurist art movement was important for the development of the noise aesthetic, as was the Dada art movement, the Surrealist and Fluxus art movements the Fluxus artists Joe Jones, Yasunao Tone, George Brecht, Robert Watts, Wolf Vostell, Dieter Roth, Yoko Ono, Nam June Paik, Walter De Maria's Ocean Music, Milan Knížák's Broken Music Composition, early LaMonte Young and Takehisa Kosugi. Contemporary noise music is associated with extreme volume and distortion. In the domain of experimental rock, examples include Lou Reed's Metal Machine Music, Sonic Youth. Other examples of music that contain noise-based features include works by Iannis Xenakis, Karlheinz Stockhausen, Helmut Lachenmann, Cornelius Cardew, Theatre of Eternal Music, Glenn Branca, Rhys Chatham, Ryoji Ikeda, Survival Research Laboratories, Ramleh, Brighter Death Now, Dror Feiler, Cabaret Voltaire, Psychic TV, Jean Tinguely's recordings of his sound sculpture, the music of Hermann Nitsch's Orgien Mysterien Theater, La Monte Young's bowed gong works from the late 1960s.
Genres such as industrial, industrial techno, lo-fi music, black metal, sludge metal, glitch music employ noise-based materials. According to Danish noise and music theorist Torben Sangild, one single definition of noise in music is not possible. Sangild instead provides three basic definitions of noise: a musical acoustics definition, a second communicative definition based on distortion or disturbance of a communicative signal, a third definition based in subjectivity. According to Murray Schafer there are four types of noise: unwanted noise, unmusical sound, any loud sound, a disturbance in any signaling system. Definitions regarding what is considered noise, relative to music, have changed over time. Ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethoven's Grosse Fuge "sounded like noise" to his audience at the time. Indeed, Beethoven's publishers persuaded him to remove it from its original setting as the last movement of a string quartet, he did so.
They subsequently published it separately. In attempting to define noise music and its value, Paul Hegarty cites the work of noted cultural critics Jean Baudrillard, Georges Bataille and Theodor Adorno and through their work traces the history of "noise", he defines noise at different times as "intrusive, unwanted", "lacking skill, not being appropriate" and "a threatening emptiness". He traces these trends starting with 18th-century concert hall music. Hegarty contends that it is John Cage's composition 4'33", in which an audience sits through four and a half minutes of "silence", that represents the beginning of noise music proper. For Hegarty, "noise music", as with 4'33", is that music made up of incidental sounds that represent the tension between "desirable" sound and undesirable "noise" that make up all noise music from Erik Satie to NON to Glenn Branca. Writing about Japanese noise music, Hegarty suggests that "it is not a genre, but it is a genre, multiple, characterized by this multiplicity...
Japanese noise music can come in all styles, referring to all other genres... but crucially asks the question of genre—what does it mean to be categorized, definable?". Writer Douglas Kahn, in his work Noise, Meat: A History of Sound in the Arts, discusses the use of noise as a medium and explores the ideas of Antonin Artaud, George Brecht, William Burroughs, Sergei Eisenstein, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, Dziga Vertov. In Noise: The Political Economy of Music, Jacques Attali explores the relationship between noise music and the future of society, he indicates that noise in music is a predictor of social change and demonstrates how noise acts as the subconscious of society—validating and testing new social and political realities. Like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways. In common use, the word noise means noise pollution.
In electronics noise can refer to the electronic signal corresponding to acoustic noise or the electronic signal corresponding to the noise seen as'snow' on a degraded television or video i
William Basinski is an avant-garde composer based in New York City. He is a clarinetist, sound artist, video artist. Basinski is best known for his four-volume album The Disintegration Loops, constructed from decaying twenty-year-old tapes of his earlier music. William Basinski was born in 1958 in Texas. A classically trained clarinetist, he studied jazz saxophone and composition at North Texas State University in the late 1970s. In 1978, inspired by minimalists such as Steve Reich and Brian Eno, he began developing his own vocabulary using tape loops and old reel-to-reel tape decks, he developed his meditative, melancholy style experimenting with short looped melodies played against themselves creating feedback loops. His first release was Shortwavemusic. Although created in 1983, it was first released on vinyl in a small edition in 1998 by Carsten Nicolai's Raster-Noton label; this was followed by Watermusic, self-released in 2000 on Basinski's 2062 Records. Another 2-disc work was Variations: A Movement in Chrome Primitive, 1980: it was released in 2004 by David Tibet on the Durtro/Die Stadt label.
At the time this work was created, Basinski was experimenting with compositions for piano and tape loops. Throughout the 1980s, Basinski created a vast archive of experimental works using tape loop and delay systems, found sounds, shortwave radio static, he was a member of many bands including House Afire. In 1989, he opened his own performance space, "Arcadia" at 118 N. 11th Street. In the 1990s, he performed and produced records and intimate underground shows there for various NYC artists including Antony, Diamanda Galás, The Murmurs, his own ad-hoc experimental electronic/improvisation band, Life on Mars. In 2000, he made a film titled Fountain with artists James Roger Justice. In August and September 2001, he set to work on what would become his most recognizable piece, the four-volume album The Disintegration Loops; the recordings were based on old tape loops. While attempting to salvage the recordings in a digital format, the tapes crumbled and left a timestamp history of their demise. Shortwavemusic Watermusic The Disintegration Loops The River The Disintegration Loops II Watermusic II Melancholia The Disintegration Loops III A Red Score in Tile The Disintegration Loops IV Variations: A Movement in Chrome Primitive Untitled Silent Night The Garden of Brokenness Variations for Piano and Tape El Camino Real 92982 Vivian & Ondine Aurora Liminalis Nocturnes Cascade The Deluge Divertissement A Shadow in Time Selva Oscura On Time Out of Time The Disintegration Loops List of ambient music artists Official website William Basinski discography at Discogs William Basinski on IMDb
Georg Klein (composer)
Georg Klein is a sound and media artist and composer. Based in Berlin, he lived in Rome, Los Angeles and Istanbul. With a background in composition, Georg Klein has developed a multi-faceted artistic practice, in which he works with sound, video and photography. In his installations and interventions – in particular those in public spaces – he intensifies the visual, acoustic and political aspects into an area of tension, in which visitors become involved, either on an interactive or participatory basis; the point of departure of his work is the investigation of situations. He focuses on their inherent contradictions, which he transforms aesthetically so as to become a topic of discussion and deliberation; the theme of borders and their transgression, in psychological inner space and in political public space, plays an important role in his work, both in terms of content as well as form. With his site-specific installations, as well as his concert works and radio play-like sound walks, he challenges, in an irritating manner, his public’s perception of the border between art and reality.
He plays with trans-border, audio-visual communication spaces using techniques such as the artistic fake, which lead the recipient into an uncertain terrain, to question identities, and, in a provocative fashion, forces the visitor to engage in critical reflection. In recent years, the artistic debate on societal power relations in politics and the economy has been the focus of his artistic as well as curatorial work, his interventions in both physical space and the public media have at times provoked strong reactions from the public and press, as his work has made use of a subversive-affirmative strategy and has thereby abandoned the safe and secure framework of art. "Georg Klein’s work is an anomaly in both sound and new media art. In sound art there is no other artistic position that deals so intensively and rigorously with social reality and public urban space. While these themes are more widespread in new media art, one finds no other artists in that field who have given the musical and the auditory the same precedence, nor is there the same kind of connection to place that Klein has developed.
These two aspects constitute the unique quality of this artist’s aesthetic thinking: The precision and sensitivity with which he chooses sounds, images and text compositions for a given project are as unusual as the site-specificity that forms the core of his aesthetic.". Georg Klein was born in 1964 in Germany, he began his studies in sound engineering and communication studies first at the Technical University of Munich, at the Technical University of Berlin. He studied the philosophy of religion and music ethnology at the Freie Universität Berlin, he worked for three years as a research assistant for a project on the visualization of sound for deaf people and was a lecturer at the FU Berlin. In 1996, he first emerged as a composer and worked in the following years in the Electronic Studio of the TU Berlin on live electronic and computer music. In 2001, he turned to installation as his artistic public space as his performance site. From 2001 to 2005, he was chairman of the Berlin Society of New Music.
He began to incorporate the medium of video in his work. In 2003, he founded an office for sound and media art, with Julia Gerlach, their projects received support from the Capital Cultural Fund in Berlin, the Goethe-Institute, the German Foreign Office, the German-Polish Foundation, the Schering Foundation. With his project TRASA he received international attention: he extended public space by connecting two cities for two months. Therefore, he developed a concept of interactive media art at certain urban places. With the suisse performance artist Steffi Weismann he created interactive installations. In his installation turmlaute.2: watch tower he worked with a fake by founding a new political organisation which provoked strong reactions in public. In 2009 two of his most delicate works were realized: Sprich mit mir in the Red-Light-District of Braunschweig and RamallahTours in Israel, this work dealing again with a fake in public space and the internet. In 2010 he showed a dual audio-visual installation on oriental and occidental assassins: gunmen and martyrs in Berlin and Istanbul, using the self-manifestations of young, male assassins.
Borders and their violation – politically and mentally – are the central topic in his exhibition “borderlines” including his ongoing work tracing Godwin with an illegal immigrant from Nigeria appearing in the streets of different European cities. With his work GNADE / MERCY, installed in front of banks and job centers, the work UNzuRECHT / UNorJUSTICE and toposonie::spree he takes up current social themes in order to expand on them in a confusing and ambivalent manner, challenging the viewer/listener to confrontational examination. In 2015 he got the Dialogue Award of the Federal Ministry of Foreign Affairs, for his project European Border Watch Organisation at the European Media Art Festival EMAF in Osnabrueck; the jury said: "Passing by an official looking office on a local side street
Miranda July is an American film director, singer, actress and artist. Her body of work includes film, monologue, digital media presentations, live performance art, she wrote and starred in the films Me and You and Everyone We Know and The Future. She wrote the book of short stories No One Belongs Here More Than You and the novel The First Bad Man. July was born in Vermont, in 1974, the daughter of Lindy Hough and Richard Grossinger, her parents, who taught at Goddard College at the time, are both writers. Her parents founded North Atlantic Books, a publisher of alternative health, martial arts, spiritual titles, her father was Jewish. July was encouraged to work on her short fiction by friend of a friend Rick Moody, she grew up in Berkeley, where she first began staging plays at a local punk rock club. She attended The College Preparatory School in Oakland for high school; when she was 16, she wrote and directed a play titled “The Lifers”, for which she cast 20 Latina women as actresses. She describes this as an experience.
She attended UC Santa Cruz, dropping out in her sophomore year. After leaving college, she moved to Portland and took up performance art, or “one woman shows”, her performances were successful. In an interview for Tate, she explains that she still tries to practice performance due to its stark differences from film making, such as its live audience or how “present” it is in comparison. Portland is where she began participating in the Riot grrrl scene, beginning to gain attraction in the 1990s. In the early stages of her film career, she created several small video projects and performances years prior to her feature film, You, Me, Everyone We Know. However, while she worked on her art, July had to work several odd jobs to survive, such as being a waitress, a tastemaker for Coca-Cola, a stripper. Immersed in the riot grrl scene in Portland and motivated by its DIY ethos, July began an effort that she described as "a free alternative distribution system for women movie-makers". One of July's reasons for starting the project was to apply the concepts of Riot grrrl into the film making world.
The idea was to connect as many women artists as possible, let them see each other's work, foster a sense of community. Participants sent a self-made short film to July, who mailed back a compilation videotape containing that film and nine others – a "chainletter tape"; when it began in 1995, the project was soon renamed Joanie4Jackie. July credits the project to the loneliness she was experiencing at the time, but felt she learned from the project immensely, saying “that was my film school”. July's first film, appears on the second tape of the series. July continued to run the project for years, handing it off to the film department of Bard College in 2003. In 2017 the Getty Research Institute announced that they had acquired an archive of Joanie4Jackie as a donation from July; the collection includes more than 200 titles from the 1990s and 2000s, videos from Joanie4Jackie events, posters, hand-written letters from participants, other documentation. Thomas W. Gaehtgens, the director of the Getty Research Institute, stated that the acquisition is "an esteemed addition to our Special Collections that connects to work by many important 20th century artists who are represented in our archives, such as Eleanor Antin, Yvonne Rainer and Carolee Schneemann."
Filmmaker rated her number one in their "25 New Faces of Indie Film" in 2004. After winning a slot in a Sundance workshop, she developed her first feature-length film, Me and You and Everyone We Know, which opened in 2005; the film won The Caméra d'Or prize in The Cannes Festival 2005 as well as the Special Jury Prize at the Sundance Film Festival, Best First Feature at the Philadelphia Film Festival, Feature Audience Award for Best Narrative Feature at the San Francisco International Film Festival, the Audience Award for Best Narrative Feature at the Los Angeles Film Festival. On May 16, 2007, July mentioned that she was working on a new film; this film was titled "Satisfaction" but was renamed The Future, with July in a lead role. The film premiered at the 2011 Sundance Film Festival. In March 2018, it was announced July would write and direct a heist film, with Brad Pitt and Youree Henley producing the film, under their Plan B Entertainment and Annapurna Pictures banners, respectively; that same month, Evan Rachel Wood, Richard Jenkins, Debra Winger and Gina Rodriguez joined the cast of the film.
In June 2018, Mark Ivanir joined the cast of the film. Principal photography began in May 2018, her short video The Amateurist features a dowdy researcher examining, via her own video monitor, a stereotypical "beautiful woman". A lengthier video, the 27-minute Nest of Tens, juxtaposes four unrelated scenarios in which "seemingly everyday people go about acting normal while demonstrating distinct abnormality". Nest of Tens has been placed in the permanent online collection of the Metropolitan Museum of Art. Wayne Wang consulted with July about aspects of his feature-length film The Center of the World, for which she received a story credit. July appears: The Story of East Bay Punk, she recorded her first EP for Kill Rock Stars in 1996, titled Margie Ruskie Stops Time, with music by The Need. She released two full-length LPs, 10 Million Hours A Mile in 1997 and The Binet-Simon Test in 1998, both o
Bill Fontana is known internationally for his pioneering experiments in sound art. Fontana attended the New School for Social Research in New York and studied both music and philosophy, he traveled to Australia, stayed in Japan and Germany composing. Fontana began making sound sculptures in 1976. In a career spanning 40 years, Fontana’s sound sculptures use the urban environment as a living source of musical information, all with the potential to conjure up visual imagery in the mind of the listener, he has made works all over the world and has presented his sound sculptures extensively, including at the Venice Biennale, the Museo Reina Sofia, The Whitney Museum of American Art, New York, Tate Modern, Madison Square Park, New York, the San Francisco Museum of Modern Art. Some of his more famous works include Distant Trains, Satellite Ear Bridge Cologne-San Francisco, Journey Through My Sound Sculptures, The Sound of an Unblown Flute, Panoramic Echoes and "Acoustical Visions of the Golden Gate Bridge" Fontana won the Prix Ars Electronica Collide@CERN Prize, 2012–2013 where is developing a sound sculpture at CERN in Geneva called "Acoustic Time Travel" to be realized in September 2014 for the 60th Anniversary of CERN.
Bill Fontana's website Work in the San Francisco Museum of Modern Art collection SFMOMA Bay Area Treasure Award San Jose Mercury article Bill Fontana's musical sculptures Bill Fontana biography on Media Art Net
Kraig Grady is a US-Australian composer/sound artist. He has composed and performed with an ensemble of microtonal instruments of his own design and worked as a shadow puppeteer, tuning theorist, world music radio DJ and concert promoter, his works feature his own ensembles of acoustic instruments, including metallophones, hammered dulcimers and reed organs tuned to microtonal just intonation scales. His compositions include accompaniments for silent films and shadow plays. An important influence in the development of Grady's music was Harry Partch, like Grady, a musician from the Southwest, a composer of theatrical works in Just Intonation for self-built instruments. Many of his compositions use unusual meters of extended lengths Born in Montebello, California in 1952, Grady began composing while still in his teens. After studies with Nicolas Slonimsky, Dean Drummond, Dorrance Stalvey and Byong-Kon Kim, he produced his earliest compositions. Since meeting tuning theorist Erv Wilson in 1975, he has composed and performed in alternative tunings based on Wilson’s theories, first in 31-tone equal temperament, in the just intonation resources of Wilson's combination-product sets and meta-slendro.
In the early 1980s Grady and filmmaker Keith Barefoot created a number of performances combining live music with silent film. In his 1989 opera War and Pieces, he used film to project stage settings as well as illustrate the inner thoughts of the live performers. Since 1993 Grady’s work has been connected to the activities of "The North American Embassy of Anaphoria Island", a 501 non-profit organization promoting the culture of this envisioned island, which Grady characterizes as a "visionary geography", he has produced numerous solo and ensemble works and ten shadow plays representing the "traditional" repertoire of Anaphoria: Ten Black Eye I-II, Black Eye Meru, Her Stirring Stone, Their Ventures Beyond The Horizons, The Stolen Stars, Frenzy At The Royal Threshold, The Quiet Erow, The Pilgrimage of Mirrors, The Follies of Dr. Placebo. Despite the fact that the size of his instruments make touring difficult, his work has been presented at Ballhaus Naunyn Berlin, the Chateau de la Napoule, the Norton Simon Museum of Art, the UCLA Armand Hammer Museum, the Pacific Asia Museum, California Institute of the Arts, Pomona College, Pierce College, Villa Aurora Foundation for European American Relations, the Schindler House, Beyond Baroque, the Brand Library, New Langton Arts, as well as numerous live performances on radio KPFK, KCRW, KXLU.
His work was presented as part of the Los Angeles Philharmonic’s American Music Weekend as well as New Music America 1985. He has been nominated four times for the LA Weekly Music Awards best uncategorizable artist and was chosen by Buzz Magazine as one of the "100 coolest people in Los Angeles"; the Quiet Erow made its Australian premiere on 9 October 2009 at the Helensburgh Bushland Chapel, starring Kraig Grady, his wife Terumi Narushima, Seth Harris, Mark Kennedy, Friederike Krishnabhakdi-Vasilakis and Hamish Lane. Music From The Island Of Anaphoria 1994 CD From The Interiors Of Anaphoria 1995 CD The Creation Of The Worlds 1997 CD The Stolen Stars: An Anaphoria Dance Drama 2003 CD Without R & R. 2005 3" CD-R Orenda 2006 3" CD-R Beyond The Windows Perhaps Among The Podcorn 2007 CD Footpaths and Trade Routes 2009 LP, limited edition of 250 Our Rainy Season/Nuilagi 2011, Limited edition of 300 Escarpments 2014 LP, limited edition of 250 In a Pentagonal Room 2014 CD Hexany His "A Farewell Ring" is for the Hexany and he has many other works for Combination-product sets Anaphoria.com - Grady's home page LAWeekly.com: Border Garde - Microtonalist Kraig Grady: Outside and in between, by Greg Burk, includes photo.
Notes from the Inner Ground - An Interview with Kraig Grady, by Brian Timothy Harlan, on Corporeal Meadows, official Partch website. - Shadows step into the Spotlight - L. A. Times Beyond The Windows Perhaps Among The Podcorn Review
Kenneth Lee "Ken" Butler is an artist and musician, as well as an experimental musical instrument builder. His Hybrid musical instruments and other artworks explore the interaction and transformation of common and uncommon objects, altered images and silence; the idea of bricolage using whatever is "at hand", is at the center of his art, encompassing a wide range of practice that combines live music, instrument design, performance art, sculpture, photography, film/video, graphic design and collage. He is internationally recognized as an innovator of experimental musical instruments created from diverse materials including tools, sports equipment, household objects, his works have been exhibited and performed in galleries, museums and theatres throughout the USA, Europe including The Stedelijk Museum in Amsterdam and Lincoln Center and The Metropolitan Museum of Art in New York City as well as in South America and Japan. Butler studied viola as a child and maintained a strong interest in music while studying the visual arts at Colorado College and in France at The Institute for American Universities in Aix-en-Provence, completing his MFA in painting from Portland State University in 1977.
He moved to New York City in 1988 from Oregon. In the past and Butler has worked with artists like John Zorn, Laurie Anderson, Butch Morris, The Soldier String Quartet. Butler has released an album on John Zorn's label Tzadik Records, performed in many places including the Knitting Factory, his works have been reviewed in The New York Times, The Village Voice, Artforum and Sculpture Magazine and have been featured on PBS, CNN, MTV, NBC, including a live appearance on The Tonight Show. Ken Butler, Voices of Anxious Objects, Tzadik Records, TZ 7402, 1997. Live at Zebulon 2005, CD, Hybrid Visions Music, 2006 KB’s Greatest Hits 1993-1996, CD, Hybrid Visions Music, 2005 Live at Kerrytown Concert Hall, CD, Hybrid Visions Music, 2005 This is It: Live at Zebulon Volume 1, includes "Par Twelve", CD, Zebulon, 2005 Out of Nowhere, Judith Ren-Lay, CD, Knitting Factory Records, 2003. Improsculpt, Collaboration with Oeyvind Brandtsegg, http://teks.no/oeyvind, 2002 Gravikords, Whirlies & Pyrophones: Experimental Musical Instruments, CD, with 96-page booklet and CD, Ellipsis Arts, CD 3530, 1996.
An Artist in The Civilized World, Ric Soshin, CD, Phantom Records 4321, 1996. Testament: Conduction #23, Lawrence D. Butch Morris, CD, New World Records, 80482-2, 1995. AS IS, Loretta Roome, Eric Feinstein, for self-produced cassette, Brooklyn, NY, 1994. Experimental Musical Instruments, Nicasio, Ca. From the Pages, cassette Volume III, 1988, Volume VIII, 1993. Improvisations, Ken Butler and Dina Emerson, Gargoyle Mechanique, New York, sampler cassette, 1990. Hybrid Visions, Hybrid Visions Music, 2006 "Hand Song", 16 mm animated film selected for Ann Arbor Film Festival, 1974. "Hybrid Antics", video produced at Rogers Cablesystems, Ore, 1984. Art Directed Gus Van Sant’s first film "Mala Noche", Portland, 1986. 2008 Pollock/Krasner Foundation Grant, The Dayton Art Institute Ohio, Compiegne Library, France 2007 Art Gym at Marylhurst Univ, Hallie Ford Museum, Elizabeth Leach Gallery, artMoving Projects 2006 Mass MoCA, Sideshow Gallery, The Lab, Light in Winter Festival 2005 Lancaster Museum Pa, The Avampato Museum NC, Dowd Fine Arts Center, NY 2004 De Paul Univ.
Chicago, Michigan Theatre, 2B Gallery Budapest, Kerrytown Concert Hall MI 2003 Collective Unconscious, The Knitting Factory, NYC 2002 The Aldrich Museum, CT. F. Donald Kenney Museum NY, 2001 The Klanghaus Hamburg, Rose Art Museum Brandeis, Radio Bremen. 2000 Exit Art, Florence Lynch Gallery, The Boston Museum, BAM Cafe, The Kitchen 1999 NYFA Fellowship, The Brooklyn Museum, Smithsonian Magazine, The Tonight Show. 1998 Wintergarden Theater, Citicorp Atrium, Met Life Windows NYC. 1997 Metropolitan Museum of Art, Art Gallery of Ontario, Oakland Museum, Knitting Factory, CD on Tzadik. 1996 The Kitchen, The Metropolitan Museum of Art, Soho Festival NYC, Portland Center for the Performing Arts. 1995 Lincoln Center, Thread Waxing Space, Experimental Intermedia, NYC, Maryland Institute of the Arts. 1994 Printemps de Bourges and Art Rock St. Brieuc Festivals, Podewil Berlin, Cave 12 Geneva, Whitney Museum NYC. 1993 NY Foundation for the Arts Fellowship, Exit Art, Thread Waxing Space, Performing Garage, The Drawing Center, Roulette, NYC, Images du Futur, Montreal.
1992 Test-Site Gallery, Generator, NYC. Portland Center for the Performing Arts, Gallery Nishiasabu, Tokyo. 1991 Metropolitan Museum of Art, Great Hall at Cooper Union, NYC, Music-Action Festival, France, ICPNA, LIma, Jamison Thomas Gallery, Portland. 1990 Stedelijk Museum Amsterdam, New Music America Montreal, Roulette NYC. 1989 NEA InterArts grant, The Apollohouse Eindhoven the Netherlands, The Virginia Museum of Fine Arts, The Painted Bride Art Center in Philadelphia. 1988 The Kitchen NYC, New Music America MIami, NW Artists Workshop, Portland. 1987 Franklin Furnace, The Knitting Factory, NYC, Portland Center for the Visual Arts, New Langton Arts Multidisciplinary Project Grant. 1986 The Art Gym, Portland, On the Boards, Bumbershoot Festival, Dance Studio, LA. 1985 On the Boards, The House, Santa Monica, CA. 1984 Littman Gallery, NW Artists Workshop, Portland. 1983 NEA Artist Fellowship, Oregon Arts Commission Fellowship, Portland Art Museum, Portland Center for the Visual Arts. 1982 Elizabeth Leach Gallery, NW Artists Workshop, Rosco Louie Gallery, Seattle Official website Ken Butler on allmusic.com Ken Butler on oddmusic.com List of media and tv appearances