1974
In his May 10, 1974, Chicago Tribune article "A Sound Ambience from Inner Space,"critic Thomas Willis reviews Max Neuhaus’s immersive sound installations, specifically focusing on his work at the Museum of Contemporary Art (MCA) Chicago.
Key Highlights of the Review:
Acoustic Ecology: Willis describes Neuhaus's shift from being a world-class percussionist to a creator of "environmental" music that interacts with the listener's subconscious.
The article discusses Neuhaus’s use of electronics and radio transmitters to turn physical spaces into "sound fields." Instead of a traditional concert, the "audience" moves through the sound, which Willis likens to an "inner space" experience.
Perceptual Shift: Willis notes that Neuhaus's work challenges the definition of music, moving it away from performance and toward a permanent or semi-permanent architectural presence.
This 1974 review captures a crucial moment in Neuhaus's career, documenting his transition from the stage to the public sphere—a theme that aligns with the later 1980 Kay Larson analysis regarding the "craft" of creating invisible sculpture.