WALKER DOWNEY
ABOUT ME
I am an interdisciplinary scholar writing on art, music, and technology, and an Assistant Teaching Professor in the Department of Art Education, Art History, & Media Studies at University of Massachusetts Dartmouth.
I received my PhD in the History, Theory, and Criticism of Architecture and Art from MIT in 2022.
CONTACT
In Resonance: The Sonic Invention of David Tudor and Pauline Oliveros, forthcoming Spring 2027 from University of California Press.
Peer-reviewed articles
“Unsound Judgments: Noise Pollution, the White Noise Machine, and Sonic Color Lines,” Resonance 4, no. 1 (Spring 2023): 39–68. doi: https://doi.org/10.1525/res.2023.4.1.39.
"In the Free Field: Doug Wheeler’s PSAD Synthetic Desert III and Anechoic Histories," Art Journal OPEN, August 30, 2018, http://artjournal.collegeart.org/?p=10247.
Journal issues edited
Editor, with Sarah Rifky, Thresholds 47, "Repeat" (2019). Available via The MIT Press.
Chapters in edited volumes
With Katsushi Nakagawa, “‘Environmnental Music’ (Kankyō Ongaku) and the Remaking of the Japanese City, 1960–1990,” in A Cultural History of Asian Art, vol. 6, ed. Wulan Dirgantoro and Pamela Karimi, forthcoming 2028 from Bloomsbury.
Essays, criticism, and book reviews
“As the Famed ‘October’ Journal Turns 50, This Reading List Charts Its Legacy,” Art in America, Spring 2025, http://bit.ly/4d5ZTgB.
Book Review: Prudence Peiffer’s The Slip: The New York City Street That Changed American Art Forever, Art in America, Fall 2023, p. 46–49, https://bit.ly/3r0br1e.
With Parham Ghalamdar, “Echoes of Loss and Celebration: Iranian Home Videos as Beautiful Apparitions,” Ajam Media Collective, April 8, 2023, https://bit.ly/3ogQs9a.
With Caroline A. Jones, “At Hearing’s Edge: Artist Doug Wheeler Achieves a Semi-Anechoic Immersive Artwork, Synthetic Desert, with Arup’s SoundLab,” a+u: Architecture and Urbanism Magazine, December 2022, p. 156–163, https://bit.ly/41QJbdU.
“For Eyes and Ears: New Sound Art Serves Different Senses with a Multimodal Approach,” Art in America, June 7, 2022, https://bit.ly/3mkAKVX.
“Material Histories: Ruth Hardinger at Mana Contemporary,” Art in America, August 4, 2021, https://bit.ly/3xQ0mgG.
“Rebooting the Art-and-Technology Movement: A Review of W. Patrick McCray’s Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture,” Interdisciplinary Science Reviews, March 17, 2021, 1–19, https://doi.org/10.1080/03080188.2021.1885863.
“The Sounds of Quarantine: How Experimental Musicians are Overcoming Domestic Isolation,” Art in America, June 24, 2020, https://bit.ly/3iEZowK.
“Agnes Denes’s Idealistic Projects Refuse to Accept Apocalypse as Inevitable,” Art in America, January 2020, p. 73–75, https://bit.ly/3koHwXx.
"Reappraising Luc Ferrari and Éliane Radigue, Two Renegades of French Music," Art in America, December 11, 2019, https://bit.ly/2LGUp0j.
"Robert Morris's 'Para-Architectural' Drawings Envision a Fantasy Complex That Prioritizes Movement Over Static Form," Art in America, December 2019, p. 97–98, https://bit.ly/36d60PD.
"Surveying Manfred Mohr’s Five-Decade Collaboration with the Computer," Art in America, November 2019, p. 103–104 https://bit.ly/2LLA3mp.
"In Resonance: Oliver Beer at the Met Breuer," Art in America, July 30, 2019, https://bit.ly/2PFHKvN.
“Christine Sun Kim: Too Much Future,” Art Papers, Winter 2018–2019, p. 72–73, https://bit.ly/3sHHD4Z.
Massachusetts Institute of Technology, Cambridge, Massachusetts
PhD: Architecture: History and Theory of Art; May 2022
Williams College, Williamstown, Massachusetts
MA: Art History; June 2015
Wheaton College, Norton, Massachusetts
BA: Studio Art and Art History; May 2013