Students will practice long looking and openness to a range of ideas when discussing this work, facilitating the development of endurance and grit.

• Use devices to observe the work of art on mfah.org; access the expand tool to zoom in on details, observing all sides by examining all 4 images. Discuss several conversation starters (lta.mfah.org) to deepen observations. This conversation may reveal the discovery that the artist created Soundsuit using braided rugs that were gathered from thrift stores and pieced together in circular patterns giving the appearance of eyes, mouths, and other orifices.
• To investigate circular patterns mathematically and mimic the artist’s process, have students bring in circular objects and place in stations around the room. Students work in cooperative learning groups using pieces of yarn (approximately 50” long) to measure the circular objects as they rotate through the stations.
• Estimate which objects might have similar circumferences to the braided circular rugs on Soundsuit. Relate to π.

• Look closely at the sculpture. How would you describe the form and its materials?
• How do you think the sculpture was constructed? Look closely, and hunt for signs that point to how it was made. 
• Make an inventory of the colors that you see. How would you describe them? Are there certain areas where the colors are warmer, cooler, or brighter than in other parts of the sculpture?
• How would you describe the shape of this object? Move from bottom to top and describe its shape, as if you were describing it to someone who couldn’t see it.
• Imagine what it would be like to touch this sculpture. What would you feel? Where would you touch it first? Do you think this sculpture was meant to be touched? Whyor why not?
• If you are not standing next to the sculpture itself, find the exact dimensions of the work. Mark the height and width on a wall or chalkboard. Now, take inventory of your body in relation to this new shape. How does the Soundsuit relate to your body? How do you, or would you, feel when standing next to it?

• Why do you think that this sculpture has feet? Does it have other body parts?
• Why do you think that Cave named this work Soundsuit? How does this title inform your interpretation of the object?
• Imagine that you are the sculpture; its feet are your feet. What do you see, hear, feel, smell? How do you move throughout the world? What do people think of you when you walk into a room or down the street?
• Why do you think Cave chose to make this Soundsuit out of rugs? Consider the meaning of rugs, both as materials and as symbols.
• Imagine what this suit would be like if it was made of a different material. What if it was made of metal, fur, glass, or wood? How would it be different? Would you feel the same standing next to it? If you were the sculpture, would you feel differently, or move differently if covered in a different material?

We open our eyes and little neurons start searching our brain for something we can relate it to but they keep hitting a dead end. Nothing makes sense to what we already know, so we keep thinking. How do we nestle into this not knowing and what were are first reactions? To understand how we think in the context of art is a wonderful Segway to looking at how we think about other things we don’t directly relate to.

• Were you surprised or confused by this object? Why?
• Have you ever worn a costume that obscured or changed your appearance? How did it feel? How did other people interact with you?
• Have you ever interacted with other people in costumes? If so, how would you describe that experience?

Art21, a public documentary television series, featured Cave in its eighth season. An interview with Cave, along with photos and videos of his works, can be found here. 

Nick Cave’s 2011 Soundsuit in the MFAH’s collection presents an unwieldy, awkward, and confusing sense of proportion. At times, it seems almost familiar, standing on two feet and extending what could be limbs out from its body. But it is amorphous and difficult to discern what might be front or back, up or down. It is tempting to search for patterns or familiar forms, such asa face, in the surface decorations. The softly woven fibers overlap with stitching connecting these disparate cloth pieces. The soft fabric invites touch, but the enigmatic form frustrates understanding.

Nick Cave was born in Fulton, Missouri in 1959, and works primarily in Chicago, Illinois. His primary body of work consists of Soundsuits like the one in the Museum of Fine Arts, Houston’s collection.

Since 1992, Nick Cave’s primary body of work has been devoted to Soundsuits like the one in the Museum of Fine Arts, Houston’s collection. This work was borne of the confusion and chaos of the Rodney King . In 1991, an African-American construction worker, Rodney King, was violently beaten in Los Angeles by police officers. Footage of the beating was broadcast across the country, and the police officers in question were brought to trial on charges of excessive force—and acquitted. Within hours, Los Angeles erupted in violent riots that lasted six days. Two of the officers were later convicted in a federal civil rights trial, and two were acquitted. Although Cave was born in Fulton, Missouri in 1959, and works primarily in Chicago, Illinois, he was deeply affected by these events as were many African Americans and civil rights activist across the country, and he began a body of work in response. Asking the question, “what does it feel like to be discarded, dismissed, profiled?”, Cave began to collect discarded objects and fashion alternate bodily realities out of them. Cave’s Soundsuits are imaginary suits of armor, concealing signs of race, class, and gender embedded in the body, protecting the wearer from being judged or targeted according to their body or dress. Cave later commented on this experience saying, “When I was inside a suit, you couldn’t tell if I was a woman or man; if I was black, red, green, or orange; from Haiti or South Africa. I was no longer Nick. I was a shaman of sorts.” The suit could transform the wearer, not only protecting them but also infusing them with a sense of whimsy, nostalgia, and otherworldliness.

Cave’s Soundsuits are multilayered artworks. The suits are meant to be viewed as sculptures constructed out of discarded objects that take on new meanings once gathered together.

However, Soundsuits are also meant to be worn, activated by movement. Performers, dancers, students, and even the artist himself have worn the suits, dancing and moving to create alien sounds and stunning visual effects. Inspired by traditional African masks and headdresses, other suits are made of constellations of tin toys, countless feathers that shimmer and wave, sticks that rattle, or buttons that gleam and jangle. The MFAH 2011 Soundsuit, unlike others of its kind, does not make a loud noise when in motion. Its textile body dampens sound, transforming its wearer’s movements into stealthy rustles.

Cave’s Soundsuits are collaborative works; he often works with craftsmen, performers, choreographers, and schools to realize the construction and performance of the Soundsuits. He is aware of art’s transformative power—not only as an object, but also as a shared experience—and uses that power to spark conversation around such heated topics as race, class, gender, and violence. In a 2016 interview, Cave explained: “I want to change our way of engaging with one another. I want to use art as a form of diplomacy.”

Sources Consulted:

https://art21.org/artist/nick-cave/ https://pdfs.semanticscholar.org/eecb/2ac8810a4f3f23e5b4e623cc91fec8b01e7e.pdf