Podcast appearances and mentions of bill fontana

Hoy continuamos explorando el sonido y su capacidad de otorgar identidad a un lugar. Vamos a extraer algunas muestras de esta combinación entre el sonido y la tecnología siguiendo su pista a través diversos momentos históricos Escucharemos obras de Antheil, John Cage , Nicolas Schöffer, Bill Fontana. Vamos a presenter asimismo un fragmento del ultimo trabajo del grupo MAPASONOR. Se trata de su nuevo trabajo de paisaje sonoro presentado recientemente en el festival Eufònic en Terres de l'Ebre, en Tarragona. Campredó: Via Estreta' es una experiencia de performance sonora en el edificio de la estación de tren de Campredó, un espacio en estado de deterioro que reclaman que se destine a actividades del pueblo.  La performance incluye un paisaje sonoro compuesto por grabaciones de la vida de Campredó, que se fusiona con las imágenes de personas mayores que rememoran la memoria oral del pueblo, su vida, su pasado o su relación con el trenEscuchar audio

Radio Kunst, radio art, ars acustica, uiteenlopende vormen van geluidskunst waarin de menselijke stem, of soms alleen verondersteld 'toevallige' geluiden, het materiaal vormen voor een klinkend kunstwerk. Een paar mooie voorbeelden: Delia Derbyshire, Charles Amirkhanian, Kraftwerk, The Orb, Bill Fontana en Luc Ferrari. Opstapje naar de radio-première, 12 februari, van 'De Lege Ether' - een radiofonische compositie van Bart Spaan.

Since the devastating 2019 fire at Notre Dame Cathedral in Paris, the ringing of the cathedral's bells has ceased. Sound artist, Bill Fontana, known for his sound sculptures of Golden Gate Bridge, temple bells in Kyoto, and trees in Sequoia National Forest, creates a new work giving voice to the silenced bells of Notre Dame. To create his new work, Silent Echoes, Fontana attached seismic accelerometers—sensors designed to detect vibrations—to each of its ten bells of Notre Dame. As the bells reverberate in response to the ambient sounds of Paris—rain, the calls of birds, the noise of the street—the live feed is transmitted to a series of speakers at the Centre Pompidou creating a haunting, immersive sound sculpture. Silent Echoes debuted at the Centre Pompidou in June, where, on the fifth floor terrace of the museum, visitors stood awash in the acoustics of the bells, with the towers of Notre Dame in view just across the Seine. Alisa Carroll of the podcast Alcôve interviewed Bill Fontana in San Francisco and Davia Nelson spoke with him in Paris before the opening of the exhibition. This story was produced by Jim McKee.  Sound design and mixing by Jim McKee. Special thanks to Alisa Carroll and Jim McKee for sharing this piece with The Kitchen Sisters Present. The Kitchen Sisters Present is produced by The Kitchen Sisters (Nikki Silva & Davia Nelson) with Brandi Howell and Nathan Dalton. For more info and stories visit kitchensisters.org The Kitchen Sisters Present is part of Radiotopia from PRX - a curated network of independent, creator owned podcasts.

Notre Dame + Centre PompidouBy placing listening devices on the surfaces of built and natural monuments, artist Bill Fontana captures uncanny natural music that reveals that these bodies are alive with sound. Fontana's latest project amplifies the voice of Notre Dame. Since the devastating fire of 2019, the ringing of the cathedral's bells has ceased. To create his new work, Silent Echoes, Fontana attached sensors designed to detect vibrations to each of the ten bells of Notre Dame. As the bells reverberate in response to the ambient sounds of Paris the live feed is transmitted to a series of speakers at the Centre Pompidou, creating a haunting, immersive sound sculpture. In this episode, Alcôve's Alisa Carroll interviews Fontana in San Francisco, and very special guest Davia Nelson of The Kitchen Sisters meets with Fontana in Paris. 

Explorer les liens entre l'imaginaire humain et l'intelligence artificielle, c'est le fil conducteur cette année du festival ManiFeste. Sa 11e édition débute ce mercredi 8 juin avec notamment une sculpture sonore liée à la cathédrale Notre-Dame de Paris, imaginée par l'un des pionniers de la musique expérimentale : l'Américain Bill Fontana. Ce festival initié, il y a 10 ans par l'Ircam, l'Institut de recherche et de coordination acoustique-musique à Paris, est aujourd'hui un rendez-vous phare de la création entre arts et technologies.

On this episode of Showcase, watch: Pritzker Prize Goes to Africa 00:02 Turning Sound into Art 09:22 India's Oscar Race 12:34 Worst Person in the World 14:55 Shortcuts 17:42 Ghana's Movie Posters 19:40 Ukraine's Children Refugees 22:19

Artist Bill Fontana used the Bosphorus as an inspiration for his latest work. Esra Durust went to the Arter Museum to find out why.

Bill Fontana'nın İstanbul Boğazı'nın çeşitli noktalarıyla, Şerefiye ve Yerebatan sarnıçlarında gerçekleştirdiği video ve ses kayıtlarını temel alan İo'nun Yeni Sesi işi Arter'de ziyarete açıldı. Açık Dergi'de Evrim Altuğ'un yönetiminde ve Art Unlimited işbirliğiyle Fontana ile serginin küratörü Melih Fereli konuğumuz.

We're back with a new season of The Week in Art, which takes us right up to the holidays.In this episode, we reflect on events in Afghanistan in recent weeks. We hear from an anthropologist and an Afghan artist about the country's people, art and heritage as the Taliban assume power again. Melissa Chiovenda, an assistant professor of anthropology at Zayed University in Abu Dhabi, discusses the sixth-century Bamiyan Buddhas that were destroyed by the Taliban in 2001 in the context of the Hazara people that live in Bamiyan city and province, and reflects on what the return to power of the Taliban means for that community. The artist Yama Rahimi addresses the implications for artists in Afghanistan and reflects on the contemporary art scene there over recent years. He also talks about the situation facing those people, including artists, that are able to leave Afghanistan and seek asylum in the West—a situation whose complexities he is familiar with as an asylum-seeker living in Germany.We also hear about a work being made in Notre Dame in Paris by the sound artist Bill Fontana, who is recording the cathedral's bells as they resonate to the sounds of the city. Fontana's project is the first to be made in Notre-Dame since the catastrophic fire in 2019. See acast.com/privacy for privacy and opt-out information.

Episode 41 Sounds for Museums Sound Art to Accompany Exhibits Playlist François Baschet, Bernard Baschet, and Jacques Lasry, “Sonatine (3 Mouvements)” from Structures for Sound (1965 BAM). The exhibition 'Structures For Sound-Musical Instruments' by François and Bernard Baschet was shown at The Museum of Modern Art, New York, from October 4 to December 5, 1965. Although not heard in the exhibit, this set of compositions was co-marketed by the museum and BAM and clearly intended as a takeaway souvenir. The recordings were made in France, and released there as Les Structures Sonores Lasry-Baschet, then repackaged for the US market and exhibit. The piece was written by Jacques Lasry. Various Artists, Art By Telephone (1969 Museum Of Contemporary Art Chicago). Artists were asked to phone-in instructions for a work of art to be exhibited at Art by Telephone, held at the Museum of Contemporary Art Chicago. The museum released a recording of the phone calls and sold it at the exhibit. Here are four excerpts by John Giorno, Dick Higgins, Sol Lewitt, Richard Serra, and Jack Burnham. In total, 38 artists provided instructions that were included on the album. Audio Arts: Volume 3 No 4 Side A (1977 Audio Arts). Excerpts from a radio work by John Carson broadcast by Downtown Radio, Belfast in 1977. The program was a compilation of recordings made in June 1977 at Documenta VI, an international exhibition of contemporary art in Kassel, West Germany. We hear two excerpts, the first from artist Wolf Vostell which opens with the sound of bubbling water and the second a sound work by Achim Freyer. These audio works played in the exhibit. Other portions of the complete cassette recordings alternated between statements/interviews and sound environments/installations. Audio Arts was a magazine in continuous publication for 33 years and ran to 24 volumes, each of four issues. Various artists, from Sound (1979 Los Angeles Institute of Contemporary Art). Four of the tracks from this collection are included: Terry Fox, “Labyrinth Scored For II Cats” (1979); Jim Gordon, “Piece For Synthesizers, Computers And Other Instruments” (1979); Doug Hollis, “Aeolian Harp” (1975-76), composed 1975-76 at the San Francisco Exploratorium; Bill Fontana, “Kirribilli Wharf” (1979). Album produced for SOUND. An exhibition of sound sculpture, instrument building and acoustically tuned spaces. Los Angeles Institute of Contemporary Art July 14-August 31, 1979. P.S.I. New York, September 30-November 18, 1979. Jeff Gordon, “Everyone's An Artist” (1984). Vocal Jeff Gordon and Mug Maruyama; Programming, Graham Hawthorne; Emulators/Keyboards, Jeff Gordon. Gordon produced Revolutions Per Minute (The Art Record), a collection of audio tracks by artists released as a double LP. This track by Gordon was not included in that release but I think was used for a traveling exhibition featuring sound, The RPM Touring Exhibitions, designed by Gordon and his wife Juanita, that toured the US and Europe for over four years, including The Tate Museum in London. Laurie Anderson, “The telephone,” “The polaroid,” “The sheet,” “The wedding dress,” “The bathrobe” from La Visite Guidée (1994). Music: Laurie Anderson; Voice: Sophie Calle. Exhibition catalogue consisting of artist's book and Audio CD published in conjunction with the show held March 27- 29, 1994. The work consisted of a total of 21 short compositions. We hear five consecutive tracks from the collection. This audio was provided on a cassette for the exhibit, which visitor's played on a Sony Walkman while taking a guided tour of the Sophie Calle's exhibition Absent. Steven Vitiello. World Trade Center Recordings: Open House Bounce (1999). A recording from the 91st floor of the World Trade Center, Tower One made with contact microphones placed on the inside of the windows. This recording was only published as part of a CDR sold at an Open House Exhibition in the fall of 1999. Various recordings were made during a 6-month residency. This one in particular picked up a number of passing planes and helicopters. Various artists, Whitney Biennial 2002 (2002 Whitney Museum Of American Art). A CD was included with the 292-page hardcover catalogue "Whitney Biennial 2002" published for the same-titled exhibition at the Whitney Museum Of American Art, March 7-May 26, 2002. Four tracks are heard: Maryanne Amacher, “A Step Into It, Imagining 1001 Years Entering Ancient Rooms” (excerpt); Meredith Monk, “Eclipse,” with performers Ching Gonzalez, Katie Geissinger, Meredith Monk, Theo Bleckmann; Marina Rosenfeld, “Delusional Dub;” Tracie Morris, “Slave Sho' To Video A.k.a. Black But Beautiful.” 33 RPM: Ten Hours of Sound From France (2003 235). Exhibition companion compilation to San Francisco Museum of Modern Art, Sept. 6-14, 2003, listening room program. 33 RPM consisted of ten one-hour segments that were played on a rotating schedule at the museum during the exhibition. This was the fourth installment of an ongoing series at the museum that presented sound art scene in a variety of countries. We include the following tracks from this compilation: Kasper T. Toeplitz, “PURR#2” (2003); Jean-Claude Risset, “Resonant Sound Spaces/Filters” (2002); Mimetic, “evolution” (2003); and Lionel Marchetti, “À rebours” (1989). Jane Philbrick, "Voix/e" (2003-04 SW Harbor Songline). Installation two lightboxes, with color Duratrans (large-format backlit color transparency film), 48 x 24 x 6; two inset Alpine speakers, synthesized voice track, 9 1/2 mins. looped.; two companion LCD-screen DVDs. On view at Real Art Ways, Hartford, CT, and Consolidated Works, Seattle (2004). Audio work created by Jan Philbrick at the Center for Spoken Language Understanding, Oregon Graduate Institute. The piece consists of Philbrick's reading of the "Song of Solomon," modified and edited using voice-gendered speech synthesis to speak bride, groom, and companion parts. Marko Timlin, “Audible Light” (2017), Created by Marko Timlin, a Finnish sound artist whose work has frequently been integrated into museum installations. This installation, Audible Light, created sound directly out of light, “work inspired by Evgeny Sholpo's Variophone instrument developed in 1930.” Solo exhibition, Oksasenkatu 11 in Helsinki. Not to be confused with the 2000 museum exhibition called Audible Light at the Museum Of Modern Art, Oxford, to be featured in a future podcast. Opening montage: sounds from the recordings of Art By Telephone (1969 Museum Of Contemporary Art Chicago) and Audio Arts: Volume 3 No 4 Side A, cassette (1977 Audio Arts). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.

The forlorn, hypnotic sound of foghorns echoing over San Francisco Bay, recorded in 1981 by the pioneering environmental sound artist BILL FONTANA. It's an artifact of a bygone era: the fog horns are still there, but as an aid to navigation they've mostly been replaced by GPS. Fortunately, Fontana's work has now been memorialized in a deluxe CD edition from the Bay area New Music label Other Minds Records. It makes a lovely souvenir of foggy, hypothermic summer nights in San Francisco. As an atmospheric phenomenon, fog has been with us since the earth cooled enough for water vapor to condense into tiny droplets that float on air. For humans, fog reduces visibility and makes it difficult, even dangerous, to move around; on the plus side, fog creates subtle monochromatic dreamworlds of endless beauty and fascination for both visual artists and ambient musicians. On this transmission of Hearts of Space, chilled, soft-focus, atmospheric dreamworlds...on a program called WINTER FOG. Music is by BILL FONTANA, INGRAM MARSHALL, BRIAN ENO, JEFF GREINKE, MICHAEL BRÜCKNER, and ROBERT RICH. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

A Balaclava Noir nasceu para trabalhar com a arte e com os artistas.A partir de uma fusão entre o bazar do Vídeo, fundado em 1985 e dedicado ao comércio de material audiovisual e a OPTEC (Sociedade Optica Técnica), nasce para expandir o ramo de actuação para a produção cinematográfica, aluguer de equipamento, formação, produção de eventos.A Balaclava Noir conta com uma equipa especializada, dinâmica e sensível às necessidades do artista e aos requisitos técnicos de uma peça ou instalação, liderada por um director técnico extremamente dedicado, com formação técnica e artística.Tem desenvolvido trabalho com artistas nacionais quer na montagem das suas peças, bem como no desenvolvimento dos seus projectos expositivos, tais como Pedro Costa, Vasco Araújo, Julião Sarmento, Musa Paradisiaca, Pedro Barateiro, Ângela Ferreira ou Filipa César, bem como artistas internacionais como Stan Douglas, Gary Hill, John Akomfrah, Bill Fontana, Chantal Akerman, Nan Goldin, Hito Steyerl, Nam June Paik, Apichatpong Weerasethakul entre outros.A Balaclava Noir trabalha frequentemente com instituições de referência nacionais e internacionais como o Museu Coleção Berardo, MAAT, Fundação Calouste Gulbenkian ou a Fundação Serralves, MNAC, Bienal de Arquitetura de Veneza, Bienal de Arte Contemporânea de Veneza, Bienal de Arte de São Paulo e MUDAM do Luxemburgo, tal como projectos independentes com a Dig Dig, Plataforma Revolver ou os Pogo.A Balaclava Noir procura que o seu trabalho seja cada dia mais multidisciplinar e multifacetado de forma a que possa estar presente e acompanhar todas as fases de cada projecto.Linkshttp://www.balaclavanoir.pt/https://christiedigitallatam.com/pt/projetores-a-laser-christie-no-museu-de-arte-popular-em-lisboa/Episódio gravado dia 09.10.2020http://www.appleton.ptMecenas Appleton: HCI / ColecçãoMaria e Armando CabralCom o apoio da Câmara Municipal deLisboa - Fundo de Emergência Nacional - Cultura

V galeriji Kunsthaus v avstrijskem Gradcu se z veliko samostojno razstavo, imenovano Primal Energies (Prvinske energije) predstavlja Bill Fontana, ameriški pionir zvočne umetnosti, ki že desetletja deluje na mednarodni umetniški sceni. Hkrati v okviru Graškega kulturnega leta 2020 predstavlja projekt Sonic Projections (Zvočne projekcije), ki se odvija v zunanjem, mestnem okolju. Oba projekta, ki ju imenuje „zvočna skulptura“, tematizirata naše okolje. Fontana je zvočne skulpture začel izdelovati leta 1976, pri delu pa uporablja urbano okolje kot živi vir glasbenih informacij, vse s potencialom, da poslušalcu pričara vizualne podobe. Oddajo, v kateri lahko slišite tudi zvočne izseke umetnikove aktualne instalacije, je pripravila Aleksandra Saška Gruden, Fontano in njegove projekte pa predstavlja kustosinja razstave Katrin Bucher Trantow. Foto: Fb stran Kunsthaus Graz, N. Lackner

Norwegian artist Jana Winderen records sounds above and below the surface of our blue planet to compose site-specific sonic environments. For four days during Miami Art Week 2019, she invites you to step inside the Collins Park Rotunda on Miami Beach, for The Art of Listening: Under Water. Miami’s waterways, the Barents Sea and the Tropical Oceans come together within the spherical space, to immerse you in an acoustic collage. The Art of Listening: Under Water portrays the fragile and complex beauty that circulates through the currents of the interconnected marine world. Winderen’s ephemeral installation promises to leave us with a lasting impression. Those who take time to float into the sensory experience will take away a new understanding of sonic relationships that echo across our seas.  Exploring a global issue of growing concern, our episode with Jana Winderen is the perfect finale for 2019. Visit our website, to hear other conversations centered on environments at risk and explore opportunities to engage with our new and ongoing initiatives. Sound Editor: Anamnesis Audio | Special Audio: Jana Winderen  Related Episodes: Ellen Harvey on Public Art and Climate Action, Bill Fontana on Sound & Space, Where Art Meets Sand and Social Behavior, Sound Art and Contemporary Culture with IKT Miami, Art and the Rising Sea Related Links: Jana Winderen, Tony Myatt, Audemar Piguet Art Projects, Albert Vrana, Art Basel Miami Beach  

Today, we introduce you to five artists whose primary medium is sound. The diverse techniques and concepts they explore demonstrate the versatility and power of sonic art. Working with music and song, noise and movement, in natural and urban settings, they are among thousands of artists drawn to this highly diverse art form. American sound artist Stephen Vitiello is based in New York City. In 2013, we talk about his work and the first group show dedicated entirely to Sound Art at the Museum of Modern Art, New York. We consider the history of sound art and what draws Vitiello to work with the sounds that surround him. The sound of glass holds a universe of meanings for Camille Norment. Representing Norway at the 56th Venice Art Biennale, the American-born artist based in Oslo creates a sonic environment inspired by how sound inhabits and moves through the body. She creates an atmosphere in the pavilion that alternates between dissonance and harmony. At the Hong Kong pavilion in Venice the same year, we walk through another immersive audio experience—the political commentary of Hong Kong based sound artist and composer Samson Young. We talk about the profiteering and political influence of songs produced to raise funds for disaster relief. American artist Bill Fontana has a long-time relationship with sound and space. He describes his practice as “composition by listening.” Based in San Francisco, Fontana is known for relocating sounds to create site-specific installations around the world. We talk about how nature and history inform his public art projects — from his 1981 Landscape Sculpture with Foghorns, in San Francisco, to his 2018 Sonic Dreamscapes, in Miami Beach. In 2017, we meet Colombian composer and sound artist Alba Triana in her Miami studio. She shows us a range of her experiments, from inaudible sound and light installations to interactive electronic music compositions and vibrational environments. Each one transforms our perception of space. Sound Editors | Special Audio: Five Sonic Stories—Anamnesis Audio and Joseph DeMarco, Bill Fontana—Anamnesis Audio | Bill Fontana, Camille Norment—Kris McConnachie |  VernissageTV, Alba Triana—Alyssa Moxley | Alba Triana, Stephen Vitiello—Eric Schwartz | Stephen Vitiello, Samson Young—Guney Ozsan | FreshArtINTL Related Episodes: Bill Fontana on Sound & Space, Camille Norment on the Character of a Sonic Environment, Alba Triana on Experimenting with Sound and Light, Stephen Vitiello on Cultural Soundscapes, Samson Young on Songs for Disaster Relief Related Links:  Bill Fontana, Camille Norment, Alba Triana, Stephen Vitiello, Samson Young

Recorded live at the Main Street Now Conference in Seattle, Ron and Kristi welcome Bill Fontana, Executive Director of the Pennsylvania Downtown Center.  Tune in as they explore the incredible things happening in downtowns across Pennsylvania, and Bill's insights on what's next for Main Street.

Artist Bill Fontana has a long-time relationship with sound and space. He's known for relocating sounds to create site-specific installations around the world. Fontana describes his practice as "composition by listening." In this episode, we talk about what has inspired and informed his public art projects through the decades—from his 1981 Landscape Sculpture with Foghorns in San Francisco, to his 2018 Sonic Dreamscapes in Miami Beach. Sound Editor: Anamnesis Audio | Special Audio: Bill Fontana Related episodes: Inside Miami's Sound Chamber; Stephen Vitiello on Sound Art Related links: Bill Fontana, City of Miami Beach Art in Public Places

Sara Mohr-Pietsch meets two American singers - the opera icon Grace Bumbry and the broadway star Audra McDonald. Plus a conversation with the sound artist Bill Fontana in Snape, Suffolk, where he's created an installation modifying sounds from the reedbeds, marshes and the Maltings' industrial past, for this year's Aldeburgh Festival. Grace Bumbry's career was launched when she won a competition at the tender age of 17. She was sought after across Europe and the USA as a mezzo soprano and later a soprano. Now aged 80, still actively coaching young singers, she's one of the jurors for the BBC Cardiff Singer of the World 2017. She talks about her life on stage and in the concert hall, and passes on the wisdom of her career.

Dan Jones, composer and sound designer, considers why it has taken so long for Sound Art to get a hearing, he goes hunting for sound at CERN with Bill Fontana, Janet Cardiff talks about her 40 part Motet, Barbara London, MOMA curator, tells of the difficulties of displaying sound, Stan Shaff shows us round the first sound theatre, and David Toop and Richard Cork help untangle the history of sound art - plus an unexpected appearance on the streets of London by Joseph Young expounding the Art of Noises Manifesto of the Italian Futurists.

How can art be invisible? When it's made of sound. Dan Jones commemorates the centenary of 'The Art of Noise Manifesto', by Luigi Russolo, with an exploration of that mysterious, invisible and vigorous form - Sound Art. Luigi Russolo believed that the music of the future should reflect the noises of modern life. Rejecting the classical orchestra (along with pizza and pasta which he believed sapped the moral fibre of his nation) he invented 'noise- makers' to replicate the sounds of traffic, industry and even modern warfare. Russolo may be a disputed godfather of sound art, but it would be almost a hundred years till a sound artist would be shortlisted for the Turner Prize (Susan Philipsz won in 2010) and the Museum of Modern Art, MOMA, in New York would open its first sound art show. In 'Sonic Art Boom', Dan Jones considers why it has taken so long for Sound Art to get a hearing. He talks to Janet Cardiff - whose sound installation "The Forty-Part Motet" has been presented by prestigious galleries all over the globe; speaks with Barbara London, MOMA's legendary curator, about the difficulties of displaying sound; meets his hero Stan Shaff - creator of 'Audium', the world's first sound sculpture theatre in San Francisco; and goes underground with Bill Fontana, world-renowned sound artist, as he places a giant loudspeaker in front of the Large Hadron Collider at CERN. The art world, it seems, has pulled out its earplugs. First broadcast in October 2013 Producer: Sara Jane Hall Presenter: Dan Jones is a BAFTA award-winning composer and sound designer working in film and theatre - Sound and Fury, is a theatre company of which he is a founder - and his performance piece, created with Luke Jerram, 'Sky Orchestra' has toured the globe for ten years.

Programme de CHRISTOPHE CHARLES pour webSYNradio : Sculptures musicales avec des oeuvres et des pièces de Harry Bertoia, John Cage, Christophe Charles, Henning Christiensen, COIL, Olivier Coupille, Walter De Maria, Marcel Duchamp, David Dunn, Max Eastley, Gerhard Eckel, Mark Fell, Bill Fontana, I8u, Inada Kozo, Joe Jones, Rolf Julius, Yves Klein, Thomas Koener, Takeshisa Kosugi, Jaki Liebezeit, Alvin Lucier, Yann Novak, Yui Onodera, Paul Panhusen, Pimmon,red Maher, Eliane Radigue, Philip Samartzis, Erik Satie, Shibuya Keiichiro & Takahashi Yuji, Tamaru, Horacio Vaggione, Stephen Vitiello, Chubby Wolf, La Monte Young.

This week: Two for the price of one! We have two interviews, first one of Duncan's heroes, Iain Baxter& and then sound and installation artist Bill Fontana. Join us in NYC on the East River for our Kiron Robinson interview on March 17th! Bill Fontana: b 1947 in Cleveland, Ohio; sound artist. He studied philosophy and music at the New School for Social Research in New York, with Phillip Corner and others. Following a prolonged stay in Australia, he was a guest artist in Germany and Japan. The composition of sound sculptures began in 1976; Fontana has since produced a large number of works in this genre. The compositions and live sound sculptures realised for the Studio Akustische Kunst of the german radio station WDR have been of central importance for Fontana's artistic development; they include «Distant Trains», Metropolis Cologne, «Satellite Ear Bridge Cologne – San Francisco», «Journey Through My Sound Sculptures», «The Sound of an Unblown Flute», «Soundbridge Cologne - Kyoto». Biographical Summary - Iain Baxter Critic David P. Silcox has written: “[Iain] Baxter’s work demonstrates the brilliant but contradictory traits – tradition and iconoclasm, access and mystery, humour and seriousness, the calculated and the serendipitous – that change art and our ideas about seeing art (and indeed everything) at a fundamental level. He is Canada’s first conceptual artist and perhaps first anywhere.” Baxter was born in 1936 in Middlesborough, England and emigrated to Calgary, Canada with his family a year later. He was educated in the United States, where he received his BS and MA from the University of Idaho, in biology and zoology. Through studying the natural sciences and doing illustrations of animals, Baxter became interested in art. It was with no background in art that he entered the Masters of Fine Arts program at Washington State, and upon receiving his degree was awarded a Japanese government foreign scholarship in 1961 to study Zen and art in Japan. He continues to see a close relationship between art and science. “I went from illustration to art,” he has said, “and getting into the field of art opened a door to a whole area of personal research in the phenomena of seeing and being. I think pure science is on that same level.” Whether in science or art, his focus was long on the relationship of the organism or being to its environment. It was with this mentality that in 1965 Baxter developed a pseudonym and fictional business called N. E. Thing Co. Ltd. It was a revolution of the concept of ‘artist,’ a displacement of the artist out of its natural environment of “art world” and into the environment of business. The company was also an umbrella concept through which he could develop many different ‘departments’ of artistic thought. N. E. Thing produced a range of printed matter including calendars, books and information sheets that assembled images of works by other artists. Baxter’s work as a solo artist and as founder of N.E. Thing Co. has been exhibited widely throughout North America and Europe, including the National Gallery of Canada, Ottawa; Ontario, the Canadian Cultural Centre, Paris, France; the Museum of New Art, Detroit, Michigan, and the Guggenheim Museum, New York, NY. It is in numerous public and private collections including the National Gallery of Canada, the Museum of Modern Art in New York, the F.R.A.C. Art Museum in Bretagne, France, and the Gemeentemusem in The Hague, Holland. Baxter was the Canadian representative in Taejon, Korea for Expo ‘93. He been granted membership in the Royal Canadian Academy and a nomination as an Officer of the Order of Canada. In 2004, he won the Governor General’s Award in Visual and Media Arts and received an Honorary Doctorate from the University of British Columbia. He lives and works in Windsor, Canada, where he is represented by the Corkin Shopland Gallery and since 1988 has taught at the University of Windsor in the School of Visual Arts.

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In February 2009 GALLERY CRAWL interviewed Bill Fontana about his sound installation SPIRALING ECHOES at SF City Hall. A few blocks away, local art collector Robert Shimshak explained his interest in musical scores and how his collection inspired a new exhbition, EVERY SOUND YOU CAN IMAGINE at New Langton Arts.