#charles eppley

[charleseppley]

I am co-editing a forthcoming special issue of Public Art Dialogue (with Asa Stjerna) on the topic of sonic public art. The issue, Soundsites: Experiments in Sound and Place, will be published in Spring 2019. The collection features articles on public sound sculpture (pictured above, Harry Bertoia in Chicago), indigenous sound art/listening practices, global sonic art cultures, and corporate ideologies of new music, among others. More soon! 

[charleseppley]

I am happy to announce that I have been invited to the Max Planck Institute for the History of Science as a 2018 Visiting Scholar. In this position, I will continue my research on Neuhaus’s exploration of electronic circuits, focusing on his time spent in Berlin, hometown of MPIWG, researching subaquatic acoustics and electroacoustic sound installation. I will be conducting research within the Epistemes of Modern Acoustics Research Group, which has been producing extremely interesting work. I am honored to be a part of this project. 

I also will be co-editing a special issue of the journal Public Art Dialogue, with Asa Stjerna, on the topic of sonic public art. The CFP can be found at the Public Art Dialogue website.

[charleseppley]

I am pleased to publicly announce that, in addition to successfully defending my dissertation, I have three forthcoming peer-reviewed projects.

I have two articles being published in Leonardo Music Journal and Parallax. The first article, “Times Square: Strategies and Contingencies of Preserving Sonic Art” (LMJ 27), explores the artistic, technical, and cultural histories of Max Neuhaus’s iconic sound installation Times Square (1977-1992; 2002-present). The article overviews the production of the piece and its various iterations over four decades, focusing on its changing environment, preservation strategies, and conservation problems. The second article, “Beyond Cage: Sonic Art History and Historiography” (Parallax 23, Issue 3), examines the art historical legacy of the experimental music composer John Cage and suggests an additional source: the composer Henry Cowell, who taught Cage and Fluxus artist Dick Higgins. The article explores the relationship between Cage, Cowell, and Higgins to present a materialist, rather than conceptualist, model of sonic art history.

I will also be co-editing an issue of the Public Art Dialogue journal with Åsa Stjerna. The issue, titled Soundsites: Experiments in Sound and Place, will explore the concept of sonic public art, featuring critical essays and artist writings. CFP forthcoming.

[inplaceofrealinsight]

CE: The work raises a certain question of public monument, or anti-monument, and public sculpture. This usually means sculpture or something that is plotted down. Windspun is something more dynamic, formally and socially. LP: The people at the Whitney – it was much harder. It was during the 1985 biennial and it was outside in the courtyard. I wired it from the roof, and the other anemometer was on the bridge, so you could see it [at the entrance]. The people who got into it were the people who lived or worked around there. The guy who ran the hotdog stand still offers me a free hotdog. I don’t usually want one.

the grooviest professor I had at Purchase, Liz Phillips, in conversation with Charles Eppley at AVANT.org

[trackandhold]

Charles Eppley - Buchla2 Mixdown

[charleseppley]

I am very pleased to have organized a reading of Brazilian concrete poetry (of the Noigandres group, ca. 1958-1975) for the NADA 2015 art fair. Many thanks to Aeromoto + Wendy’s Subway for inviting AVANT.org to contribute! http://www.wendyssubway.com/reading-room/

[charleseppley]

The loss of De Maria and Siegelaub offered a pointed moment of reflection on the legacy of conceptual art, igniting conversations surrounding their respective legacies, as well as the parameters by which we define this widely summoned but rarely defined aesthetic... In the case of De Maria, a seminal figure in the history of environmental art, an unassuming pair of recordings from the 1960s signals the role of sound in his early practice.

[charleseppley]

Spending an Evening with a Maestro of Drone Music

Hidden away in Ridgewood, Queens, is a private loft that holds an acoustic gem from the mid 20th century: a vintage — and totally functional — Klipschorn three-piece speaker system.