Sound is an integral part of contemporary art. Once understood to be a marginal practice, increasingly we encounter sound in art exhibitions through an array of sound making works in various art forms, at times played to very high audio levels. However, works of art are far from the only thing one might hear: music performances, floor talks, exhibition openings and the noisy background sounds that emanate from the gallery cafe fill contemporary exhibition environments
Available: Newton Park
Caleb Kelly's Gallery Sound challenges the term 'sound art' by turning an ear toward the gallery itself as a site for (and of) sonic investigation. Kelly reminds us that galleries are rich with sound and that a full experiential encounter with artworks demands listening alongside looking. Lucidly written, Gallery Sound considers artworks that treat the sound of the gallery as a fundamental condition, as a container for noise, and as a site where music becomes a medium to be explored and exhibited.
Brian Kane, Associate Professor of Music, Yale University, USA||Gallery Sound responds to keen growing interest in sound in contemporary art. It inverts focus on sound art by showing how audio has been a latent force in the art gallery for at least half a century, and that the gallery can indeed be musical. Sound for Caleb Kelly is not simply a material or a medium but a phenomenon. The myth of the white cube space parallels the impossibility of silence as Kelly moves with alacrity through John Cage and Janet Cardiff, from Akio Suzuki via Bruce Nauman to Marina Rosenfeld.
Atau Tanaka, Professor of Media Computing, Goldsmiths, University of London, UK||Caleb Kelly has written a richly rewarding critical genealogy of sound in the art gallery. His book is at once authoritative and invigorating in its range and the buzzing excitement of its analyses. With Gallery Sound, he has secured his place as one of the leading commentators on the sonic arts.
Steven Connor, Grace 2 Professor of English, University of Cambridge, UK