> Once you accept that sound is virtually impossible to contain (on most
> artworld budgets anyway :) and doesn't work on an, 'out of sight out of
> mind' basis unless at very low levels or presented through headphones, you
> can start to accommodate that leakage and allow artworks to feed
> off/complement each other.
Right. In many cases video is isolated through headphones. Not only does t
eliminate the sound bleed, but it eliminates the problem of the docents &
guards being driven crazy by repetition.
Howver, I curated a show that incorporated neon and lasers in a gallery
space. Neon is nearly as problematic as sound as the light it generates is
so compelling.
> I for one, would far rather see all the myriad strands of contemporary art
> practice (sound included) curated and combined with personal vision and
less
> often by committee.
There are tradeoffs on each. One could be much more tightly biased and
elide large bodies of work simply not known to the single curator, but then
committees are guilty of 'design by democracy'...
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