"" "A sound is all the possible ways there are to hear it" Bill Fontana

"Fontana's sound environments renew our awareness of the places we inhabit and the powerful role sound plays in both our sense of self and memory. Fontana's work is predicated on a sophisticated investigation into how we perceive sounds in the world.

He has created a series of compelling projects that subtly treat the interplay between the origins of sounds and the contexts in which we perceive them, causing the viewer to become conscious of himself and his senses as he hears and perceives anew the world he inhabits"

John Hanhardt, Guggenheim Museum









Harmonic Bridge at Tate Modern Review by Alan Riding


Resoundings Relativity essay by Camille Norment for the book Soundscapes in the Arts, Oslo, 2010


Frieze Magazine Review of River Sounding


Speeds of Time Essay by Robert Riley


Bill Fontana's Musical Sculptures by Stefan Beyst byb


AAcoustical Visions Essay by Matthew Drutt


Re - Soundings: The Art of Bill Fontana by John G. Hanhardt


Landscape Soundings Documentation


Sound Island Review by John Rockwell


Artinfo.com Review of Panoramic Echoes


New Yorker Magazine on Panoramic Echoes


Review of Objective Sound by Reginna Hacket for the Seattle Post


Review of Objective Sound by Jen Graves for the Stranger


Review of Objective Sound by Carrie Scott for the Seattle Weekly


Radio Feature on ABC-FM in 1978 about Sound Sculpture Exhibition at the National Gallery of Victoria



Radio Feature by KPFA on Landscape Sculpture with Fog Horns in 1981



Radio Feature by National Public Radio's All Things Considered on Landscape Sculpture with Fog Horns in 1981


Village Voice Reveiw of Brooklyn Bridge Sound Sculpture by Guy Trebay in 1983


Acoustical Visions Essay by Philip Waterworth