"" "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