SemiGloss Magazine - Sound (2015)
semigloss. Magazine is a Houston-based print arts publication which incorporates visual and text-based content from global artists and writers that range from constructed images to theoretical essays to sculptural installations to vinyl records, each issue focused on a certain concept or theme within the context of contemporary art thought and practice. Published for nearly 3 years, semigloss. is intended to operate as a curated, physical archival document of the artistic ideas and work generated in order to transmit them collectively to the community via a growing list of distributors. This list includes/has included CentralTrak, That That, Goss-Michael Foundation, The Reading Room, Fort Worth Contemporary Arts, Conduit Gallery, Oliver Francis Gallery, Oil and Cotton, Nasher Sculpture Center, McKinney Avenue Contemporary, David Shelton Gallery, Menil Collection Bookstore, Printed Matter, and print fairs in Dallas, Los Angeles, and Baltimore.
Volume II, Issue II
semigloss. Magazine's latest publication SOUND explores sonic experiences through performance, spoken word, and music discussed within the context of contemporary art.
Sound art is experiencing a moment of sorts in contemporary art, with exhibitions emerging internationally in the past several years, such as Soundings: A Contemporary Score at MoMA, RPM: Sound Art China in Shanghai, and Word.Sound.Power at the Tate Modern in London. Sound artist and theorist Brandon LaBelle formulates an explanation of sound art as “a practice that harnesses, describes, analyses, performs, and interrogates the condition of sound and the process by which it operates.” Though one can point to early applications of sound-as-medium in the Dadaist “sound poems” of Hugo Ball (at the Cabaret Voltaire in Zurich) and Kurt Schwitters, and in the practice and performance of Fluxus artists like Charlotte Moorman, Nam Jun Paik, and George Maciunas, the origins, lineage, and definition of sound art are not at all concrete. However, as Suzanne Delehanty notes in her essay “Soundings”, when sound first entered the fray of creative production and exhibition, it marked a new beginning for artistic practice. “In the beginning,” she argues, “was the spoken word, ambient sound, noise, music and silence; all allowed artists to transform the visual arts into a new and third realm… and had become both the subject and the object of art.”