Here•ings: a sonic geohistory (1999-2007)

Based on a practice of listening as a way to connect to place, this work began with 24 hours of ambient field recordings made over the course of one year at different locations at THE LAND/an art site in central New Mexico. Additional contact mic recordings were made of various plants and objects encountered there. A series of short poetic texts evoking events witnessed during each hour of recording were sandblasted onto stone listening benches placed permanently on the recording sites.

Listen (Excerpts, 3:00)
Independent radio producer Paul Ingles won a Murrow Award for a feature he did on this piece for the Living On Earth program - listen & read a transcript (scroll down to "Sonic Sculptures").


September 7 - October 27, 2007
Saranac Art Projects
Spokane, Washington
(sound-only version)



March 27 - April 28, 2004
Dorsch Gallery
Miami, Florida
Subtropics Festival, curated by Gustavo Matamoros
(sound-only version)


March 19 - May 14, 2004
Sun Valley Center for the Arts
Sun Valley, Idaho
Sound of Place/Place of Sound, curated by Jennifer Gately
(listening station with CD & book)



June 5 - August 28, 2003
University of Texas Art Gallery
El Paso, Texas
(sound-only version)



October 6 - 27, 2002
THE LAND/an art site
Mountainair, New Mexico
Fourth Show: Nothing to See
(completed version with 24 listening benches installed on recording sites)



July 12 - August 10, 2002
516 Magnifico Artspace
Albuquerque, New Mexico
being, here: work from the land, curated by Steve Peters
(sound installation with 24 stone and steel listening benches)



December 14, 2001 - April 21, 2002
Museum of Fine Arts
Santa Fe, New Mexico
Organizing the World: Sculptural Interventions, curated by Aline Brandauer and Christine Wallers
(sound-only version, with sandstone markers)

October 3 - 24, 1999
THE LAND/an art site
Mountainair, New Mexico
Second Show, curated by Christine Wallers
(In-progress version of five wooden listening benches with screen printed texts placed on corresponding recording sites, and a rough mix of the first five hours of recordings heard at the opening at a nearby gallery.)

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