IN THE ANNALS of visual artists employing sound, William Anastasi occupies a curious position. Audio is integral to much of his output, yet he’s never made music as an extension of his visual art practice à la Yves Klein or Jean Dubuffet, and the sounds he favors are certainly more straightforward than those preferred by many practitioners of “sound art.” They are not hidden or latent, nor are they fabricated with the intent to map the dimensions of a given space in acoustic terms; instead, Anastasi’s aural components are simple, even banal field recordings, easily recognizable as everyday noises generated by everyday objects. But, crucially, Anastasi presents the sounds’ physical sources along with his recordings, putting the muted object and its auditory identity back on equal footing. By displaying such objects in the gallery, Anastasi is engaging the same legacy of the readymade
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