new-york

“Treble”

SculptureCenter

In 2000, sound-art pioneer Max Neuhaus responded to the tremendous resurgence of interest in his field by calling for a dissolution of the term that he himself had helped to coin. “Sound art,” Neuhaus contended, had become a sloppy catchphrase encompassing a slew of disparate practices whose only common denominator was that they bore some relationship to sound. “Sound Art,” he concluded, “has been consumed.”

Neuhaus’s declaration provided the springboard for “Treble,” a group show at SculptureCenter organized by independent curator Regine Basha. Though sound remained the thread that tied the exhibition together, “Treble” resisted the neomodernist tendency to focus on sound as such and, instead, considered it one element among many in a postmedium aesthetic. Of the twenty-two artists and artist teams included, few are self-identified “sound artists,” but all deploy sound in their practice,

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