Charles Eppley is an art historian who specializes in the history and theory of sonic art, computational aesthetics, and time-based media across the twentieth and twenty-first centuries. Eppley received his PhD in Art History from Stony Brook University in 2017. His dissertation, “Soundsites: Max Neuhaus, Site-Specificity, and the Materiality of Sound as Place,” studied the sonic artist, experimental musician, and electronic engineer Max Neuhaus (1939–2009). At the MPIWG, Eppley will examine Neuhaus’s activities in West Germany in 1976–1977, focusing on the artist’s public experiments with subaquatic electroacoustic sound generation and perception.
Eppley’s recent publications include “Times Square: Strategies and Contingencies of Preserving and Conserving Sonic Art” in Leonardo Music Journal and “Beyond Cage: On Sonic Art Historiography” in Parallax. He is currently co-editing an issue of Public Art Dialogue on sonic public art, and regularly publishes art and music criticism in Art in America, Rhizome, and Brooklyn Rail. Eppley teaches courses in art history, music, and media studies at Pratt Institute, Fordham University, and The New School. He is Curator and Managing Editor of Avant.org, a distributed project space for artistic research, for which he has produced programs and projects at the Queens Museum, MoMA PS1, and Wesleyan University, and is a founding member of the Cybernetics Library in New York City.