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"Sculpture-situated within the sensibilities of space, embodiment, and the physical world-offers a richly speculative arena for experimentation with materials and technology. The continuing expansion of practices reminds us that sculpture no longer resides in a world of "things": contemporary physics now reformulates "solid" matter as process and flow, foundational concepts for art are now redefined or dismantled, and virtuality often stands in for the "real." The implementation of sound created by artists as sculpture has contributed robust tools and a new sense of identity for these changing boundaries. Yet while sound has become almost ubiquitous in contemporary art, it has garnered scant scholarship, and its artists are often neglected. "

"In my project SHRINE I wish to create a public sound sculpture that allows the spectators to express themselves and play music directlythrough the sculpture in Meriken Park. In effect SHRINE functions as a „Speakers Corner" (like at Hyde Park in London) or a social „hub" where people meet by chance or „rendezvous". The massive PA system has 8 channels so that 8 people can interact simultaneously. People can use their smart phones spontaneously to talk through the sculpture: connections happen directly on site, locally or internationally."

"Yes/No visualizes sound waves traveling through air, in a very detailed sculpture made of steel. CarstenNicolai used recordings of Laurie Anderson saying "yes" and "no" as input while creating this sculpture. You can clearly see the difference between vowels and consonants."

"This is a documentation of some of Len Lye´s kinetic sculptures shown at the Len Lye retrospective exhibition at the IKON Gallery in Birmingham, UK, from nov 2010 to feb 2011."

Kathy Hinde is an audiovisual artist inspired by behaviours and phenomena found in nature and the everyday expressed through audiovisual installations and performances that combine sound, sculpture, image and light. Composed of hand-made objects, electronics and a blend of digital and analogue systems, her work represents a cross between kinetic sound sculptures and newly invented instruments. She frequently works in collaboration with other practitioners and scientists and often actively involves the audience in the creative process.

"An interdisciplinary artist, Masimba Hwati works at the intersections of sculpture, performance and sound. Known for unconventional mixed media and sound sculptures, he examines postcolonial themes by re-appropriating archives and objects and presenting them in new contexts. He collects historical, culturally imbued items ranging from cars to shoes, altering and repositioning them in a contemporary urban setting. "

What does sound look like? It's a question we have seen answered by quite some artists, creating sculptures of sounds, frozen at one moment in time. Like Yes/No by Carsten Nicolai or the Rolex Tower soundwave sculpture. Never have I seen something like this Orproject design though.

"Eirik Brandal is and artist and engineer working between circuits and sound, primarily on the development of intricate sonic sculptures in which the electronic components play an important aesthetic role, also integrating light in some of them, resulting in amazing experiences around objects and space, inspired by the sculptural work of people such as Walter Giers, Alain le Boucher, Peter Vogel, Leonardo Ulian and Gislain Benoit. "

"Over the past 40 years "sound art" has been hailed as a new artistic category in numerous writings, yet one of its first significant exhibitions is mentioned only in passing, if at all. The first instance of the hybrid term sound art used as the title of an exhibition at a major museum was Sound Art at the Museum of Modern Art in New York (MoMA), shown from 25 June to 5 August 1979. Although this was not marketed as a feminist exhibition, curator Barbara London selected three women to exemplify the new form. Maggi Payne created multi-speaker works that utilized space in a sculptural fashion; Connie Beckley combined language and sounding sculptural objects, showing sound in both a conceptual and physical manifestation; and Julia Heyward's work used aspects of feminist performance art including music, narrative, and the voice in order to buck abstract aesthetics of the time. This paper uses archival research, interviews, and analysis of work presented to reconstruct the exhibition and describe the obstacles both the artists and the curator encountered. The paper further provides context in the lives of the artists and the curator as well as the surrounding artistic scene, and ultimately exposes the discriminatory reasons this important exhibition has been marginalized in the current discourse."

"We can't see sound. We can only judge the beauty of it by listening. Sometimes it seems like people who work with sound don't really know or care about visual aesthetics. Look at a website like this, for instance. On the other hand I think the opposite is also true."

Hawkinson is renowned for creating complex sculptural systems through surprisingly simple means. His installation "Überorgan"-a stadium-size, fully automated bagpipe-was pieced together from bits of electrical hardware and several miles of inflated plasti

"Untitled V is a sound sculpture that consists of miniature speakers acoustically activated by a motor driven mechanism. A nylon thread is fastened through a hole at the center of the membrane; the end of the nylon thread is loosely secured to a motor turned rosined wheel to produce friction. Sound is produced by the action of the rim of the rotating wheel rubbing the thread as the wheel is turned. The two surfaces alternating between sticking to each other and sliding over each other, with a corresponding change in the force of friction. The motor speed is reduced at the lowest speed. The slow turn of the wheel creates changes in the tension of the thread, resulting as sounds (crackling impulse) in the membrane of the speaker. Untitled V creates a very quiet listening experience. "

"As he prepares for a performance, B&O PLAY visits London's Kew Gardens and meets the artist Wolfgang Buttress who tells us about his soon to be sonified sculptural installation, The Hive."

"Maravilla works across painting, sculpture, and sound-based performances all veiled with autobiography, whether informed by the Mayan architecture and stone totems that surrounded him as a child or his cancer diagnosis as a young adult. His pieces are predominately therapeutic and rooted in Indigenous ritual and mythology, recurring themes the team at Art21 explores in a new documentary."

"Julius created a variety of meaningful and moving sound-vision works that explore for the attentive viewer-listener the symbiotic relationship between visual art and noise music. Julius specifically augmented the history of audio art by meticulously working in the Zen zone between everyday sculptural objects, dim dins, and quietness. In his often derelict but delicate works, subtle noise vibrations become palpable, physical things. "

Italian sculptor Pinuccio Sciola uses stone to make incredible sound sculptures

"UK chemists even followed their noses to the Tate, where they tested three decades-old plastic sculptures."

"In November 2019, visitors to the Tate Exchange were invited to experience urban noise as a multi-sensory art installation. The artwork KIMA Noise was developed by the Analema Group over the last two years in collaboration with Dr Stephen Stansfeld (Queen Mary). Audiences were drawing their graphic impressions of urban noise as a real-time sound sculpture. Audiences could experience urban sound from around the Tate as trajectories of sound, travelling through the space of Tate Exchange at Tate Modern. Four real-time streams, from construction noise, to railroad tracks were visualised on the panoramic windows of the Tate's monumental architecture. Through direct experience, the audience learned about the effects of noise, while shaping and designing their own soundscape."

"This documentary was made in 2009 by the film maker Nora Meyer, and follows Jem Finer's realisation, in 2005 and 2006, of Score for a Hole in the Ground, a sculptural musical composition sited in a forest in Kent. SFAHITG was made with a grant from the PRSF and the collaboration and support of Stour Valley Arts."

"Last Saturday afternoon, at Dia: Beacon, the art critic Christoph Cox, casual in a grey shirt and jeans, was leading a group through a gallery of hulking metal sculptures by John Chamberlain. It was a dramatic scene, but these people had assembled to hear Mr. Cox discuss something far subtler. "It's the most overlooked work in the entire museum," he told them. "It's invisible, so it's very easy to miss.""