Resoundings: a Round Table Discussion with Bill Fontana

Thursday, April 12 | 7pm
SFAI – Fort Mason Atrium
San Francisco Art Institute will present a round table discussion with exhibiting artist Bill Fontana, Marnie Burke de Guzman, and Rudolf Frieling, moderated by Katie Hood Morgan. Following a discussion of Bill Fontana’s recent work and current SFAI exhibition Bill Fontana: Landscape Sculpture with Foghorns, the conversation will expand to address the challenges and possibilities around exhibiting and curating sound art for museums, public spaces, and beyond.
Marnie Burke de Guzman is Founder and Principal of ArtRise Projects
Rudolf Frieling is Curator of Media Arts at SFMOMA
Katie Hood Morgan is SFAI Curator of Exhibitions and Public Programs
Presented in conjunction with the Visiting Artists and Scholars Lecture series and Bill Fontana: Landscape Sculpture with Foghorns, on view through April 29 at SFAI | Fort Mason.

About the Participants
Bill Fontana is an American composer and media artist who has developed an international reputation for his pioneering experiments in sound. Since the early 70s, Fontana has used sound as a sculptural medium to interact with and transform our perceptions of visual and architectural spaces. He has realized sound sculptures and radio projects for museums and broadcast organizations around the world. His work has been exhibited at the Whitney Museum of American Art; the San Francisco Museum of Modern Art; the Museum Ludwig, Cologne; the Post Museum in Frankfurt; the Art History and Natural History Museums in Vienna; the Tate Modern and Tate Britain, London; the 48th Venice Biennale; the National Gallery of Victoria, Melbourne; the Art Gallery of New South Wales, Sydney; MAXXI, Rome; and MAAT, Lisbon. He has done major radio sound art projects for the BBC, the European Broadcast Union, the Australian Broadcasting Corporation, National Public Radio, West German Radio (WDR), Swedish Radio, Radio France and the Austrian State Radio. He is currently working on new commissions for the Kunsthaus Graz, the International Renewable Energy Agency, and the 2018 Venice Architecture Biennale.
Rudolf Frieling is a curator, educator, and scholar with an M.A. in Humanities from the Free University of Berlin and a Ph.D. from the University of Hildesheim, Germany. In 2006, he was appointed curator of media arts at the San Francisco Museum of Modern Art; from 1994–2006 he was curator and researcher at ZKM, Center for Art and Media in Karlsruhe, Germany; curatorial projects prior to 2006 include the net art section of the Sao Paolo Biennale (2002) and Sound-Image (2003) in Mexico City; he was co-editor of multimedia and print publications from Media Art Action (1997), Media Art Interaction (2000), Media Art Net (2004–5), to 40yearsvideoart.de (2006). 
Since 2006, he has curated for SFMOMA a series of survey shows around notions of collaboration, participation, and performativity: In Collaboration: Early Works from the Media Arts Collection (2008); The Art of Participation: 1950 to Now (2008/2009); Stage Presence: Theatricality in Art and Media (2012) as well as many monographic exhibitions with among others Douglas Gordon, Lynn Hershman Leeson, Sharon Lockhart, Rafael Lozano-Hemmer, Christian Marclay and Anthony McCall; he also collaborated on the SFMOMA presentation of Exposed: Voyeurism, Surveillance and the Camera (2010) and oversaw the SFMOMA exhibition William Kentridge: Five Themes (2009). Spearheading the notion of the museum as a producer, Frieling’s commissions for SFMOMA include Sylvie Blocher: Men In Gold (2007), Bill Fontana: Sonic Shadows (2010), Jim Campbell: Exploded Views (2011/2012) as well as Christian Jankowski: Silicon Valley Talks (2013). Most recently, he co-curated Soundtracks (2017–18) and Bruce Conner: It's All True (2016) and organized Film as Place (2016).
Principal at San Francisco–based ArtRise Projects, Marnie Burke de Guzman specializes in strategic planning, program and content development, and marketing and community relations for cultural organizations. For more than twenty years, Marnie has served in both nonprofit executive roles (Director, Marketing and Audience Strategy, SFMOMA; Director of External Affairs, UC Berkeley Art Museum and Pacific Film Archive) and project director roles (@Large: Ai Weiwei on Alcatraz; Golden Gate Bridge 75th Anniversary exhibition International Orange; Janet Cardiff’s The Forty Part Motet at Fort Mason Center) helping leading cultural organizations develop innovative strategies, programs, and content to engage stakeholders and serve visitors and users more effectively. Clients have included the Bill T. Jones/Arnie Zane Dance Company, Climate One at The Commonwealth Club, FOR-SITE Foundation, Fort Mason Center, Golden Gate National Parks Conservancy, KQED, the Kadist Art Foundation, the Pew Center for Arts & Culture, the Museum of Fine Arts, Houston, the Rainin Foundation, The Smithsonian, and the Walker Art Center. Marnie has served as a trustee of the Headlands Center for the Arts; cofounder and steering committee member of the Art Museum Marketing Association; and a member of ArtTable. She is a frequent speaker at national conferences and teaches courses on strategic program planning and audience engagement for nonprofits.
Katie Hood Morgan is Curator of Exhibitions and Public Programs at San Francisco Art Institute where she has worked since 2012. In addition to directing curatorial operations and programming for the Walter and McBean Galleries at SFAI | Chestnut Street and Fort Mason Galleries at SFAI's new Fort Mason campus, she oversees SFAI’s Visiting Artists and Scholars lecture series and a weekly-rotating student exhibition venue, the Diego Rivera Gallery.
In this role she has organized over a dozen major exhibitions, several of which have been accompanied by catalogs. Highlights include Bill Fontana: Landscape Sculpture with Foghorns (2018), Mariana Castillo Deball: Feathered Changes, Serpent Disappearances (2016), SFMOMA On-the-Go exhibition Doug Hall: The Terrible Uncertainty of the Thing Described (2015), and ENERGY THAT IS ALL AROUND: Mission School: Chris Johanson, Margaret Kilgallen, Alicia McCarthy, Barry McGee, Ruby Neri (2013).
 Previously, Morgan served as Assistant Curator at the CCA Wattis Institute for Contemporary Arts where she organized the group exhibition When Attitudes Became Form Become Attitudes, also contributing to the exhibition catalogue. The exhibition travelled to the Museum of Contemporary Art Detroit. Morgan was Director of the artist-run Adobe Books Backroom Gallery in San Francisco from 2009-2012 and Registrar and Gallery Assistant at Braunstein/Quay Gallery from 2006-2008. She holds a MA in Curatorial Practice from California College of the Arts, San Francisco, and a BA in the History of Art and Visual Culture from UC Santa Cruz. Morgan has contributed to programming and curatorial projects at a variety of institutions including the Oakland Museum of California, the M. H. de Young Museum, SFMOMA, and MASS MOCA.