About the Artist
Stephen Vitiello is an electronic musician and media artist. CD releases have been published by New Albion Records, Sub Rosa, 12k and Room 40. His sound installations and multi-channel works are in the permanent collections of the Museum of Modern Art, the Whitney Museum and the Museum of Contemporary Art, Lyon. Exhibitions include a site-specific work for NYC’s High Line, “Soundings: A Contemporary Score,” at the Museum of Modern Art; the 2002 Whitney Biennial; and the 2006 Biennial of Sydney. Over the last 25 years, Vitiello has collaborated with such artists and musicians as Pauline Oliveros, Ryuichi Sakamoto, Taylor Deupree, Joan Jonas, Julie Mehretu and Steve Roden. Vitiello has been awarded a Guggenheim Fellowship for “Fine Arts,” a Creative Capital grant for “Emerging Fields” and an Alpert/Ucross Award for Music. In 2012, Australian Television produced the documentary, Stephen Vitiello: Listening With Intent. Originally from New York, Vitiello is now based in Richmond, VA where he is a professor of Kinetic Imaging at Virginia Commonwealth University.
"What more can you ask of a work of art than that it alter your breath -- that it first make you aware of your own breathing and then slow it, shape it, sculpt it? Stephen Vitiello's show at MC is revelatory in that most visceral way. It doesn't just appear before you but instead engenders a kind of reciprocal occupation: You enter its realm and, in turn, the work makes its way into both body and mind."
“Rattle and hum: Stephen Vitiello's 'duets'” Leah Ollman, Los Angeles Times, August 22, 2008
“Electronic musician and sound artist Stephen Vitiello transforms incidental atmospheric noises into mesmerizing soundscapes that alter our perception of the surrounding environment. He has composed music for independent films, experimental video projects and art installations, collaborating with such artists as Nam June Paik, Tony Oursler and Dara Birnbaum. In 1999 he was awarded a studio for six months on the 91st floor of the World Trade Center’s Tower One, where he recorded the cracking noises of the building swaying under the stress of the winds after Hurricane Floyd. As an installation artist, he is particularly interested in the physical aspect of sound and its potential to define the form and atmosphere of a spatial environment.”
Fondation Cartier pour l’art contemporain catalog for the exhibition
Ce qui arrive/Unknown Quantity, 2002