Danielle Kelly is an artist and writer based in Las Vegas, Nevada. Kelly’s project-based practice ranges from installation to performance and has been featured in solo and group exhibitions in Los Angeles, Seattle, Las Vegas, San Francisco, and Portland. Kelly’s writing has appeared in such regional publications as Las Vegas Weekly and Desert Companion. Kelly is the Executive Director and Curator of the Neon Museum. She has done a series of interviews with artists with ties to Las Vegas for celebration of our music issue.
It’s important to hear the sounds of the studio; of the materials, machinery, and environment. Some materials will give subtle notice just before the fail; a crinkle, shift, ting, or slip. The hum or interruption of sound is good for both rhythm and to snap out of a lull.
Sometimes I have a ‘wind’ track that a friend composed a while back. That’s real nice.
2) What is your relationship to music in the studio?
That said, I still love music on. Often loud, sometimes just a murmur. Something with enough pauses/breaks in it, to let #1 in…
I either have a shuffle of music, hoping for the most random assortment possible from the largest possible pool. Wish I could just shuffle everything I own.
L. Cohen’s last two albums, Old Ideas and Popular Problems. These are on solidly enough to not really be a rotation.
A pretty harsh contrast, but currently on would be the newest Liars album, some odd Sonoio tracks sprinkled with bit A Place To Bury Strangers and lotsa of The Cars for good measure. Walls of sound…
4) What would be your desert island studio record?
Can’t do it. Top few of the top of my head?
The The’s Soul Mining or Infected.
Massive Attack’s Blue Lines would be up there.
Morphine’s Cure for Pain
Sisters of Mercy’s Slight Case of Overbombing
Not sure I could pick a single one of Leonard’s – I’m your Man, Various Positions, Recent Songs are all solid.
Brent Sommerhauser received his MFA from The Ohio State University, and has since exhibited in group and solo exhibitions across the United States and abroad. Notably, his sculpture was included in the 2004 Windsor Biennial and was selected for New Glass Review 26, featuring innovative works in glass worldwide. He is a participant in the Telegraph Art Collective which functions as a running conversation, typically conducted at long range, originating in Detroit, MI. Brent lives and works in Las Vegas, Nevada and enjoys taking things apart and putting things together – not necessarily in that order. Read more about him and his work here.