Charles Eppley is a PhD candidate working on the history of sound in modern and contemporary art. His research analyzes the role of sound in postwar installation and performance practices, particularly as they intersect with theories of site-specificity, materiality, and mediation. Holding degrees in art history and music, his research articulates an interdisciplinary history of sound in the arts. His dissertation – “Soundsites: Site-Specificity and the Materiality of Place in the Works of Max Neuhaus” – accounts for the role of sound within a larger history of site-specific art, wherein the construction of dynamic sound environments anticipates the spatio-temporal interests of earthworks and conceptual art. Charles has published his research and art criticism in Art in America, Rhizome, and Digital America, and has taught at The New School, Pratt Institute, and Stony Brook University.