Kristen Gallerneaux (Métis), PhD, is an artist, sonic researcher, and museum curator. Her interdisciplinary artistic practice involves various activations of sound, experimental video, performance, field research, and printed matter.
They have published on topics as diverse as mathematics in midcentury design, the visual history of telepathy research, white noise machines, and car audio bass battles in Miami. Her monograph, High Static, Dead Lines: Sonic Spectres & the Object Hereafter is available via Strange Attractor and MIT Press.
Gallerneaux’s first LP, Strung Figures (Shadow World Archive, 2021) followed a decade of creating electronic scores for her own experimental videos (The Hum, Echomaking), performance-lectures (They Were There When the Noise Started), and audio essays (Where the Whistles Mingle). Their second LP, The McClintic Chorus, is forthcoming in 2024. She has appeared as a speaker or performer at HKW Gallery (Berlin), Camden Art Centre, Whitechapel Gallery, Unsound Krakow, and Moogfest.
Gallerneaux was a 2019 Kresge Artist Fellow in Interdisciplinary Literary Arts.
They hold a Ph.D in Art Practice: Art & Media History, Theory, and Criticism (UC San Diego), an MS in Folklore (University of Oregon), and an MFA in Printmaking (Wayne State University).
Professionally, at The Henry Ford museum in Dearborn, Michigan, Gallerneaux is the Curator of Communication & Information Technology and the Editor-in-Chief of Digital Curation. Her curatorial work focuses on the intersections of the histories of technology, creativity, and activism. In 2023, they curated Lillian Schwartz: Whirlwind of Creativity – a career retrospective of the early computer filmmaker and digital artist.