Anne E. Stoner (b. 1999) is a sound artist, researcher and social practitioner whose work criticizes geographic, infrastructural and political systems of disability, injury, and death. 


Her work has been shown nationally and internationally, with solo exhibitions at the Tang Museum, New York State, and the Chazen Museum, Madison. Anne’s sound and writing can be read and listened to in Resonance: The Journal of Sound and Culture, Global Performance Studies Journal, and the Struer Tracks Sound Biennial Almanac. 


Anne holds an undergraduate MA(h) from the University of Edinburgh, Edinburgh College of Art and an MA from Northwestern University. In 2026 she earned an MFA in Studio Art, focusing in time-based media, from the University of Wisconsin, Madison. She currently teaches Art and Art History at Carthage College.


Email: anneestoner@gmail.com
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News:

October 15-17, 2026 - Speaking at the American Association for Arts of the Present (ASAP) Conference, 2026

June 2-29, 2026 - Artist in Residence at the I-Park Foundation

Apr 10–May 22, 2026 - Infrastructure Bodies/Injury Systems: An Exhibition by Anne E. Stoner at the Chazen Museum of Art

Anne E. StonerHomeNewsCurator’s Essay


Infrastructure Bodies/Injury Systems

With the Chazen Museum of Art, Memorial Union Gallery
April 10-May 22, 2026




Infrastructure Bodies/Injury Systems is a counter-surveillance that explores the contemporary state of the American street as cyclically disabling and criminalizing. Who is welcome in the street, and how must they move and present to be accepted as “orderly”? How are disablement, injury, and death intertwined with political resistance?



This project presents an assemblage of municipal surveillance videos, which I obtained through the Freedom of Information Act from cities in the Midwest. These videos capture an array of street moments from the last twelve months that document the American governmental climate. From these videos, I have developed a pixel-responsive sonic programming system, turning digital human movement into sound, coupled with voices from those injured in protests in the United States.




Infrastructure Bodies/Injury Systems responds to the American sociopolitical state, particularly the 2025 executive order, “Ending Crime and Disorder on America’s Streets.” The exhibition claims this order as a twenty-first century Ugly Law, a series of ordinances that criminalized unsightliness, loitering, and vagrancy in nineteenth-century American cities, particularly Chicago. The project criticizes new AI-powered surveillance systems—which listen for “dangerous” noises, visually track for disorder, and sort for bodily traits (skin color, gait, height)—as furthering the power of this contemporary Ugly Law.

How does a politicized human body sound within a governmental system, and how must we pay attention in order to hear it?