Experience the power of sound sculptures at the Met. Jennie C. Jones creates an installation that blurs the line between music and visual art.

BY KAZEEM ADELEKE, ARTCENTRON

NEW YORK, NY- Three monumental sculptures by the famous American artist Jennie C. Jones are currently on display at the Metropolitan Museum of Art (Met) on the Cantor Roof Garden. This striking exhibition, titled Ensemble, invites art lovers to explore the visual aspects of the sculptures. It also encourages a deeper reflection on the implications of sound and silence. Jones’ innovative work challenges the boundaries between art and music. It offers a thought-provoking commentary on the role of sound in contemporary art.

The Silent Potential of Sound: A Deep Dive into Ensemble

Ensemble represents a remarkable reimagining of sound within the visual arts. The installation consists of three large sculptures that resemble musical instruments. Their appearance blurs the lines between art and performance. This installation prompts viewers to engage with the theme of sound. It challenges them to query what installation is, how it exists, and when it remains dormant.

Among the three sculptures, only one actively produces sound. This piece, an Aeolian harp, comes alive when activated by the natural movement of the wind. The harp hums and vibrates as it interacts with the breeze, embodying the concept of musical potential. The Aeolian harp symbolizes the anticipation of sound. It invites viewers to reflect on when sound exists and when it remains silent. In this way, the work speaks to a broader idea: that silence holds as much potential as sound itself.

The other two sculptures, although designed to produce sound, remain silent. This absence creates a stark contrast to the active sculpture, highlighting the tension between expectation and inaction. The quiet sculptures hold an untapped energy, a promise of sound that never fully materializes. This interaction between dormancy and activation adds complexity to the installation. The viewers are urged to contemplate the space between action and stillness.

A Tribute to Sound and Silence in Sound Sculptures at the Met

Jones meticulously designed each sculpture, not as mere abstract objects, but as conceptual forms inspired by musical traditions. The pieces combine aesthetic beauty with functional innovation. They draw from the history of musical instruments while offering new interpretations of form and sound.

The first sculpture is a trapezoidal zither, an instrument typically used for producing sound. Jones, however, reimagines the zither as a low-frequency bass trap that absorbs sound rather than emitting it. This dynamic creates an auditory void, emphasizing the relationship between sound and silence. The absence of vibration is just as meaningful as the sound itself. This reinforces the idea that silence can be a form of expression.

The second piece, the Aeolian harp, relies on natural forces to produce sound. Wind passing through the strings activates the instrument, creating a gentle hum. The harp becomes a collaboration between the artwork and the environment. In this collaboration, the wind serves as the performer. It offers a meditation on the unpredictability of sound. This piece underscores the idea of chance in music, where external elements—rather than human intent—dictate the performance.

The third sculpture features a single string. It leans forward in a manner that pays homage to musical improvisers Moses Williams and Louis Dotson. The design of this piece suggests motion and possibility, yet it remains dormant. This piece is a nod to the experimental nature of music. A single note, a single string, or a single sound can open up an infinite range of creative possibilities.

Sound and Silence: A Conversation Between Two States

At the heart of Ensemble lies an exploration of sound and silence—two seemingly opposing states with a symbiotic relationship. The installation invites viewers to reconsider conventional notions of sound as active and silence as passive. Traditionally, sound resonates with performance and communication, while people often view silence as an empty void. But in Ensemble, silence is not merely the absence of sound; it demonstrates potential.

Jones’ sculptures challenge these preconceptions. While the sculptures are mostly silent, they carry a latent promise of sound. The tension between expectation and inactivity invites viewers to reflect on the essence of art. It emphasizes art’s ability to evoke meaning even in the absence of overt expression. Like unspoken thoughts, the sculptures hold immense value in their quiet presence. They offer a profound commentary on the potentiality of both sound and silence.

Jennie C. Jones’ artistic practice often intersects with themes of Black culture, minimalism, and avant-garde music. Her work in Ensemble reflects these influences, drawing on the rich aesthetic and musical traditions of Black culture. Jones’ use of sound as a conceptual element speaks to her commitment to expanding the sonic imagination. She encourages viewers to think about sound in unconventional ways.

Her sculptures also pay homage to minimalism, an art movement that emerged in the mid-20th century. Minimalism emphasized simplicity, repetition, and the exploration of form. The geometric shapes of the sculptures, particularly the zither and the one-string instrument, are minimalist in nature. These stark, clean designs allow the viewer to focus on the space occupied by the sculpture. They highlight the potential energy that exists within that space.

The Met’s Roof Garden: A Historic Venue for Contemporary Art

The Cantor Roof Garden at the Metropolitan Museum of Art is a historic site. It is popular for its engagement with contemporary art. Since the 1980s, the museum has commissioned large-scale installations that interact with the surrounding environment. Past exhibitions have featured artists like Lauren Halsey and Petrit Halilaj, whose works have explored themes of Afrofuturism, war, and resilience.

Jones’ Ensemble is significant for its innovative approach to sound as an artistic medium. Unlike many previous exhibitions that focused solely on visual aesthetics, Jones’ work invites viewers to engage with sound as a key component of contemporary art. The physical presence of the sculptures on the roof is secondary to their sonic potential. The unspoken possibility of sound lingers in the air, waiting to respond to stimulation.

Ensemble is the final installation on the Met’s roof for the next five years. This hiatus precedes the opening of the new Oscar L. Tang and H.M. Agnes Hsu-Tang Wing in 2030, which will house the Met’s extensive collection of 20th- and 21st-century art. Although the roof garden will not feature installations during this time, the impact of Ensemble will continue to influence the art world. Jones’ exploration of sound and silence offers a new lens through which future artists and exhibitions will approach the relationship between sound, space, and visual art.

Sound Sculptures at the Met: A Sonic Experience

Jennie C. Jones’ Ensemble is a groundbreaking exhibition that challenges our perceptions of sound, silence, and the unseen potential within art. Through her three sculptures, which straddle the line between art and music, Jones invites us to reconsider the role of the observer, the artist, and the artwork itself. Whether silent or vibrating with wind-driven sound, these sculptures spark the imagination and evoke a sense of anticipation. The sound sculptures at the Met are a delightful experience.

If you have the chance, visit the Met’s rooftop garden before October 19 to experience this transformative exhibition firsthand. Even beyond the physical installation, the ideas inherent in Ensemble will resonate years after. They will leave an enduring legacy in the world of contemporary art.