What Does Music Look Like? A New Show Unpacks the Aesthetics of Sound

A forthcoming exhibition at the San Francisco Museum of Modern Art is making the case that music is as much a sonic experience as it is a visual one. 

“Art of Noise” will gather a staggering 800 art and design objects that have enhanced and vivified the experience of music over the past century. They range from product to graphic design, and span ages, but all of them have enhanced our relationship to music. Or, as curator Joseph Becker told me over a video call: “The artifacts that accompany the music lend presence to the music itself.”

When it came to building the exhibition, Becker was spoilt for choice. Most of the works on view emerge from SFMOMA’s permanent collection, which include such highlights as record sleeves, ads, and flyers from the Bay Area’s psychedelic rock heyday. In particular, the museum holds the complete collection of rock posters printed by legendary promoters Bill Graham and Family Dog Productions during the 1960s and ’70s. All 460 of them are going on view as a set for the first time. 

Also given an outing are works designed by the likes of Milton Glaser, best known for his 1966 poster of a fiery-haired Bob Dylan; Emmet McBain, who left his primary-colored imprint on jazz records; and Victor Moscoso, designer of the 1960s’ trippiest posters. 

The show’s focus on music’s aesthetics stretches to encompass product and industrial design as well, namely the technology that’s made music playback possible. The gadgets arrayed here will trace a century’s worth of design and engineering evolutions from early phonographs to boomboxes and stereos to iPods. Sculptures by artists Ron Arad and Tom Sachs also feature. These devices, said Becker, “have allowed us to have different relationships to music.” 

The curator is especially jazzed about interactive installations dotted throughout “Art of Noise.” One work by Teenage Engineering, titled Choir, will feature wooden figurines programmed to “sing” in various music genres in different tonal ranges. Another work, by celebrated engineer Devon Turnbull, will take over a gallery with giant custom speakers that will play a selection of rarities and master recordings in devastatingly high fidelity. For those conditioned to the playback quality of AirPods, Turnbull’s immersive installation promises “an awakening experience,” Becker said. 

Yuri Suzuki’s commission, Arborhythm, offers a similar listening experience outdoors, where visitors can recline amid tree-like sculptures. “The natural and urban sounds are remixed into this wellness soundtrack,” Becker explained. “It gets a little bit like a sound bath, a sonic conditioner.”

The show will be rounded off by SFMOMA’s latest acquisitions, including a 1965 Brionvega RR126 stereo system, designed by Achille and Piergiacomo Castiglioni, as well as the DJ deck custom-designed by Teenage Engineering for Virgil Abloh’s set at Coachella in 2019. 

“This has been such a wonderful project to work on,” Becker reflected. “There are so many different access points to music because it’s so deeply ingrained in cross-cultural experiences. I think music just touches people in a way that is similar to art, but also in a way that is more universal.” 

“Art of Noise” is on view at San Francisco Museum of Modern Art, 151 Third St, San Francisco, May 4 through August 18. 

Source: Exhibition - news.artnet.com