"Sounds Like Art"(Aug.28- Nov.7) is a musical mobile. By mixing two different mediums, the exhibition at the Yerba Buena Center for the Arts dangles concepts from the visual and sound arts in a kaleidoscope of textures and ideas. The show playfully examines the roles between the artist, the artwork, and the viewer. The artists generally considered form over function. They presented works dealing with how the sound and visual arts are viewed and created, rather than the sounds they produce. Because the show is essentially about what creates music, the works are interactive and, hence, in a constant state of mutation; the viewer is invited to take part in the artwork and contribute to its growth or the re-defining of itself. The first half of the show confronts the viewer with "scores", or with large conceptual pieces. The integration between the viewer and art occurs through reactions. The second half of the show is deconstructive as it deals with the elements that create the scores: the instruments. The culmination of the show results in the viewer becoming the artist.

The first half of the show is reactive. These pieces are primarily concerned with the effects of pre-determined stimuli upon the viewer. For instance, with Trimpin's "Conloninpurple", an installation of hanging purple "raygun"-like horns, the viewer must initiate the artwork: when one stands before the open end of the instrument, the music is played. The piece develops as more people enter the gallery. It is very exciting and subtly creates energy as people enter the room to view it. In contrast, Matt Heckert's "Birds" is about the visual and acoustic impressions an artwork can make. The giant robotic birds are situated in a flock-like design and beat their wings in unison. It brings out nightmares I had when I saw Hitchcock's Birds. To view the exhibit properly, one can either walk into the center of the "flock"( and become part of the flock) or view it from a balcony above the piece. The works leave a visual and audio impact upon the viewer as they leave the work.

Acting as a "transition", Marina Rosenfeld's "Fragment Opera" consists of a combination of the ideals of the larger works and the smaller free- form instruments of the second half of the show. With her artwork, she intends to break down the boundaries of the viewer and artwork; she wants people to touch and to help give the piece new interpretations. Ms.Rosenfeld encourages strongly the integration of the artwork and the viewer. To do this she utilizes a combination of projected video images and record players. Inscribed above each record player is "please play records yourself". Where the previous two pieces hoped to get a prescribed effect from the viewer's interaction, the "Fragment Opera" wants the viewer to determine the effect by his/her interaction. Yet at the same time it builds and mutates this "visual-audio sculpture" into something new and invigorating.

In the second half of the show, the concepts of the larger installation pieces are broken down into an array of modified and inventive instruments. Like the "Fragment Opera", the viewers were encouraged to play with the instruments. There were a variety of stringed instruments formed into the shapes of boats by Peter Whitehead and one using the torso of a woman( called "Peter Whitehead's Dream" by Darrel Devore). Also, many of the "sculptures" came with step by step instructions. For instance, the giant water instrument called "Glass Glass" explained how to change the pitch and utilize the three giant water-filled glass urns( huh? I guess you'll have to go to understand….) or one could learn how to play the strange and bizarre looking Xylophone(made with construction nails).

Leaving the "Sounds Like Art" exhibition at the Yerba Buena Center for the Arts( which is on from Aug.28- Nov.7), I felt an accomplished conductor ready to make my next symphony on my portable blender- bzzzz. The show successfully diluted the roles of the artist and viewer through the exhibits. Like the rods and wire of a mobile, the artwork suspended the "way to look at art" by forcing an act of integration and interaction upon the viewer. On the opening night, a Gamelan Degung group, called Pusaka Sunda, and DJ Tom Thump performed: each emphasized the idea of making music, or art, through different methods, whether it be Eastern instruments or turntables and a mixer. It was about interacting and responding to the works. And I was ready to jam- bring your frying pan and let's go!!!!

Jason Nielsen

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