![]() ![]() How, though, to approach pairing a specific artwork with a composition from the endless catalog of recorded sound? All art is really viewed from a subjective lens, and unless an artist has revealed direct musical links to their creations, finding appropriate audio pairings can feel like grasping in the dark, but through thoughtful investigation, it’s possible for complementary connections to arise. The visceral experience of encountering a potent artwork can spark a cascade of thoughtforms that flow across your senses. Art is an especially powerful mode of provoking a wide-spectrum sensual response. A taste can hit your tongue and travel to your mind, sketching an evocative scene that gives you goosebumps, channeling long-lost sonic memories aloft on phantom fragrances. Our senses are constantly overflowing into one another, influencing what we feel through the amalgam of their input. For him, sound and color were united fields that, when blended into new compositions, proved transcendent.Īlthough only two to four percent of people are thought to experience explicit synaesthesia, most humans absorb the world in a way that isn’t strictly compartmentalized. ![]() Kandinsky articulated his art practice in terminology that mirrored musical modes: “Color is the keyboard, the eyes are the hammer, the soul is the piano with the strings.” His works were harmonic compositions springing forth from his experience as a synesthete. He famously said “music is the ultimate teacher,” and his paintings were founded in color theories where distinct emotions and sounds were associated with specific shades and contours. Wassily Kandinsky was an artist for whom sound served as a spiritual guide. Some art of course calls out for music in true tones. Barron and her curatorial team don’t deal in the watered-down, and I can’t stomach half-baked creative processes, so we went all in-honoring the art by matching individual pieces with complementary musical companions. The sheer number of works on view and the goal of distilling their historical and emotional expanses into sonic reflections seemed overwhelming.Ĭonnecting music to specific artworks could easily have been approached as an exercise in afterthought, with slapdash pairings of songs and paintings, but this was never an option for us. When I was invited to collaborate with LACMA Senior Curator and Department Head of Modern Art Stephanie Barron to create a soundtrack for the reinstallation of the museum’s Modern Art collection, it initially struck me as a simultaneously exhilarating and intimidating venture.
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