The Metropolitan Museum of Art unveiled “Ensemble,” a site-responsive installation by artist Jennie C. Jones at a recent press conference. This exquisite exhibition is now on view at the Met’s Iris and B. Gerald Cantor Roof Garden from April 15th until October 19, 2025.
“Ensemble” is composed of three large sculptural forms that are based on string instruments — a trapezoidal zither, anAeolian harp, and a one-stringed instrument — bounded on two sides by a floor piece that acts as both a metaphoric conductor of the ensemble and a boundary-marker of the stage-like area. The sonic potential is amazing, as the sculptures sit quietly in place, waiting to be heard. One would think that a strong wind on the roof could produce, even, a tiny sound.
Born in 1968 in Cincinnati, Ohio, Jennie C. Jones is the second African American woman artist to be commissioned by the Met for a Roof Garden installation. Overlooking Central Park and New York City’s skyscrapers,”Ensemble” is the 12th in the series of commissions for the outdoor space.
Ms. Jones explained, “I drew inspiration for ‘Ensemble’ from the Roof Garden’s location and The Met itself,” and was also inspired by Black avant-garde music. You’ll notice that the sculpture’s powder-coated aluminum surfaces, in deep red colors, contrast with concrete blocks that resemble travertine, a material used in constructing the Museum’s Great Hall and throughout its buildings
The mechanics of the sculptures, including the strings and tuning mechanisms, were partially inspired by some of the contents of the Met’s musical instruments galleries. Jones based one particular piece on the shape of a sound absorber used in one of her earlier works (2013); the freestanding Aeolian harp appears massive in form but requires viewers to lean in close in order to hear any potential sounds produced by the wind.
“We are thrilled that Jennie C. Jones has brought her unique artistic vision to the Met’s iconic roof garden, “said Max Hollein, the Museum’s Marina Kellen French Director and CEO. “Elevated high above the sounds and rhythms of New York City, her innovative installation seamlessly combines form, color, line, and acoustics, challenging visitors to engage with sculpture in new and unexpected ways.”
David Breslin, Leonard A. Lauder curator in charge, Modern and Contemporary Art, added, “Jennie C. Jones’ fidelity to abstraction invites viewers to pay attention to the quieter pathways where profound meaning reside[s]. By combining the sensorial experiences of casual art and sound, Jones is one of the most thoughtful and compelling voices in contemporary art today.”
The exhibition is also accompanied by a publication available at the Met’s gift shop. For more info, visit metmuseum.org.’