Exhibition

What Is Not Music? Hummin’ & Strummin’ with William T. Wiley

April 22 – June 6, 2027

Haight Street Art Center

An exhibition featuring William T. Wiley’s audio, video, and music-themed artworks.

A violin neck seamlessly emerges from a white and black wingtip shoe, which steps on a dark green grass. Behind it, a violin bow rests in the grass. All of this amidst a heavy, textured downpour of white raindrops against a blue background and a sidewalk.

Thursday–Sunday  12 p.m.–6 p.m.

Free

ADA Accessible

What Is Not Music? Hummin’ & Strummin’ with William T. Wiley, captures the lyrical side of this important and influential artist via audio, video, and music- and instrument-themed artworks. Known in the fine art world for his paintings, watercolors, drawings, prints, and sculptures, William T. Wiley (1937–2021) was also a dedicated musician, opening for the Grateful Dead, collaborating with composer Steve Reich, performing with Texas artist Terry Allen, and recording with artist Mike Henderson.

Born in Indiana, and raised in Eastern Washington, Wiley came to San Francisco in 1956 to attend what would become the San Francisco Art Institute. Wiley earned his BFA and had a solo show at the San Francisco Museum of Modern Art in 1960, and received his MFA in 1962. By 1963, Wiley had joined the faculty of the UC Davis art department, teaching alongside Robert Arneson, Roy DeForest, and Wayne Thiebaud. During this period, Wiley mentored students who would go on to become major artists in their own right, including Bruce Nauman, Richard Serra, and Deborah Butterfield.

Throughout his life, Wiley exhibited widely, showing at the Walker Art Center (1979), Venice Biennale (1980), Whitney Biennial (1983), de Young museum (1996), and the Smithsonian American Art Museum (2009), where he was given a comprehensive career retrospective. More recently, Wiley’s work was featured in Sixties Surreal, also at the Whitney Museum of American Art.

Exhibiting Artists

William T. Wiley

A brown bear on the left looks toward a yellow French horn and a blue bowler hat on the right top corner, set against a blue watery background. The bear features a short poem by Michael Hannon written on its fur and a thought bubble containing a rebus puzzle with an ear, a rake, and a handsaw cutting a block of wood. At the bottom, handwritten text reads, "So... BEARS ARE WONDERFUL CREATURES & I’LL BE THE FIRST TO SAY BUT WHEN IT COMES TO FRENCH HORNS.. HUH UH MAN NO WAY !!"
A close-up photograph of two custom wooden stringed instruments with mixed-media art. On the left, an open reddish-brown case reveals a marbled interior and curving white wires with a hanging glass vial. On the right, a rectangular instrument features a white face with strings, a grey section painted with a violin f-hole, a black-and-white checkerboard corner, and a splash of colorful abstract paint.
A large bass drum with a red shell and a yellowed drumhead, heavily layered with chaotic doodles and handwritten text. The front drumhead is pierced by a green, globe-shaped mallet and features phrases like "O.K. LETS OIL UP THE NUCLEAR BAND." The surrounding grey background is densely covered in handwritten graffiti-style notes, mathematical symbols, sketches, and overlapping commentary.
A banjo's located in the center of the image with a colorful background of stripes of color (top white, middle yellow, and bottom black or dark green). The head looks like a globe. There are phrases within the globe on top of the tropic lines such as "Waiter there's a claim in my soup!".  To the left of the banjo's head other sentences can be found floating on the dark color stripe, such as "P.S. Before GAFFEDYA was dubbed [indivisible] The Lil' Patriot haven't you waited too long for yours..."

William T. Wiley, The Bear, 2000. Ink and watercolor on paper. Courtesy William T. Wiley Foundation

Haight Street Art Center

The Haight Street Art Center serves San Francisco’s poster art and artist communities with educational and cultural development programs and exhibitions. Drawing upon music, art, and counterculture history, we provide a space that bridges communities through social activism and artistic expression.

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