Museums woo a new generation with 'Instagram worthy' art
| Los Angeles
New York college students Helen Chen and Siyin Li are only visiting Los Angeles for a few days, but they decided to spend their Sunday afternoon in a line that wraps around the block.
鈥淭he minute we booked our trip, we bookmarked [The Broad],鈥� says Ms. Chen.
The Broad, a free contemporary art museum in downtown L.A., has welcomed more than since its opening in September 2015. The museum鈥檚 popularity has tripled annual expectations, say staff, and they attribute a lot of its success to Yayoi Kusama鈥檚 work, both her 鈥淚nfinity Mirrors鈥� exhibition that was on display last fall and one of the permanent pieces in the museum鈥檚 collection, 鈥淚nfinity Mirrored Room 鈥� The Souls of Millions of Light Years Away.鈥�
鈥淚t鈥檚 an Instagram-worthy shot for sure,鈥� says Ms. Chen, pointing to a picture on her phone that听a friend听took in Ms. Kusama鈥檚 room at The Broad and shared on Instagram. In fact, the hashtag #YayoiKusama has 563,200 posts on the social media site.
鈥淭he only reason people know about it is because of Instagram,鈥� says Ms. Li.听
That may be true for the Millennials in the crowd, who indicate that they consider the photo opportunity to be the museum鈥檚 major draw.
While New York City-based exhibits, such as the听听and Refinery29鈥檚听, ventured to the West Coast last year and sold out in a matter of minutes, Los Angeles has become a hotbed for Instagram-ready art installations in its own right.
At the Natural History Museum of Los Angeles exhibition, 鈥淭attoo,鈥� visitors can become a part of the exhibit at听. The听, with the tagline 鈥淐apture your happy,鈥� booked out weeks in advance for its picture-perfect confetti rooms and rainbow grilled-cheese sandwiches. And the听, where visitors can 鈥渆xplore the origin of the selfie鈥� while taking selfies of their own with interactive installations.
鈥淟.A. is a special area where interactive entertainment is really growing,鈥� says Tommy Honton, who co-created of the Museum of Selfies after working in the escape room industry. 鈥淲e have all the ingredients other cities may be missing: the artists, creatives, tech investors, and the space. L.A. audiences are savvy, open-minded鈥� and hungry for new forms of entertainment.鈥�
'It鈥檚 changed the way people look at art'
The art world is seemingly divided on this trend. Some听observers听believe that it has reinvigorated the interest of young people in museums and generated necessary ticket sales through free marketing, while others say seeing art through the lens of potential Instagram 鈥渓ikes鈥� is egotistical, disrespectful to the work, and threatens the value of other artwork that isn鈥檛 as photogenic.
鈥淭he power of Instagram to get people in the door is so seductive to museums. They may think, 鈥極kay that鈥檚 what works. Why are we not doing more of that?,鈥� 鈥� says Philip Kennicott, senior art and architecture critic for The Washington Post. 鈥淏ut there is a lot of other stuff in the museum that is maybe not as Instagrammable. Are [young visitors] going to that kind of stuff? Increasingly, I鈥檓 skeptical about that.鈥�
Kevin Pobjoy has only worked at The Broad for three months, but he has lost count of how many times he has said, 鈥淧lease don鈥檛 touch.鈥� That familiar museum refrain is more important than ever, as damage from selfies gone wrong can .
In the room holding Robert Therrien鈥檚 鈥淯nder the Table鈥� (a set of table and chairs 18-feet-high) a visitor approaches Mr. Pobjoy and all she says is 鈥淐an you 鈥� ,鈥� before he stretches out his hand for her camera phone. He even helps stage her photo: 鈥淭he best place for a photo is by this chair, where the shadows meet.鈥澨�
鈥淚t鈥檚 changed the way people look at art, but whether it鈥檚 good or bad is not for me to say,鈥� says Pobjoy, adjusting the light on the young woman鈥檚听camera. 鈥淎rt is meant to be enjoyed, in whatever way.鈥�
Kusama鈥檚 work 鈥� as well as a lot of the other 鈥淚nstagrammable鈥� art 鈥� at The Broad, was created long before cell phone cameras became ubiquitous. For example, Mr. Therrien鈥檚 鈥淯nder the Table,鈥� was completed in 1994, and the 80-something Kusama first began experimenting with reflection rooms in the 1960s.听
The acclaim for Kusama鈥檚 art听has remained steady over the last 50 years, but the ways in which visitors experience her work has changed.听
Stopwatch viewing听
Before her rooms drew long lines of camera-ready Millennials, museum visitors were allowed to experience听Kusama鈥檚 work without a time limit. Now, The Broad, for example, rotates visitors in and out of the听鈥淚nfinity Mirrored Room 鈥� The Souls of Millions of Light Years Away鈥� on a 45-second schedule.
Li and Chen waited at least five hours (in three separate lines) to get their 45-seconds in Kusama鈥檚 piece, too brief a time to get the coveted Instagram-worthy shot, Li explained later.
Mr. Kennicott has been in one of the artist鈥檚 rooms for multiple, uninterrupted minutes at a museum in Washington, and he says the experience was entirely different 鈥� and more fulfilling 鈥� than the brief encounter most visitors have.听
鈥淸Kusama鈥檚 rooms] have been really popular in the Instagram world, and I think it is because they are so popular in the real world,鈥� says Kennicott. 鈥淭he experience is not to be deprecated. Those are some wonderful minutes you can spend in there.鈥�
In some ways, the digital age has added fresh insight to the artist鈥檚 work.听For one, it is impossible to take a photo of Kusama鈥檚听mirrored听work听and have it not be a selfie. And if the message in her work is one of infinite reflection, it can be argued that sharing a photo of your visit to the museum 鈥� and then uploading it to the internet 鈥� allows the work (and the visitor) to exist together infinitely.
鈥淸S]ocial media is a way we connect with other people. It鈥檚 the same with the mirror room,鈥� says Sarah Loyer, assistant curator at The Broad.听鈥淲hen you see yourself reflected infinitely, it鈥檚 a loss of ego or individual self.鈥�
Ms. Loyer says 鈥渨ord of picture鈥� has been a big contributor to The Broad鈥檚 success.听The Guggenheim in New York has seen similar chain reactions for particularly photogenic exhibits,听according to the museum鈥檚 former digital director, JiaJia Fei.
鈥淣ot only are [visitors] taking pictures of art, they are taking pictures of themselves within these spaces. So in the pre-digital photography era, the message was 鈥楾his is what I am seeing. I have seen,鈥� 鈥� Ms. Fei said in a 2015 . 鈥淎nd today the message is: 鈥業 was there. I came, I saw, and I selfied.鈥� 鈥�
Selfies can be a part of the museum experience, but museum experts share similar advice: take time to learn about the work. Pobjoy says he has seen young families unknowingly pose for photos in front of subtly provocative paintings听before reading what the work is about or looking at the piece up close.
鈥淚 would just encourage visitors to, in addition to taking their photo, try to take a few minutes to really try to look at the artwork without the camera in between you and the object,鈥� says Loyer. 鈥淵ou can do both.鈥�
