Museums in the Instagram era
The fact that Instagram has changed our way of relating to art is clearly apparent. Different artists display their work through the social network, where they have a direct relationship with their followers. This has allowed many of them to sell their work over the social network at prices that some gallery owners would envy. Whether this is a positive or negative change, whether it is art or not, I will leave to your judgment. But beyond the detractors that may arise from these arguments (which there always are), we can only face facts.
What is clear is that it is increasingly difficult for young people to go into museums (I'm speaking generally, please don't get angry) and, at the same time, they feel closer to social media. With these data, the equation is clear: museums + Instagram = a friendly approach. We will for sure be surprised to see where this amalgam will take us. You, me, everyone.
A solution widely used by museums today is to bring art closer to Instagram. That is, museums are gaining ground on social media. The clearest example, Thyssen: in April, they announced a competition for young people between 18 and 30 (is the niche they want to target clear?) to make versions of the paintings in their permanent collection and upload them to Instagram. In addition to tempting prizes: they will distribute more than 8,000 euros. One more detail: the jury is made up of Instagram influencer artists: Ricardo Cavolo, Lara Lars and Miranda Makaroff. This is just an example of all the proposals that have been made.
A new way of understanding museums
"Selfie time!", "This deserves at least one story" - expressions we are more than used to hearing in our day-to-day lives. This draw has been used by many museums departing from the conventional to open up a space in young targets. So much so that many have broken away from the classic museum concept and have turned towards pop-ups, that is, collections with an end date at art centers or at the museums themselves.
Thus, in 2016 they created the pop-up Museum of Ice Cream, more "instagramable" than a paradise beach. It is currently in San Francisco, but has gone through cities like New York, Los Angeles and Miami. In pastel colors and highlighting pink, this is a space designed to awaken the five senses; in addition to paintings and sculptures relating to ice cream, visitors can also taste, touch, smell. Another example is Color Factory, an exhibition devoted to colors where all the senses have a leading role to play for you to be able to immerse yourself in it. In short, these spaces are not designed to display classical art, but to exhibit items and situations to impress on Instagram.
After reading this, you might ask: Is this the end of art as we know it? Or, on the contrary, have new ways of understanding it been opened up? I'm throwing these questions out there for reflection. A bit alone. I'm not looking for a thesis.
Andy Warhol and his pop-art proposal were highly criticized at the time because they dismantled the artist prototype and, as a result, art itself. What no one questions today, more than 30 years after his death, is that he is still one of the most charismatic and influential creators in history, who knew how to break away from the blueprint for art in his time. Like Warhol did, is Instagram opening up a new way of understanding art?