Reflection 2: A Tale of Two Experiences — Navigating Artistic Accessibility in NYC
In the global cultural hub of New York City, opportunities to engage with the arts are everywhere. However, the accessibility of these experiences can vary significantly, as highlighted by my recent visits to two very different exhibitions: “Perfect Days” (2023) by Wim Wenders, a film screening at the Brooklyn Academy of Music, and “Klimt Landscapes”, a rotating visual art exhibit at the Neue Galerie.
At the former, I paid a modest $8 for a ticket and entry was straightforward and painless. The welcoming atmosphere extended beyond the ticket booth, with ushers guiding late moviegoers to their seats with flashlights. Once settled, viewers were treated to a two-hour art film in Japanese with English subtitles, directed by the Berlin-based Wenders. Despite the language barrier, the experience was delightful, offering a glimpse into a different cultural perspective. The film follows a Tokyo-based public toilet cleaner, showcasing how, despite working a job that may be considered unambitious or working class, his life is full of joy derived from music, literature, and meaningful relationships to the people around him. Although we chose to see this movie on a whim because my partner gets discounted movie tickets as a BAM member, I was pleasantly surprised by the movie’s message of staying present in the moment and enjoying life without worrying about what the future may hold.
In contrast, a visit to the Neue Galerie to view “Klimt Landscapes’’ proved to be more challenging. First, the ticket price was higher ($15, even with a student discount). On top of that, my party had to wait outside in the cold for 20 minutes due to metered admission. Once inside, the gallery was stuffy and restrictive, with overly-controlling security personnel prohibiting photography and even dictating how patrons could handle their coats in the narrow rooms. After viewing the exhibition, patrons were further inconvenienced by being forced to exit the gallery and wait in another line to access the museum café. The overall effect of the experience was that, even though we intentionally picked this exhibit out of nostalgia for Klimt’s work from a long-ago vacation in Austria, the starchy atmosphere completely overwhelmed the art itself. I spent the entire time feeling annoyed and unwelcome, and never really got a chance to appreciate the (beautiful) paintings by a renowned master.
One clear theme stands out clearly to me from reflecting on these two experiences: performative exclusivity sucks. While one might assume that a foreign film would be less accessible than an exhibition at a renowned New York City gallery programmed by native English-speakers, the reality proved otherwise. It’s good for art to challenge and provoke thought. But it should not do so at the expense of accessibility. The frictionless nature of the BAM experience serves as a reminder that approachability should be prioritized and encouraged, regardless of the artistic medium or venue.
This theme is highly relevant to our coursework on design– another sector with elite, high-brow associations– this semester. Designers serve people, and should seek to build solutions that facilitate approach (especially for the uninitiated) wherever possible. Likewise, as cultural ambassadors, artistic institutions have a responsibility to break down barriers and embrace accessibility as a core tenet of their mission. By doing so, they can ensure that the transformative power of art is accessible to all as a source of enrichment and fulfillment.
