These exhibitions fly in the face of the art they sensationalize in many ways, not least of which in their disregard for the artist’s personal experiences: Frida Kahlo was a staunch communist; Vincent Van Gogh toiled in obscure poverty.
“Immersive Frida Kahlo” was presented by Lighthouse Immersive at SVN West in San Francisco in spring 2022. My experience at “Immersive Van Gogh” and “Immersive Frida Kahlo,” both presented by Lighthouse Immersive at SVN West in San Francisco, was anything but immersive. These types of experiences are a growing trend around the art world, luring thousands of visitors into funhouse-type spaces in which animated projections of paintings are set to music.
Both exhibitions stick to a similar template: patchwork, animated reproductions of paintings spliced with historical photographs set to musical soundtracks, progressing through a loosely chronological timeline of the artist’s life. Neither exhibition seems to know exactly what it wants to be.
In his 1936 essay, “The Work of Art in the Age of Mechanical Reproduction,” the German critic Walter Benjamin points out that “the work of art has always been reproducible,” from students copying masters to Greco-Roman bronze casting to photographic reproduction, “by anyone seeking to make money.” Benjamin’s essay is largely concerned with film, not gift shops, but it is useful to think of the immersive exhibitions in these terms.
Still, there are pros and cons to this dissemination of art: Art is no longer so sequestered and more people gain access; often this is done in the name of capitalizing off of the work of art, rather than in the name of a democratization of access to artworks.
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