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Most museums across the US and Europe have had a difficult time handling the selfie onslaught. Like early 20th century art critics snubbing Pablo Picasso, they’ve been banning selfie sticks right and left, while begrudgingly allowing or actively encouraging the taking of selfies.
But thankfully, a few visionaries in the Filipino capital of Manila are being much more open-minded. They’ve launched the world’s first selfie museum, Art in Island, where the point isn’t to look at art — how boring is that? — but to pose for photos with it.
“Whenever you visit an art museum, you are always expected to just look around quietly,” the museum’s founders complain on its Facebook page. “You don’t even have a single proof of you being there. That’s why, for those who think that ‘art museum is not for me,’ we bring you ART IN ISLAND.”
Their interactive venue helps jaded museum-goers regain a healthy perspective on art by allowing them to touch, sit on, and climb 3D approximations of paintings like Leonardo da Vinci’s “Mona Lisa” and Vincent van Gogh’s “Starry Night.” With portions of each work slightly altered or left out entirely, the art isn’t even finished until you complete the picture.
Best of all, it takes only two hours to get through the entire museum — a refreshingly short trip compared to the literal days you can spend lost inside the Met without a selfie stick. Art in Island is the perfect museum for the world’s selfie capital.
Art in Island (175 15th Avenue, Quezon City, Manila) is open Tuesday–Sunday, 9:30am–9:30pm.
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.