In a unique move among New York’s prestigious art institutions, the Frick Collection has maintained a strict no-photography policy that sets it apart from other museums in the city. This decision underscores a commitment to preserving the traditional viewing experience amid a cultural shift that increasingly embraces smartphone usage in public spaces, including restaurants, bars, and nightclubs.
Julie Reiss, an art historian, shared her thoughts while examining a Renoir piece depicting two children and a parent. She emphasized that visitors to the museum should engage directly with the art, stating, “You are just supposed to be looking.” Unlike modern exhibition practices, there are no captions to provide context; only the viewers’ personal interpretations remain.
As Reiss observed the painting, she speculated on the identities of the children, noting, “Some very rich children… They are probably boys, because in Paris they would dress their young boys up like girls.”
Nearby, a lady tried to sneak a photograph, only to be reprimanded by a guard who promptly reminded guests of the museum’s policy. At other cultural venues, however, the sight of art enthusiasts raising their phones to capture images has become commonplace. At the Museum of Modern Art (MoMA), for instance, crowds gather like paparazzi clamoring for a glimpse of Vincent Van Gogh’s iconic painting, The Starry Night.
Megan Newton, 38, an art teacher from Ohio, likened the experience of trying to see the artwork to a rock concert’s mosh pit, saying, “You have to mosh-pit to see the Mona Lisa.” In her view, the intensity of the crowd creates a distinct experience, one that she describes as electrifying. She proudly displayed her photograph of The Starry Night, framed by the screens of fellow museum-goers.
Bethany Bules, 38, a French teacher and Newton’s friend, reflected that she could not recall a gallery visit without the presence of a camera. She criticized the Frick’s photography ban, calling it elitist. “The Frick doesn’t need it. MoMA doesn’t need it. But smaller museums do,” she pointed out.
Bules highlighted the importance of social media in generating interest, stating that tagging artworks draws attention from potential visitors who might otherwise overlook museums.
In contrast, at the Frick Collection, I encountered Dawn Anderson, 56, recounting her recent visit to the Metropolitan Museum of Art. This well-known institution offered no restrictions on photography, where she snapped photos of John Singer Sargent’s works and the explanation cards alongside the paintings.
Anderson expressed that she felt a pressure to capture everything she saw, often distracted by notifications from her phone. Standing in a passageway at the Frick, close to a historic cabinet of clocks, she shared her feelings toward the experience: “It’s sort of a spiritual experience,” echoed by her friend Martha Stockhausen, 54, who operates a women’s travel company.
The Frick Collection’s location within the former residence of industrialist Henry Clay Frick presents unique challenges for photography. With many artworks displayed in narrow corridors and without barriers, the museum prioritizes a contemplative, personal interaction with the art.
Henry Frick amassed his fortune through coke production for steel manufacturing and became a millionaire by 30. He passed away in 1919 shortly before his 70th birthday. Following his death, the New York Times reported that Frick’s vast art collection, considered one of the finest in the United States, and his mansion on Fifth Avenue were bequeathed to the city under his will. The Frick Collection subsequently opened to the public in 1935.
Interestingly, even at its inception, photography was not allowed. Recent renovations of the museum prompted some staff to wish they had photographic records of the opening events from years past. Fortunately, they could refer to photographs taken of the interiors in the 1920s for context.
In 2014, the Frick attempted to allow photography for a short period, but the policy was reversed after only three weeks. A spokeswoman explained, “People began backing up before paintings,” leading to the decision to reintroduce the no-photography rule. The Frick Collection continues to stand firm in its commitment to an unmediated art-viewing experience, amidst trends of pervasive smartphone culture in the world at large.
image source from：https://www.thetimes.com/us/news-today/article/new-york-henry-frick-museum-smartphone-photography-ban-gz2g9v0fl
