题型：阅读理解 题类： 难易度：困难
北京市丰台区2023-2024学年高一下学期期中考试英语（B卷）
According to a 2018 report, people aged between 16 and 24 make up about 15 percent of the population but only 10 percent of museum-goers. Similarly, people aged over 35 go half as much as you would expect from their population size. We have reached the point of recognising the disconnection between art and the audience but haven't yet determined how to bridge the gap. Two answers to tackling this challenge lie in telling a greater diversity of art histories and communicating these stories in more accessible ways.
In 2018, a radio program called Art Matters was started with the aim of discussing art from a pop-culture viewpoint with topics that would engage younger and more diverse audience. It offers an accessible pathway to art history with conversations on different topics. Art history is about storytelling; art content shines when there is an effort to bring audience along for the discussion.
More traditional institutions are paying attention. Recently the Getty Museum issued a social-media challenge for people to recreate paintings using items they had at home. Users displayed incredible creativity, and the museum was flooded with submissions. This reaction proves that there is a potential desire for the audience to engage with art topics if the format is appealing. Since many people feel intimidated and think that there's a base level of understanding required to join the conversation, the Getty initiative serves as a reminder that there are many pathways to engaging with it.
Another result of the Getty challenge was the exposure given to a diversity of artworks. The famous opera singer Peter Brathwaite, for example, made scores of attractive recreations highlighting centuries of black paintings. His efforts opposed the idea that there were not many historical paintings of black figures. It is extremely important that we do a better job of showing the complex and diverse stories that are represented in art.
Social media have offered a platform for people who have not traditionally had a seat at the table. Anyone can recognise a gap in the field and address it. Accounts have gathered tens of thousands of followers. They are the proof that there is hunger to hear these art histories, and these themes work brilliantly for museum programming.
But there is only so much that can be done without the museums and galleries changing meaningfully from within. We need to see a better balance of these stories represented in permanent collections. We also need a much wider diversity of people and interests represented on board. Ensuring that art—and writing and talking about art—is able to continue on the rising generation of storytellers, inside and outside of institutions, getting the funding and support they need to paint a brighter picture for the part.
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