Because I enjoy museums and New York is chock-full of them, I'll use the artworld as an example of this metaphorical "tearing down of walls." Museums are using social media to reach a younger audience, sure. But by doing this they also open themselves up to criticism. Anyone can comment on their Facebook walls, or YouTube video uploads, etc. But I think this is useful "feedback," whether negative or positive, for the institution in question for both program development and marketing. It's also empowering for the audience to know that they have direct access to these institutions. Interactive art instills that same idea of empowerment.
There's also a rise in providing behind-the-scenes looks at art installations and performing arts productions. We know that canvas didn't just paint itself and crawl up on the wall for our eyes to see, nor did the dancers in that ballet wake up that morning with their costumes and makeup on. These were once processes reserved for a select few, the club of "very important people" to which most of us would rarely be a part of. I think these institutions are realizing that knowing what goes on in preparation for the final product makes viewers more appreciative of the work. I enjoy a good surprise, and often I want to form my own opinion and reaction without the influence of anyone else so I usually look for these sneak peaks after I've actually viewed the work. I've found this to be a good approach to most things, but there are instances where I absolutely want and need to know what I'm getting myself into. Shakespeare, for example, is not meant to be a surprise. I mean we all know what happens in Romeo and Juliet. For those who don't know, well let me tell you: everyone dies. Even if you don't read the full play, it helps going into it to know the plot (from Shakespeare to Ibsen to Williams). Knowing what the story is about leaves you to enjoy the art of the performance- the verbal, the non-verbal, the lighting, and the set design.
I think the nature of contemporary art, being sort of conceptual and a bit esoteric, also makes these explanations and insider views helpful for viewers to understand and maybe relate to the artwork beyond what they would have experienced without that information. While I don't really need to know the history of Romanticism to see the beauty in Turner's paintings. This, in my opinion, is more difficult when one looks at contemporary art. In those cases I feel that understanding the artist's history and mental processes raises my level of enjoyment of the experience exponentially.
To return to my initial thoughts on breaking down walls and emotional barriers, I'll be the first to say it's a difficult process. But I've also found it to be a great time-saver.
