This article analyzes the phenomenon of multi-sensorial, digital, and immersive art exhibitions of popular artists, which has been widely neglected in academic research, from a historical perspective. Reflecting the significance of lived experience in art consumption, this 21st-century phenomenon can be confronted productively with early-20th-century art reproductions. The article focuses on the characteristics of both popular phenomena and on their advertisement, as well as on the discourse around them, documenting reactions from resistance to persistence and accommodation. The analysis shows noticeable similarities between the two types of popularization of high art, positioning the new immersive exhibitions in a traditional line of technical innovative art popularization. Whereas photomechanical art reproduction had an immense influence on the popular art canon, being also dependent on ‘photogenic’ conditions of artworks and thus focusing predominantly on painting, the contemporary canon is predisposed by the immersible characteristics of artists’ oeuvres.

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Beck, Mirja (2023): “A Lived Experience. Immersive Multi-Sensorial Art Exhibitions as a New Kind of (Not That) ‘Cheap Images’”, in: Daniel Stein and Niels Werber (Ed.): New Perspectives on Pop Culture (Special Issue Arts). DOI: https://doi.org/10.3390/arts12010016.