Many times when I have encountered a brusque and surly teenager in the museum (whether on a tour, in a program, or simply visiting with his or her family), I do wonder what that kid will be like years down the road. Maybe it’s the parent in me, but I can’t help thinking: will that teenager still roll their eyes during museum visits? will they perhaps change, and gain a new perspective toward museums? These same questions arose when I first read Howard Hwang’s now-infamous article “Why Museums Suck” — would he really be such a choleric and grumpy person after he became an adult? Could we ever see Howard visiting a museum alone or with his family, and loving it? If I could only hop into a time machine, and ask him myself.
Well, as it turns out, no time machine is necessary! As I dug further and further into the LA Youth article, I not only found out that Howard wrote the piece 11 years ago (part of a fall 2001 issue), but I was able to get in contact with Howard himself to ask him a few questions. And while I would have loved to actually use a time machine to write this epilogue to my original post “Why Museums Don’t Suck,” I was lucky enough to speak with the now 26-year-old Howard about his article, his thoughts about museums, and what he thinks about all this attention surrounding his article so many years later. In my opinion, this is a fascinating turn of events in a story that has garnered so much attention from across the museum community.
Here are my notes and thoughts from my short but very interesting phone conversation with Howard Hwang:
and now, the rest of the story…
Thoughts on writing the original LA Youth article: I began by asking Howard to tell me a bit more about why he wrote that article back in 2001 about “why museums suck,” and his thoughts at the time. He remembers writing the article as part of a group/community paper, focusing mostly on it being a piece that kids his age would read. It grew out of a high school project in which he was analyzing museums, so the article seemed a natural extension. “I wanted to be very honest, very blunt, and not sugar-coated,” recounts Howard. After writing the article, he recalls telling his sister, “I want to write something that will make people feel that I am talking to them.” This is a tone that made the piece more visceral for me and many of the museum professionals who have since commented, and I think it represented a certain level of honesty that many of us admired.
Thoughts on reading the article 11 years later: Howard’s editor from LA Youth (11 years ago) contacted him recently to let him know about all the back-and-forth going on in the blogosphere about his article, thinking he might enjoy seeing the ArtMuseumTeaching.com blog post and comments. So Howard did, and then he also read his original article which he hadn’t returned to since it was first published. So what was his immediate response? “My face turned bright red,” says Howard. He told me that he feels totally embarrassed by his teen article, especially because his entire perception of museums is completely different now. I asked him a little more about why he might have written something like this back as a 15-year-old, and he remembers being very “A.D.D.” with a low threshold for attention — something had to really jump out at him to win his favor.
Current thoughts about museums: It was great to hear that Howard’s attitude towards museums has totally changed. But I asked a little more about why, and how did that change come about. Howard attributes much of this shift to visiting museums in college for certain classes. Majoring in molecular biology at the time, Howard says “I really started going to museums when they related more to my own interests.” And those interests were obviously there in Howard when he was 15 as he capped his grouchy LA Youth article with unique praise for the Natural History Museum of Los Angeles, writing: “All you museum people should go over to the Natural History Museum. This is a great museum.”
Any favorite museums these days? My final question for Howard related to any museums he might visit regularly now, and why. He quickly mentioned the California Academy of Sciences, which he visits regularly (being a resident now in the San Francisco Bay Area), and actually just visited a few weeks ago to see their newest exhibits. Our conversation concluded with a brief discussion of what might make a museum more attractive to him these days, and Howard spoke of the volunteer tour guides and docents that interact with the public. “The quality of tour guides,” says Howard, “are a very powerful thing for the museum experience, increasing the attractiveness of museums.” He recounted the knowledgeable tour guides at the California Academy of Sciences during tours he has taken, and he wrapped up our conversation chatting about the importance of human interaction in museum learning.
I extend an enormous thanks to Howard for agreeing to talk with me about his article and his thoughts 11 years later, and I appreciate how much his article challenges us as museum professional to reflect on the extent to which we do, or do not, ‘suck’ when it comes to teen audiences. All we can do is continue to reach out to all audiences, and know that cantankerous teenagers may very well grow up to be dedicated, thoughtful museum visitors. Thanks, Howard!
This week, one of the contributing authors here at ArtMuseumTeaching.com, Dana Carlisle Kletchka, brought to my attention a recent column from LA Youth written by 15-year-old Howard Hwang who felt compelled to write about his distaste for visiting museums. His piece entitled “Why museums suck” seems to have already generated an interesting response from the museum community and beyond, so I thought perhaps I would throw this post up and see if, in fact, anything productive could come from this teenager’s rant. Howard admittedly hates museums, but he recently decided to visit six of them in the LA area anyway and then filed his ‘report.’
So the question presents itself: do museums really suck?
I’m probably not using Howard’s exact language or ideas when I define what it means for a museum to “suck,” but I think many of the reasons for his lack of connection with these institutions are not necessarily new. For him (and he is definitely not alone), museums are boring and notfrequently places where teenagers go to have fun and hang out. But is this entirely true? While Howard’s article seems to provide an opportunity for us museum folk to lament on the perpetual problems museums have engaging teenagers (adding fuel to Howard’s flame), I would rather take this as a moment to shine some light on what museums are doing that doesn’t suck. I’m certainly not saying that museums are doing everything necessary to engage teen audiences (far from it), but I would rather counter Howard Hwang’s diatribe with some thoughts on “why museums don’t suck.” And then maybe the conversation can productively refocus on what museums could be doing better to connect with teens like Howard.
So what are some ways that art museums are pushing forward with teen engagement?
It only seems appropriate to begin this look at museum teen programs and offerings by checking out what some of the museums that Howard visited actually offer for teens. In other words, if Howard had decided to hop on the Internet before his visits, what would he have found about their offerings for he and his friends?
Norton Simon Museum: Not sure Howard would have found much at the Norton Simon. They do offer a Teen Art Academy program, but the next session is not being held until December 1st when artist J Michael Walker leads a group of teens through the galleries to examine self-portriature, followed by a workshop in which students create their own self-portraits. Pretty cool artist to work with, but certainly not a pop-in experience (the workshop asks teens to give up 3 hours spread across 2 days).
Los Angeles County Museum of Art: Being one of the largest art museums in the country, it is not surprising that LACMA has a range of teen programs. But it’s still exciting to see LACMA trying out new ways of bringing in the teen audience. They offer teen art classes periodically and a free NexGen membership to those 17 and under, but I think Howard would be more interested in their “After Dark” teen night that is free for teens, ONLY for teens, and offers a chance for LA teens to hang out, see art, and have fun. LACMA also has offered a teen High School Internship Program for several years, which sounds like a great opportunity for interested teens (perhaps not Howard) to learn more about museums and gain in-depth experiences with art and artists.
J. Paul Getty Museum: Hmmmm, looks like the main Getty Museum does not offer any programs specifically geared toward teens. The Getty Villa does have an interesting Teen Apprentice Program and Summer Latin Academy, but I think both sound more suited to Howard’s ‘nerdy’ friend Jennifer than to him (perhaps maybe even too academic for her). But, come on Howard, you can’t beat those views of LA from the Getty.
Skirball Cultural Center:The Skirball offers an interesting Teen Corps volunteer program that exposes interested teens to a range of museum jobs and skills. Yet, I think the work that the Skirball has done to rethink its visitor experience and interpretation model has done more to improve its experience for teens than anything else. Howard seemed to connect to this institution more than any other, likely in large part due to their work to reinvent exhibition design. I also noticed that they installed an exhibit a few years ago on immigration in LA that was told from the perspective of local teenagers — and that would only happen at an institution that seems to truly value teen voices.
Outside of Howard’s tour-de-LA-museums, there are lots of art museums that have developed robust programs to connect in meaningful ways with teenagers. I wanted to highlight a few of them, but this list is no where near exhaustive. Almost all art museums these days offer something for teens, from drawing classes and high school art projects to full-blown teen councils, teen-designed websites, parties, internships, etc. Here are a few of the best that I have learned about over the past several years (please add your favorites by commenting below):
WACTAC: Working to target teen audiences and engagement for more than the past 15 years, the Walker Art Center certainly gets a nod here. I remember speaking with their education staff a few years ago during a visit I made to Minneapolis, and I was blown away by everything they were doing to attract teen audiences and, more importantly, to listen to teen voices as they programmed and planned. Their WACTAC (Walker Art Center Teen Arts Council) provides the institution with a dedicated, core group of teenagers who work closely with staff to plan program and events for teens. Past programs have included teen art exhibitions, printed publications, performances, film screenings, artist talks, and art-making events. They even worked to design the museum’s teen website, which I think is awesome (how many museums let go this much, and open the thinking process to teenagers). The Walker also holds teen art workshops, exhibits the work of area teenage artists, and offers additional internships for this age group.
MoMA Teens: While I have always been a fan of MoMA‘s teen website called Red Studio (which is really quite fantastic, you should check it out), I recently learned more about their other offerings for teenagers. Beyond Red Studio’s teen interviews with artists and online art activities, MoMA offers free classes, film screenings, Teen Night Out events, and other websites designed by and for teens. One, called Pop Art developed in 2009 in conjunction with MoMA’s Youth Advisory Council, seems to be a new way to browse selected work in the collection and share them with friends (and I’ll admit that I spent a bit too much time on the site making my own collections and simply exploring the artworks that popped up on my screen). And if you’ve ever been to MoMA on one of their Free Fridays, you know that they are not having too much trouble attracting young audiences.
ICA Teens & the National Convening for Teens in the Arts:The institution that has continued to impress me the most when it comes to teen audiences is the ICA Boston. Like the Walker and MoMA, they utilize a core Teen Art Council to help them plan events for teenage audiences, such as their upcoming Teen Night in November that merges early hip hop with the imagery of dreams through live music, breakdancing tutorials, and spinning all night from the ICA teen DJ collective (yes, you heard me correct … they have their own DJ collective). The ICA also runs a program called Fast Forward that brings together teenagers around creating film, video, and new media. Yet above and beyond all of these individual programs, the ICA Boston has worked to pull off its annual National Convenings for Teens in the Arts — an event that was initiated “in response to the lack of opportunity for students and educators to collaboratively discuss the issues, challenges, and possibilities facing the field of contemporary arts education for urban teens” (2011 Education Report). The convening brings together teen arts leaders and museum educators to explore the role museums can play in youth development, teen program advocacy, and experimenting in museums. The ICA has created an Education Report for each of the past events, and these documents are available on their website and totally worth a close look.
This just skims the surface when it comes to teen engagement in museums — notable mentions should also go out to the Whitney Museum of American Art’s Youth Insights program, as well as the much smaller but perhaps equally-as-powerful YouthSmart program at the Saint Louis Art Museum that hires Summer Teen Assistants to work closely with education staff and artists as well as lead tours for thousands of youth groups (unfortunately, you can’t find much information at all about this incredible opportunity for teens at SLAM, making it that institution’s best kept secret).
While this wide array of teen councils, parties, and online activities certainly shows that museums are paying attention to teens, I’m still unsure how these types of programs make a difference for the drop-in teen visitor (like Howard). Have these institutions and others changed their visitor experience due to their close work with teenagers? Is the remainder of the museum experience simply “business as usual” (which, for Howard and most teens, would mean ‘boring’)?
A Challenge to Museums
So I’m going to wrap-up this post where I started, and let the conversation turn back on museums. As I mentioned, the link to Howard Hwang’s article came to me via a great colleague and friend, Dana Carlisle Kletcka, who directs education programs at the Palmer Museum of Art at Penn State (meaning that she is constantly struggling with issues that pertain to the slightly older teen audience). In her email to me, she summed up what many of us museum educators are thinking when we read Howard’s words and reflect back on our own efforts (or lack of effort) to listen to teenagers, open up opportunities for younger voices to be heard in our institutions, and allow for something interesting to happen as teens like Howard walk through the door. So I’ll give Dana the last word here, and I invite your thoughts and responses below:
“[Howard’s] words certainly made me wonder what museum staff and volunteers can do to respond to his very honest assessment of museums, which is present in a certain portion of the population whether we like it or not…. What I had hoped to do by passing along this article was to stimulate thinking as to how the role of educators in museums–volunteer or not–can mitigate and in fact change such superficial reactions to the museum. What if he had been in a group with a really good docent? What if he had engaged in conversation with the other nameless gallery visitors who challenged his “I could do that” thinking? What if he had been greeted at the door by a friendly adult? What if he had engaged in any type of art-making activity that showed him just how challenging it can be to make something with your hands in concert with your mind?
“I’m certainly not suggesting that we modify our practices to suit one surly 15-year-old. But it is worth pondering how the work that we do is a catalyst for changing such opinions and in fact igniting sparks of intellectual curiosity that will grow in time.”
UPDATE: I was lucky enough to speak with the now 26-year-old Howard about his article (actually written in 2001), his thoughts about museums, and what he thinks about all this attention surrounding his article so many years later. Here is the link to my “epilogue” to this post, which includes notes and thoughts from my short but very interesting phone conversation with Howard Hwang:“Epilogue – Why Museums Don’t Suck: Connecting with Howard Hwang”
Teen group drops by for a visit at the Minneapolis Institute of the Arts.
On this blog, I have been wanting to experiment with a more “open,” participatory format for posts that engage us all in a dialogue with each other — something that steers away from the “I know something I want to share with you” and moves more toward “I wonder about something and I’d love to know what you, my peers, think.” So I’m going to give this a try in a new category that I’m calling OpenThink. I’ll experiment with some other technology-based ways of doing this, but I thought I would start out by just inviting your thoughts in the traditional “comments” field below. I’m keeping it simple this first time, mostly because I am typing this from the beautiful island of Barbados as I attend the Fifth International Conference on the Inclusive Museum.
My questions for us to consider in this OpenThink are focused around my interactions during Day 1 of this fascinating and fruitful conference:
How can we make the conversation about museum education more global and inclusive?
What are some ways in which we can more effectively connect and share our practice across borders & boundaries?
Do we have a professional responsibility to ground our work in a consciousness of the world around us? Why is this important and valuable for the field of museum education?
The conversations I have had thus far at the Inclusive Museum conference have made me immediately wonder about some key fundamental questions that this transformational knowledge community has been asking for several years. I want to pull some of the language they use in their 2012 conference program to help define and clarify what I might mean above by “more global and inclusive,” and to frame some of the key issues this group is grappling with:
“The annual conference continues to ask fundamental questions about the role of museums during rapid change that characterizes societies everywhere in the world. It is envisaged that museums, both as a creature of that change and also as agents of change, are places where museum practitioners, researchers, thinkers, and educators can engage in discussions on the historic character and future shape of museums. The key question of the conference is: How can the institution of the museum become more inclusive?”
“No longer the universal individual citizen of our recent modern aspirations, visitors of today are recognizably diverse. The dimensions of this diversity are material (class, locale, family circumstances), corporeal (age, race, sex & sexuality, and physical and mental characteristics), and symbolic (culture, language, gender, family, affinity, and persona). These are the gross demographics, the things that insist on our attention. But if we take the time to look more closely at today’s public, it is qualified by intersections and layers of identity which immediately turn the gross demographics into dangerous oversimplifications. The paradox of today’s public is that, in an era of globalization, actual cultures are diverging: dispositions, sensibilities, values stances, interests, orientations, affinities, and networks.”
And the question that resonates with me the most…
“How do we create a museum where the text is open, where every visitor is allowed the space to create their own meanings, where no visitor is left out?”
Here at ArtMuseumTeaching.com, out of the 75 countries accessing the site, only about 20% of the readership comes from outside the United States, and more than one third of those are from Australia, Canada, and the UK. Only 2.5% of those who visit with this site are from nations outside the US, Canada, Europe, and Australia. I’d like to open this up more, but I am not exactly sure where to start (although attending the Inclusive Museum conference has been a good beginning, meeting museum peers from across the globe who share a passion for transforming what learning looks like in museums — I hope several of them will be adding their voices to this site in the upcoming months).
So I have posited my wonderings — now I ask you to chime in and add to the conversation below.
(CAVEAT: Given that I am in Barbados, I will do my absolute best to get comments posted promptly — but do bare with me, especially as this Tropical Storm Ernesto makes its way across the island this morning … should be interesting).