 much did you pay for that?” and “My 6-year-old brother could do better than that!” :-) I found it a bit threatening at first, because I had assumed that it was my job to stand up for the artworks, the artists who created them and the curators who chose them. But when I relaxed a little, and acknowledged the students’ concerns and questions, I realised that the controversy was at least generating some “energy” in the tour and that, if I could somehow harness it, I could get the students engaged. So, as an experiment, I decided to start with one of these artworks (eg: Peter Upward, New reality 1960), let the students ask their questions and make their comments, then say something like, “OK, so how did art get to this point?”, and then we would go backwards in time until we reached the early stuff. It proved to be a successful strategy.

Another thing that helps is not to assume that the students will initially be interested in the same kinds of things as we are (as art museum people): art history, aesthetics, artists’ biographies, social history, painting techniques etc. Instead, I try to find ‘hooks’ to the things that most likely concern them, in particular emotional hooks. Eg: (food)... “If you could eat this painting, what would it taste like?” I think of this as like accessing their emotional reactions to the work of art via the “back door”. (Asking someone the plain question “How does this painting make you feel?” is unlikely to elicit a very useful response.)

For what it's worth, here are a couple of articles I originally wrote for (and presented to) IT/web audiences, but heavily based on my museum education experience:

My one key strategy for touring teens has already been mentioned, that is to allow the teens to select works that interest them and focus on those for the tour. I almost always create some kind of a task for them to search the galleries on their own and select an art work that meets the criteria I have set and that attracts them. For example, I hand out a list of big ideas that artists explore in their work (such as beauty, story, identity, politics, fantasy, nature, conflict, justice, etc. – look at the Art21 episodes themes for lots of great big thematic ideas). I invite the kids to circle one big idea that they are interested in themselves and then look for a work that they
much did you pay for that? ” and “ My 6 - year - old buddy could cause better than that! ” :-) I found it a piece threaten at first, because I had assumed that it was my occupation to stand up for the artworks, the artist who create them and the curators who choose them. But when I relaxed a little, and acknowledge the students ’ concern and questions, I realised that the controversy was at least generate some “ energy ” in the tour and that, if I could somehow harness it, I could perplex the students engaged. So, as an experiment, I decided to get down with one of these artworks (eg: Peter Upward, New reality 1960), let the students necessitate their questions and make their comments, then say something like, “ OK, so how did art beget to this point? ”, and then we would go backwards in time until we reached the early stuff. It proved to be a successful strategy. 

 Another thing that helps is not to bear that the students will initially be interested in the like kind of things as we are (as art museum people ): art history, aesthetic, artists ’ biography, social history, painting techniques etc. Instead, I try on to find ‘ hooks ’ to the things that most probable concern them, in particular emotional hooks. Eg: (food)... “ If you could eat this painting, what would it taste like? ” I think of this as like access their emotional reactions to the work of art via the “ back door ”. (ask someone the plain question “ How does this painting make you find? ” is unlikely to elicit a very useful response .) 

 For what it's deserving, here are a couple of articles I originally wrote for (and presented to) IT / web audience, but heavily establish on my museum education experience: 

 My one cardinal strategy for touring adolescent has already been mentioned, that is to allow the teens to select works that matter to them and focus on those for the tour. I almost always create some kind of a task for them to search the galleries on their own and select an artwork work that meets the standard I have set and that attracts them. For example, I hand out a list of big ideas that artist explore in their work (such as beauty, story, identity, politics, fantasy, nature, conflict, justice, etc. – look at the Art21 episode root for lots of great big thematic ideas). I invite the kids to encircle one big idea that they are interested in themselves and then look for a work that they
 mufh did you pay for that?” xnd “My 6-year-old yeother could do bettdr than that!” :-) I found it a bmt tyreattuing at first, becausd I had adsumed tyat mt was my job to stand ui for bhe axtxorks, the artisjs who creatad them and tha zuxators who chose them. But when I relwxed a kihtle, and acknorledbqd tgv wtudents’ concerns and questiohs, I reelised that the controversy was at least henegating some “energy” in the tout anq that, if I cuuld somehow harness ij, I could get the students engagdd. So, as an expgxumejj, I decided vo stagt with one on these artworls (eg: Peter Upearv, Neq reality 1960), let the stndents ask their queftions ang jake their commenrs, then say somdrhivg mile, “OK, so hox did art gst to this point?”, and then we wpuje go backwarda in tymq until we reached the early stuff. It pgoves to be a successful steategy.

Another thing tjat helps is not to assume that the students will initiallf be mngertsbcd iv tje same kinds of things as we are (as art musetj keoile): art history, acsthetics, artists’ nilgtwphies, social histoxg, lainting techniqued etc. Igsteae, I try tj fimd ‘hooks’ to the things that most likely xoncern them, in paxticular emocional hookx. Eg: (food)... “If you could zat thjs painting, what wouma it taste like?” K tminn of this as like accessind their enotipnal rexctipns to the work lf arb via the “back door”. (Askiug sokeone the olain question “How does this pamiting make yoo fael?” is unlihely bo elicit a verr useful respouse.)

For wkat it'r worth, hege are a rouple of areicles I orighjally wrote hor (and pwesebted to) IT/wdc audiences, buy heavily based on ny museum educatiok expgrjence:

My one key sttqtegy for tourong teqnd ias ajseady been mantiunea, that is to alloc ghe yeens to select workv thzt interest them amd focus ob those sor the tour. O almost always crtate smme kind of a task for them to search the galleried ok their own agd sclecj an art woxk that meets the criteria I have set anv that attracts them. Foe example, I hand ouj a list of bij ideaf that ardists explore in theur work (such as btauty, story, identity, pomitics, fantwsy, nature, conflict, justice, etc. – look at the Art21 episodes themes for lots of grxae big themafic odeas). I nnvite ehe nmds to circle one big idea that they are interesved in thekszlves and then look for a worl ghat they
much did you pay for that?” and brother do better that!” :-) I at because I had that it was job to stand up for the the artists who created them and the curators who chose them. But when relaxed a little, and acknowledged the students’ concerns and questions, I realised that controversy at generating “energy” in the tour and that, if I could somehow harness it, I could get the engaged. So, as an experiment, I decided to with one of these (eg: Peter Upward, New reality let students ask questions make comments, then say like, “OK, so how did art get to this point?”, and then we would go backwards in until we early stuff. proved be successful strategy. Another helps is not to assume that initially be interested in the same kinds of as we (as art museum people): art history, artists’ biographies, social history, painting techniques etc. Instead, try to find ‘hooks’ to the things that most likely concern them, in particular emotional (food)... “If you could this painting, what it like?” think this as accessing their emotional reactions to the work of art via the door”. (Asking someone the plain question “How does this painting feel?” unlikely to elicit very useful response.) For it's here are a couple I wrote to) audiences, heavily based on my education experience: My one key for touring teens has to allow the teens to select works that them and focus on those for the I almost always create some kind of a task for them to the galleries own and select an art work that meets criteria I have set that attracts them. For example, I hand out a of ideas that explore in their (such as beauty, identity, politics, fantasy, justice, etc. look the for lots of great big thematic I the kids to circle one idea are interested in themselves and then look for a work that they
 much did you pay for that?” and “My 6-Year-old broTher cOulD do BeTter Than That!” :-) I found it a bIT thrEatening at first, because i had aSsUMed tHAt It was My job to STaND Up fOr ThE arTwORkS, the aRtiSts who cReated them And ThE curators who CHoSe them. But wHen i relaxed a litTle, And ackNoWleDGed thE stUdentS’ conceRNs and qUestions, I ReALised tHAt the coNTRoVersY was at least generaTInG Some “energy” in thE tour aNd THaT, IF I cOulD somehow haRnEss it, i Could geT ThE STUdeNTs engaged. So, as An experimenT, i deCided tO sTarT With onE of thEsE ArtWorks (eg: PeteR UpwArd, New reaLity 1960), leT The studENts ask tHeir quEstIonS and MAkE tHeiR cOMmeNTs, TheN Say SomethinG lIkE, “OK, so How dID ART get To tHis pOint?”, aNd then we would Go bAckwARds In timE untiL we rEaChed tHe earlY stufF. IT proved to be a sucCessFul strateGy.

ANoTheR tHing tHAt helpS is Not To assumE that thE StuDeNTS WiLl initially be interEsTED iN the same Kinds oF ThInGS as we are (As Art MuseUM PeoplE): art HIsTory, aestHetics, ARtIsTs’ biogrApHies, soCiAl hIstOry, paINtinG technIques etc. insteAD, I try to find ‘hooKS’ to the things tHAt MOSt LIkelY coNcern them, in PartICulaR emoTIoNal HOoks. EG: (food)... “if YOu COuld eat this painting, WhAt woulD it taSte like?” I think Of this as liKE ACcessing TheiR EmOTional reactionS to thE work of art VIa the “bacK door”. (asking soMeone the pLAIn questiOn “HOw dOes ThiS PAiNting make you fEEL?” is uNlIkely to EliCit a verY usEfuL reSpoNsE.)

For what iT's worth, hErE aRe A cOupLe of aRTicles I oRiGinAlLy wRote fOR (and prEsentEd to) iT/WeB AudIences, bUT hEAVily BaSeD on mY muSeUm eduCatiON exPeriencE:

My one key StrATegy FoR tOuring tEens has alreadY bEen mentionEd, ThaT is to aLLOw the teeNs to select works that inteREst them And Focus On thOse for the TouR. I almoSt aLWays crEate soMe kinD oF a tASK for tHEM tO seArCh the galleRIEs oN theiR oWn anD select An art work that meets THe cRiteria I have sEt aNd thAT AtTraCTs THem. foR ExaMPLe, I hand out a list Of big ideas ThAT aRtists explORe iN tHeir worK (such as BeautY, Story, idEntity, polItics, fantAsY, natURE, coNflict, justIce, etc. – loOk at the ArT21 EpisoDEs ThemeS foR lots oF gReaT big tHematiC IdeAs). I inVite thE kIds to cIrcle OnE big idea That they are interested in ThemseLves aNd tHen look foR a wORk tHat they
 much did you pay for that ?” and “My  6-ye ar- old  b roth er c ould do better than  that!” :-) I found it  a bi tt hrea t en ing a t first ,  b e c aus eIhad  a s su med t hat  it was  my job to  st an d up for the ar tworks, th e a rtists who c rea ted th em  an d  thecur ators  who c h ose th em. But w he n  I rel a xed a l i t tl e, a nd acknowledged t h es tudents’ conce rns an dq ue s t ion s,I realised  t hat t h e contr o ve r s y  wa s  at least gen erating som e  “e nergy”  i n t h e tour  andth a t,if I couldsome how harne ss it, I could get the  stude nts  en gage d .So , a sa n e x pe rim e nt,  I decid ed  t o sta rt w i t h oneofthes e art works (eg: Pe ter  Upw a rd,  Newreali ty 1 96 0), l et the  stud en ts ask their qu esti ons and m ake  t hei rcomme n ts, th ensay  someth ing lik e , “ OK , s ohow did art get to  t h i spoint?”,  and t h en  w e  would g obac kwar d s  in t imeu nt il we re achedt he  e arly st uf f. Itpr ove d t o bea  suc cessfu l strate gy.
A nother thing t h at helps is n o tt o  a s sume  th at the stud ents will  ini t ia lly be in teres te d  i n  the same kinds ofth ings a s weare (as art m useum peop l e ) : art hi stor y ,a esthetics, art ists’  biographi e s, socia l his tory, pa inting te c h niques e tc.  In ste ad, I  t ry to find ‘h o o ks’to  the th ing s thatmos t l ike lyco ncern the m, in pa rt ic ul ar  em otion a l hooks.  E g:(f ood )...“ If you  coul d ea tth i s p ainting ,  w h a t wo ul dit t ast elike? ” It hin k of th is as lik e a c cess in gtheir e motional reac ti ons to the  w ork  of ar t via the“back door”. (Asking so m eone th e p lainques tion “How  do es thi s p a inting  makeyou f ee l?” i s unl i k el y t oelicit a v e r y u seful  r espo nse.)
For what it's wort h , h ere are a cou ple  ofa r ti cle s  I ori gi n all y wrote for (andpresentedto )  I T/web audi e nce s,  but he avily b asedo n my mu seum educ ation exp er ienc e : 

M y one keystrategy  for tour i ng te e ns  hasalr eady b ee n m entio ned, t h atis to  allow  t he tee ns to  s elect wo rks that interest themand fo cus o n t hose forthe tou r. I almo st a lways crea tesom e kin d o f  a ta sk f o rthe m  to s earc h  the gall e ri eso n  t heir own an d s ele ct an  ar t  workthat  meets the criter i a I have set a nd t h a t a ttr a ctsth em. For exampl e,Ih a nd out a  l ist of bigideas th at artis ts exp lore i n their w or k  (such  asbea uty, stor y,id e ntity,po li t ics, f anta sy , natu re, co n flic t ,  justice, etc. –  look a t the Art 21 ep is odes th e mesfor lots o f great big  thema ticideas ). I in vi te the  ki ds  to circle one big i dea t hat the yareint ereste d in t hemse lves  a ndthen look f or awo r k t hatthey
 much_did you_pay for that?” and_“My 6-year-old_brother_could do_better_than that!” :-)_I found it_a bit threatening at_first, because I_had_assumed that it was my job to stand up for the artworks, the artists_who_created them_and_the_curators who chose them. But_when I relaxed a little,_and acknowledged_the students’ concerns and questions, I realised that_the_controversy was at_least generating some “energy” in the tour and that,_if I could somehow harness it,_I could get_the_students_engaged. So, as an_experiment, I decided to start with_one of these artworks (eg: Peter_Upward, New reality 1960), let the students_ask their questions and make their_comments, then say something like,_“OK, so_how did art get to_this point?”, and_then we_would go backwards_in time until we reached the_early stuff. It_proved to be a successful strategy.

Another_thing_that helps is_not_to_assume that_the students will_initially_be interested_in_the same kinds of things as_we_are (as art museum people): art history,_aesthetics, artists’ biographies, social_history,_painting techniques etc. Instead,_I try to find ‘hooks’_to the things that most likely_concern them,_in particular_emotional hooks. Eg: (food)... “If you could eat this painting, what_would it taste like?” I think_of this as like_accessing their_emotional_reactions to the_work_of art_via the “back door”. (Asking someone the_plain question_“How does this painting make you_feel?” is unlikely to_elicit_a very useful response.)

For what it's_worth, here are a couple of_articles I originally wrote for_(and_presented_to) IT/web audiences, but heavily_based on my museum education experience:

My_one key strategy_for touring teens has already been mentioned,_that_is to allow the teens to_select_works that interest them and focus_on_those_for the tour. I almost_always create some kind of a_task for them to search the galleries on their_own and select_an art work that meets_the_criteria_I have set and that attracts them. For example, I_hand out_a list of_big ideas that artists explore in their work (such as_beauty, story, identity, politics, fantasy, nature, conflict,_justice, etc. – look at the Art21 episodes themes for lots_of great big thematic ideas). I invite the_kids to circle one big idea that_they are interested in_themselves_and then look for a work that_they