This summer, a group of teenage artists took on the question: “What is it like to be a teen right now?” Their exploration culminated in two significant exhibitions: “The Teen Experience” at the American University Museum at the Katzen Arts Center in Washington, D.C., and their participation in the Smithsonian Folklife Festival, an event themed around “Youth and the Future of Culture.”
The artists, guided to create honest portrayals of their lives and the multifaceted issues they encounter, soon faced challenges. Some spectators were reluctant to engage with the full spectrum of their expressions.
Through a collection of paintings, drawings, mixed media pieces, and life-size installations, they tackled a variety of subjects, which included self-doubt, school lockdowns, protests, and the enduring impacts of the pandemic.
The initiative connecting these two events was created by the Museum of Contemporary American Teenagers (MoCAT), a platform established by Maryland high school teacher David Lopilato, who recognized a significant gap in the representation of teenagers in cultural narratives. He noted, “So many of our cultural moments were kind of set by teenagers and yet we kind of systematically ignore them.”
Mygenet Tesfaye Harris, a co-curator of the show and an art educator based in Maryland, emphasized the significance of art as a sanctuary for students. She stated, “Art is a safe place for our students to be themselves, to be authentic.”
At the Smithsonian Folklife Festival, students engaged in real-time creation, with their installation being a notable school bathroom where attendees could write on the stalls. The mural they worked on encapsulated various themes, from the strains of college acceptance to experiences during the coronavirus pandemic, as conveyed by 17-year-old artist Flair Doherty, who was one of the mural’s contributing artists.
Doherty shared her excitement, having grown up visiting Smithsonian museums, remarking that collaborating with the Folklife Festival was “the coolest thing ever.” One poignant aspect of the mural depicted protesters, wielding signs bearing messages such as “The climate is changing, why aren’t we?” and “Protect kids, not guns.”
Notably, Mary Beth Tinker, an icon of the free speech movement from her time as a student, noted her admiration for the mural. The significance of students advocating for causes they believe in resonated with her deeply. Tinker, known for her pivotal role in the landmark Supreme Court case Tinker v. Des Moines, emphasized the importance of speaking out, telling students, “You always can be proud of speaking up about the things that you really believe in because that’s a life of integrity.”
However, the festival took an unexpected turn when Flair Doherty reported that a Smithsonian staff member approached the artists, expressing her view that the “Free Palestine” slogan was “antisemitic and hateful.” Doherty, who identifies as Jewish, engaged in a short conversation with the staff member but felt they did not reach an understanding.
Subsequently, the mural was covered with tarps, much to the dismay of 18-year-old artist Léda Pelton, who hadn’t yet finished her section on cars and college acceptance. The Smithsonian officials explained that the decision was made to protect the artists from potential backlash over the mural’s content.
Pelton spoke candidly about the incident, questioning why they should be responsible for changing their expression due to others’ discomfort. She stated, “I don’t understand why we are the ones who have to change our behavior because somebody else decided that they were too angry to just walk by something that they didn’t agree with.”
This incident resonated with Tinker, who criticized the decision to cover the mural, pointing out its connection to broader social issues that are often silenced, including discussions around Palestine, LGBTQ rights, and racism. Tinker expressed concern over the censorship of young voices, stating that in history, teenagers have frequently been at the forefront of advocating for a better world.
MoCAT founder David Lopilato shared his conflicted feelings about the situation. He discussed the possibility of a compromise with the artists, contemplating whether covering part of the mural could suffice for it to be displayed at the festival.
Clifford Murphy, director of the Smithsonian Center for Folklife and Cultural Heritage, defended the museum’s actions, asserting that it does not endorse political statements. Murphy clarified that the directive to cover the mural stemmed from a policy against promoting individual political statements under the Smithsonian’s governance. While he mentioned that MoCAT had received relevant guidelines, Lopilato noted that the letter was dated two days after the festival commenced, indicating a lack of advance notice.
Despite the Smithsonian’s claims that political pressure did not influence their decision, Tinker expressed skepticism. She emphasized the need for open dialogue about important issues rather than censorship.
In the wake of the mural’s covering, Pelton and Doherty expressed a desire to retrieve and complete their artwork, advocating for an opportunity to present it in its entirety. They yearned for a space where teenagers could genuinely articulate their experiences and perspectives, a rarity in today’s cultural landscape.
The mural belongs to the Folklife Festival, according to Murphy, who acknowledged the importance of discussing options regarding its future. He recognized the value of continuing conversations around the mural and its messages, given the centrality of youth voices in cultural narratives.
The trajectory of this artistic endeavor raises critical conversations about freedom of expression, the role of youth in cultural discussions, and the challenges faced by young artists in navigating societal expectations. In a world where the voices of teenagers are often overlooked, initiatives like MoCAT serve as vital platforms for advocacy and self-expression, highlighting the pressing issues of contemporary youth.
image source from：wypr
