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This summer, for the first time ever, the National Portrait Gallery shut its doors to adults and opened exclusively to a teenage crowd. London galleries and museums often seem to overlook this age bracket, with endless daytime activities for toddlers and evening enrichment courses for adults but rarely anything for us, the teens.

No teachers, no parents allowed. The event was hosted by the gallery's youth forum , a diverse group of young people that includes the two of us. We're lured to monthly meetings by the promise of tasty pizza and in return we give a fresh perspective on things.

We spend a lot of time at our meetings, discussing how we can get young people more involved in the gallery, and we also help out at events run throughout the year.


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We've been wanting to put on an after-hours event of this scale, just for young people, for a long time. This event is part of the gallery's ongoing BP Portrait Award: Next Generation project , which aims to encourage 14 to year-olds to get involved with portraiture through the award — to develop young artists, curators and gallery-goers and perhaps even a future award-winner.

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Tickets pre-booked but free were restricted to people in this same age group, with nearly young people attending from across London, several of whom had never been to the gallery before. We promoted it to our friends through social media, from our youth forum Facebook page and the gallery's own Twitter feed , and chose some photos of people at one of our meetings for the e-flyer. We were lucky enough to have as our special guests some of the exhibiting artists from the award, including first prize winner Susanne du Toit and BP Travel Award winner, Carl Randall.


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They gave inspirational talks about the stories behind their portraits and how they started their careers. They also led some speed drawing sessions: self-portraiture with mirrors; continuous line drawings; drawings in pairs from memory; and postcard drawings inspired by Carl's paintings of his time in Japan.

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You didn't need to be an expert portraitist to try out some of their experimental techniques. We also had competitions, talks from the youth forum and a professional photographer taking photos around the gallery and running our popular pop-up photo booth. It would be easy for an event like this to seem patronising, but it wasn't. One of the reasons why, we think, was because we kept the same basic format as the gallery's other private views — an exclusive invitation, the gallery closed to other visitors, and welcome speeches — but added in activities, food, drinks mocktails!

It felt like a party, like we were collectively celebrating both the exhibition and the importance of having young people involved.

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It can sometimes feel like museums and galleries love little kids who are easy to occupy but fear the stereotype of the immature, antisocial teenager. It is the barometer. People talk of the delicacy of scientific instruments; if they are right, the shocks which that barometer survives More summaries and resources for teaching or studying Some Private Views.

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