A report from host and museum educator Nina Montijn in Amstelveen, Netherlands:
We had a great Slow Art Day at the Cobra Museum for Modern Art!
In three organized art walks, visitors were challenged to look slowly, to genuinely take their time and lose themselves in the works of art. Participants looked with awe at four selected works, discussed with each other, learned from each other.
For those who preferred to look on their own we created two guides with several tips. Also we distributed notebooks and pens, so everyone could write down their discoveries. Quickly there were visitors watching and writing vigorously everywhere.
Afterwards visitors could chat about their experiences in the museum café whilst enjoying a complimentary beverage. Here we heard many enthusiastic stories about the tour. Even works of art that didn’t seem so interesting at first, turned out to be quite captivating.
I really think Slow Art Day is a keeper!
In Chichester, England, Slow Art Day participants communed with five artworks in the cathedral and bishop’s palace.
Host Naomi Billingsley, the Bishop Otter Scholar at Chichester Cathedral, writes in her blog: “Although the Slow Art Day initiative is secular in origin … it translated well into a sacred space, and some of the participants said that they found it a spiritual experience. I’m thinking about experimenting further with this format, and perhaps trying an even slower viewing experience (people said that ten minutes went quickly).”
She shared participants’ comments, among them: Slow Art Day “created a space to see new things in works seen many times before.” And: “It is the joy of Chagall that stays with me.”
Naomi’s Slow Art Day blog is here.
We had a wonderful Slow Art Day at HAM Helsinki Art Museum! People occupying the floors of the big gallery to draw on a huge paper together (some even for hours!), DJ playing songs fitting the day’s theme through headphones to our visitors and slow watching on our new HAMfulness guided tours.
— Aino-Marja Miettinen of Helsinki Art Museum
From Canberra, Australia, Annette Twyman of the National Portrait Gallery reports “great success” on Slow Art Day:
The participants, all strangers to one another, took their stools, floor plans and notebooks and headed into the gallery space. After 15 minutes with each of five portraits, we met for coffee, tea, biscuits and a chat about their experience of slow art in the NPG. Among their comments:
“I have never done anything like this before, I have sat very still and after a while I really started to look; it was great. Some of the portraits were very detailed and symbolic and some seemed simpler, but every one was interesting. I could have spent longer …”
“I would not have chosen these portraits, but … they made me look; one was difficult and I stayed with it, now especially after our discussion I am glad that I did that.”
“The portraits said a lot about women, just the change between the early placid portrait of Ann Lawrence (1841) and then penetrating Norah Heysen (1934) and then the video portrait of Cate Blanchett (2008), a big difference. But after a while I noticed maybe Ann Lawrence was thinking, her eyes looked very different from her mouth; maybe she was not happy being so passive.”
“I have enjoyed our talk afterwards, everyone is so full of their own ideas; it is very good to be able to have that quiet look on your own at the art without anyone else and then talk together afterwards.”
At Uillinn, West Cork Arts Centre in Skibbereen, Ireland, a small, enthusiastic group celebrated Slow Art Day by becoming one with the art. They immersed themselves in the setting for performance artist Amanda Coogan’s durational work, Spit, Spit, Scrub, Scrub. They mingled with the artifacts of her five-hour performances – seeing them as sculpture.
“I thought it was interesting to be spending time looking at one of the places where she had been performing, but without her there – like looking at an empty stage set,” said Alison Cronin, schools coordinator at Uillinn.
“We almost felt like performers ourselves, with other gallery goers looking at us and wondering what we were looking at.”
Check Instagram for all the amazing photos coming in from around the world for Slow Art Day 2016 – https://www.instagram.com/explore/tags/slowartday.
In the meantime, Slow Art Day Shanghai just reported via email (Instagram is not available in China):
We had a wonderful experience with Shanghai artist Li WenGuang in attendance. We asked the artist to speak to us AFTER we had an extended encounter with his artworks.
He was so interested in our unfiltered experience with this works.
The 1933 Contemporary Gallery features young, undiscovered talent like Li WenGuang.
It was a GREAT event in Shanghai once again – we were all entranced.
– Joan Lueth
In Norwalk, Connecticut, participants in Slow Art Day will examine WPA murals in the city’s Maritime Aquarium. After close, leisurely looking at works by Alexander J. Rummler, docents from the Arts Commission will lead discussions of each.
Norwalk has the nation’s largest collection of WPA murals, which have been restored and are on display at the aquarium and four other sites in the city.
A report on host Susan Wallerstein’s event is here.
Once a year students at the University of Maryland take an ArtWalk, an event they created to showcase visual arts programming on campus. This year, the walk coincides with Slow Art Day — resulting in an all-day celebration with eight participating spaces.
At their first stop ArtWalkers will pick up “passports,” which they will present at each site for a Slow Art Day stamp.
More information at www.thestamp.umd.edu/Gallery
Painting and PPPs
By Alison Bessesdotter
The Banana Factory at ArtsQuest in Bethlehem, Pennsylvania, began hosting Slow Art Day four years ago. We have 25 resident artists on three floors and we share the common spaces to hang work outside our studios. On the first floor there are two main galleries and a Banana Factory featured artist hall gallery.
On our first year of hosting, I ran a lottery to choose five works from our resident artists. Our artists also open their studios for Slow Art Day. Each year I draw a map and provide a list of the designated works located throughout the building. We repeat the process similarly each year; two years ago I added the PPP—Post-its, Pedestals, Pencils by each designated Slow Art piece.
I had the staff set up the PPPs, next to Slow Art works so that our visitors could write their observations on the post-its and paste them on the wall next to the exhibited work. It allows interaction with the art—and they express their observations—creating an interface between viewer and work. A second interface occurs when the artists see the visitors’ messages. It was popular, and visitors stood in short lines to fill out the PPPs and enjoyed talking to each other while waiting.
The response was so positive that we left the PPPs in the main hall by the April Featured Artworks. People continued to read about Slow Art and write their messages on the Post-its. There is great reward in having tangible proof of how the art impacts the adults and children who visit our center. The PPPs open the opportunity for the community not only for Slow Art Day but the entire month.
On March 22 and 23, Slow Art Day founder Phil Terry led conversations with our far-flung hosts. If you missed the conference calls — or want to refresh your memory — we have recordings!
To listen to the March 22 call, click here. The March 23 call is here.