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Slow Art Day News

Art Gallery of Ontario Hosts 6th Slow Art Day

September 19th, 2020

For their sixth Slow Art Day The Art Gallery of Ontario, Canada, invited the public to look slowly at five artworks, accompanied by prompts, via their Instagram Story:

  • Canaletto, ‘The Bacino di San Marco, from the Piazzetta‘, c. 1735.
  • Barbara Hepworth, ‘Two Figures’, 1943.
  • Claude Monet, ‘Charing Cross Bridge, brouillard‘, 1902.
  • Claes Oldenburg, ‘Ice Cream Soda with Cookie‘, 1963.
  • Daphne Odjig, ‘Odjig Family: Father, Grandmother, Stanley, Daphne, Donald, Winnie, Xmas, Dec 25th‘, 1986.

Re-Live the Experience

Below are some excerpts from the original prompts from the Instagram Stories. Why not take a moment to look at each painting to learn a little about the artists and re-live the Art Gallery of Ontario slow art experience?

Canaletto

Figurative paintings like Canaletto’s The Bacino di San Marco, from the Piazzetta are good starting points for close looking. Notice the groups of figures, the gondolas waiting for passengers, the person looking over the balcony down at the square. By looking more slowly, you may get a sense of what a typical day in Venice looked like in the 18th century. They probably didn’t have dolphins around then either….

Canaletto, The Bacino di San Marco, from the Piazzetta, c. 1735. Oil on canvas, Unframed: 48.8 × 81.8 cm. Gift of the Ludwig Mond Estate, 1926. © Art Gallery of Ontario, 829.

Hepworth

Hepworth practiced direct carving, which means the artist tried to respect the nature of the material, working to bring out its particular characteristics. What do the vertical forms and the dynamics between them suggest? It’s easy to imagine the forms standing in for humans. What conversation might they be having?

Barbara Hepworth, Two Figures, 1943. Redwood, strings, 61.2 x 31.4 x 21 cm. Gift of Sam and Ayala Zacks, 1970. © Bowness, 71/88

Monet

Imagine you could walk into this painting. What would it feel like? What would it smell like? Monet was particularly interested by the effects of fog. He painted over 37 versions of this scene, trying to capture the changes in light and ambience. Have you ever done something over and over again? How does repetition change your experience? Malcolm Gladwell, a Canadian author, famously estimates that it takes 10,000 hours to master a skill. And hey, there is no shortage of time right now…

Claude Monet. Charing Cross Bridge, brouillard, 1902. Oil on canvas, 73 × 92 cm. Gift of Ethel and Milton Harris, 1990. © Art Gallery of Ontario 90/161

Oldenburg

Claes Oldenburg sketched food and merchandise displayed in shops in the lower east side of New York and created a series of exhibitions related to the theme of a store between 1963-1967. Nothing was irrelevant, everything could be art. There is definitely a focus on foodie culture lately, especially with more time to be in the kitchen. What is your comfort food? If you were an artist, what kind of food would you immortalize in sculpture?

Claes Oldenburg, Ice Cream Soda with Cookie, 1963. Alkyd paint on plaster and glass, stainless steel, chinaware, paper, painted tray, 29.2 x 34.9 x 26 cm. Gift of the Sydney Lawrence Wax Family Trust, 2011. © Claes Oldenburg 2011/272

Odjig

Odjig, Canadian First Nations artist from the Odawa-Potawatomi nation, uses a graphic style to portray her immediate family during her childhood in Wikwemikong. This artwork shares her first artistic influences – her family. In particular, her grandfather taught her to paint and draw. On sketching excursions, he taught her the stories of her ancestors and the use of the curvilinear design. What better way to depict family connections. How would you represent your family?

Daphne Odjig, Odjig Family: Father, Grandmother, Stanley, Daphne, Donald, Winnie, Xmas, Dec 25th, 1986. Acrylic on canvas, 121.9 x 101.6 cm. Purchase with assistance from Greg Latremoille and the Estate of Mary Ash, 2016 © Estate of Daphne Odjig, 2016/39.

In addition to the Instagram event, a post of Monet’s ‘Charing Cross Bridge‘ was also shared to the museum’s Facebook account which was liked 400+ times, and shared by 170 viewers. It was accompanied by general guidelines for slow looking, such as:

  • Get comfortable…
  • Take your time. Look at the texture, colour, shape, symbols, story, and perspective.
  • Pay attention to how your mind and body respond.”

We are delighted to see museums like The Art Gallery of Ontario rise to the challenge of involving people in slow looking in their own homes. When we started Slow Art Day 10 years ago, we primarily wanted museums to use the web in the service of sending more people into real spaces. Due to Covid19 lockdown restrictions this year, however, most museums had no choice but to rely on virtual platforms, and it is wonderful to see events such as this one still producing amazing engagement with art.

We hope to see yet another wonderful event for Slow Art Day at The Art Gallery of Ontario next year.

– Johanna

TarraWarra Museum of Art Hosts First Slow Art Day

September 10th, 2020

For their first Slow Art Day The TarraWarra Museum of Art in Melbourne, Australia featured two very different artworks by Australian women artists: ‘Club Colours’ by Rosalie Gascoigne, and ‘He’ll Be My Mirror’ by Jenny Watson.

Rosalie Gascoigne, ‘Club Colours’ 1983, painted and stencilled wood from soft-drink boxes on plywood backing, 172.5 x 129.5 cm, TarraWarra Museum of Art collection. Gift of Eva Besen AO and Marc Besen AO, Donated through the Australian Government’s Cultural Gifts Program 2009, © Rosalie Gascoigne Estate.
Jenny Watson, ‘He’ll Be My Mirror’ 2013, Liquitex acrylic, Holbein pigments and haberdashery on rabbit skin glue-primed Belgian linen, 251.7 x 140 cm, TarraWarra Museum of Art collection, Acquired 2013.

To promote the event, Elisabeth Alexander, Marketing and Events Coordinator, created a short teaser ‘slow zoom’ video of ‘He’ll Be My Mirror’, and posted image stories on Instagram and Facebook.

On April 4, participants were directed to a dedicated Slow Art Day page on the Museum’s website to look slowly at full-size images of the two paintings. Shannon Lyons, Education Coordinator, then led an online discussion via the Museum’s social media channels, where participants were encouraged to share thoughts about the artworks and their slow looking experience.

Shannon Lyons shared with us her surprise at how well it went:

From an educator’s perspective, it was interesting to see how willing people were to both delve deeper and give voice to their wonderings online. They actively questioned why aspects of the artworks appeared the way that they did, and why particular elements of the artworks seemed to dominate, hold or demand attention far more than others.

Shannon Lyons

Their first Slow Art Day was a success, with over 5000 impressions and 100+ post engagements across Instagram and Facebook. Further, the average time spent on their dedicated webpage was 6 minutes – dramatically higher than the average time of under a minute for other pages on the site.

The TarraWarra Museum of Art had originally planned to host their first Slow Art Day in-person featuring their newly opened exhibition ‘Making Her Mark: Selected Works from the Collection‘, however Lyons and Alexander had to quickly re-imagine it as a virtual experience due to Covid19.

The whole Slow Art Day team has been impressed with what Elisabeth and Shannon were able to produce – given that it was not only their first Slow Art Day but, of course, also since the pandemic forced a last minute change of plans. We look forward to what they create for Slow Art Day 2021.

-Johanna

Impressionist Interiors at The Bendigo Art Gallery

August 20th, 2020

Art by Australian Impressionist Bessie Davidson was at the heart of the third Slow Art Day hosted this year by The Bendigo Art Gallery in Victoria, Australia.

On April 4, slow-panned videos of three paintings from the exhibition ‘Bessie Davidson & Sally Smart – Two artists and the Parisian avant-garde’ were shared on the gallery’s website (still images below):

  • Lecture au jardin (reading in the garden), 1930s.
  • Fillette au perrouquet (Little girl with parrot), 1913.
  • An interior, c. 1920.
Bessie Davidson, Lecture au jardin (reading in the garden), 1930s, oil on plywood 94 x 114 cm. Collection of Max Tegel, New South Wales.
Bessie Davidson, Fillette au perrouquet (Little girl with parrot), 1913, oil on canvas 92 x 73 cm.
Collection of Carmel Dyer and Allen Hunter. Image courtesy of Bonhams.
Bessie Davidson, An interior, c. 1920, oil on composition board  73.1 x 59.7 cm.
Gift of Mrs C Glanville, 1968, Art Gallery of South Australia.

Staggered images of the paintings were also shared on the gallery’s Facebook page via three posts before, during and after April 4th. Participants were invited to respond by posting comments, thoughts and images of their own works inspired by the slow-looking.

Each Facebook post got more likes than the previous, with the last post receiving 1.2k likes. Several people also sent in beautiful paintings of their own children and interiors.

Suzie Luke, Public Programs and Learning Officer at the Bendigo Art Gallery, said that many participants had “tremendously positive feedback” about the artist, artworks and the gallery itself:

Love that you’re doing this. This is the sort of thing I need to lift my spirits, just like every visit to your gallery has always done. Thank you!

This idea is so great, please keep doing it even when the emergency is over.

Jan Deane; Papageno Ragdoll

Slow Art Day at Bendigo Art Gallery usually consists of slow-looking guided tours by their wonderful volunteers, followed by discussions of the paintings and afternoon tea. This year, it has been inspiring to see the gallery make such a beautiful transition to virtual platforms.

We hope that The Bendigo Art Gallery will host another innovative Slow Art Day in 2021.

– Johanna and Ashley

Gardiner Museum Hosts Sense-ational Slow Art Day

August 6th, 2020

For their first Slow Art Day, The Gardiner Museum in Toronto, Canada, hosted an immersive virtual event with a multi-sensory focus.

On April 4, four photos of Linda Swanson’s TEMPLUM OF A PRECIOUS THING OF NO VALUE, A SHAPELESS THING OF MANY SHAPES, 2020, were shared to social media in intervals. An event outline was also available as a downloadable PDF, which can be viewed in full here. Because their session was so well designed, we have included more detail in the excerpted prompts below.

Participants were encouraged to spend 5-10 minutes with each photo, and consider the accompanying prompts and questions:

View of Linda Swanson’s TEMPLUM OF A PRECIOUS THING OF NO VALUE, A SHAPELESS THING OF MANY SHAPES, 2020, Clay, water, metal, nylon, wood.
Part of the RAW Exhibition at The Gardiner Museum. Photo: Toni Hafkenscheid.

Imagine yourself seated on the bench next to the installation. Take in the full picture. Let your eyes move slowly around the image as you absorb what you’re seeing.

  • Focus on each individual element of the work. What kinds of lines and shapes do you notice?
  • Consider the areas of light and shadow. How does the lighting influence the mood or feel of the installation?
  • What do you think you’ll see as you move closer? What textures and patterns might appear?
View of Linda Swanson’s TEMPLUM OF A PRECIOUS THING OF NO VALUE, A SHAPELESS THING OF MANY SHAPES, 2020. Photo: Toni Hafkenscheid.

Once again, take in the full picture. Let your eyes move slowly around the image as you grasp this new perspective and information.

  • What do you notice now that you may not have perceived in the first image? Does this change your impression or understanding of the work?
  • Shift your attention to the cables. What kinds of shapes and forms do you notice in the negative space around and between the cables?
  • Consider the weight of the water contained in each membrane. Close your eyes and imagine that your arms are the cables holding them above the ground. What do you experience?
View of Linda Swanson’s TEMPLUM OF A PRECIOUS THING OF NO VALUE, A SHAPELESS THING OF MANY SHAPES, 2020. Photo: Toni Hafkenscheid.

Again, take in the full picture. Let your eyes move slowly around the image as you register the new details.

  • How does this perspective add to or change your interpretation of the artwork up to this point?
  • Close your eyes and picture yourself gently pressing a finger against the nylon membrane. Feel the weight of the water shifting. Does it remind you of a sensation you’ve experienced before?
  • Narrow in on the water droplets that are gathered on the membrane. Imagine poking them with your finger. How would the water feel running down your hand?
View of Linda Swanson’s TEMPLUM OF A PRECIOUS THING OF NO VALUE, A SHAPELESS THING OF MANY SHAPES, 2020. Photo: Toni Hafkenscheid.

For the last time, let your eyes move slowly around the image as you take it in.

  • What would it feel like to run your fingers through the clay? To pick up a handful.
  • Close your eyes and imagine the smell of the clay, both dry and wet. What does it smell like? Is it earthy? Musty? Chalky?
  • Now consider the work as its own ecosystem or world. How would you describe it to a friend? How would you articulate its look, feel, and smell?

This was such a well-designed slow looking session that we hope more people who are reading this on the Slow Art Day website will take the time to go through this event themselves.

The Gardiner Museum is one of many museums that had to quickly re-think how to keep the public engaged with art during the Covid19 pandemic. By using photos and descriptive prompts of the installation from their special exhibition RAW, they successfully produced an imaginative multi-sensory experience – even with the added element of being virtual.

At Slow Art Day HQ, we absolutely love how immersive this event was. It reminded us how powerfully our minds can conjure up the real-life experiences of textures, shapes, weight, and scents.

We very much hope that The Gardiner Museum will continue hosting Slow Art Day events – and in their actual museum space in 2021.

– Johanna

Note: The listed prompts were selected from the original, full list of prompts provided by The Gardiner Museum.