The Art Institute of Chicago had a stellar third Slow Art Day, with 377 visitors of all ages participating in a three hour event designed and led by *13* teenagers.
Statue of a Young Satyr Wearing a Theater Mask of Silenos, ca. 1st century CE. Anonymous sculptor, with 1628 restorations by Alessandro Algardi
The teen guides selected 6 artworks to feature from across the museum’s broad collection. With support from the museum’s staff, they generated conversation starters with participants, posed open-ended questions, and employed strategies to keep visitors engaged throughout the experience.
Frans Snyder, Still Life with Dead Game, Fruits, and Vegetables in a Market 1614Glenn Ligon, Stranger in the Village #13
We often hear that slow looking is not for young people – they don’t have the time or attention. They are digital natives and not interested in real space. But many Slow Art Day museums have successfully run programs with teenagers and kids as young as four or five years old, and with this event, the Art Institute of Chicago proves yet again that art is – and must be – for everyone.
We look forward to seeing what the Art Institute comes up with for Slow Art Day 2020.
Gallery owner Hannelie Hartman welcomed participants of all ages to the third Slow Art Day at MelonRouge in Magaliesburg, South Africa.
The event was facilitated by Dr. Sonja Brink, a Learning through Play Ambassador for the Lego Foundation, who, when not involved in Slow Art Day, teaches the Setswana language to South African children and adults through song and movement.
Working with MelonRouge, she came up with a creative multi-sensory design that started with a brief talk on the link between art and information through the ages. She discussed ways to use art to cultivate focus and presence when feeling overwhelmed by technology overload (Ed: this is one of the key reasons Slow Art Day was started a decade ago – to create an antidote to technology’s growing dominance).
After Dr. Brink’s talk, participants were then blindfolded and given a fragrant piece of clay to smell and touch in order to kickstart their senses for the multi-sensory slow looking program they were about to experience.
Blindfolds were then removed and participants starting looking at a painting titled “Injasuthi Valley,” by artist Frances Wedepohl (below). As they slowly gazed, viewers were encouraged to touch and smell a variety of natural materials, including grasses and branches.
“Injasuthi Valley,” by artist Frances Wedepohl
Next, Dr. Brink brought the participants to slowly experience artwork by artist trio Louisa Staude, Louel Staude, and Heinz Schnölzer, titled “An Ode to Fynbos” (below). Visitors were invited to immerse themselves in the essence of this art through exploring the textures, smells and music composed specifically for the installation.
“An Ode to Fynbos” by artist trio Louisa and Louel Staude, and Heinz Schnölzer
Then, during the third viewing, participants were encouraged to taste a range of sweet, sour, and salty candies while slowly savoring artist Trevor Rose’s tryptic titled, “Life’s Journey” (below).
“Life’s Journey” by artist Trevor Rose
With the level of detail, playfulness, and creative multi-sensory focus, this Slow Art Day 2019 was a “resounding success”, with Dr. Brink noting that for both her and the participants “it was amazing!”
We look forward to whatever creative designs MelonRouge and Dr. Brink come up with for Slow Art Day 2020.
Slow Art Day 2019 at the Columbia Museum of Art attracted a small but very invested group of participants. At each stop along the way they experienced the art from a different perspective, whether a deep visual dive, a multi-sensory experience, or a complex conversation about the details within a piece.
The participant conversations were fruitful, and resulted in insights that the docents used in later tours.
We look forward to Columbia Museum of Art’s participation in 2020!
For Slow Art Day 2019, artist and holistic pyschotherapist Henrique Vieira Filho invited groups of up to six participants at a time into the intimacy of his studio, HVF Artes, located in São Paulo, Brazil.
He chose what he thought were the most impactful works and guided participants to slowly observe each piece.
Some participants also chose a quiet session of art therapy.
After slow observation, refreshments were served and guests were invited to talk about the experience of slow looking with the artist.
This was a very interesting design and we look forward to more Brazilian gallery and museum participation in 2020.
