Category Archives: slowartday

Slow Art Day with Robert Fahey and the Oakland Museum of California

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[In this series, we interview hosts for Slow Art Day and get their thoughts on hosting, the art of looking, and the slow art community. Today we interview Robert Fahey, who is hosting a Slow Art Day event at the Oakland Museum of California in Oakland, CA.]

Mathews Furniture Shop (1860-1945), Franc Pierce Hammon Memorial Windows, 1925, glass. One of the works that will be featured in the Oakland Museum of California's Slow Art Day event.

Mathews Furniture Shop (1860-1945), Franc Pierce Hammon Memorial Windows, 1925, glass.
One of the works that will be featured in the Oakland Museum of California’s Slow Art Day event.

Slow Art Day: First, introduce yourself to us – what do you do at the Oakland Museum of California?

Robert: I’m Robert Fahey, OMCA’s Social Media Coordinator! I live in the Marketing Department in our Audience and Civic Engagement Center but you’ll rarely find me at my desk since I am always collaborating with staffers all over the Museum to make sure the OMCA experience is fully represented in the social sphere.

Slow Art Day: Tell us a little bit about the OMCA and its collection.

Robert: The Oakland Museum of California is in the heart of Oakland, next to the beautiful Lake Merritt. We are a multidisciplinary museum that exhibits the art, history, and natural sciences of California. Our collections – comprising more than 1.8 million objects including seminal art works, historical artifacts, ethnographic objects, natural specimens, and photographs – and our programs explore and reveal the factors that shape California character and identity, from its extraordinary natural landscapes, to successive waves of migration, to its unique culture of creativity and innovation.

Slow Art Day: How did you initially hear about Slow Art Day? What made you interested in getting the Oakland Museum involved with the movement?

Robert: I heard about Slow Art Day from the Bay Area Museum SuperFriends! It’s all the folks that are involved with some aspect of social media in and around the San Francisco Bay Area. What made me want to have OMCA get in on the action was the thought that I could take this event and make sure everyone knew about it and talked about it over social media, but also that the event itself would still let people engage and connect on a deeper level with art within our museum walls.

Slow Art Day: Tell us about the works you’ve chosen for your Slow Art Day event. What made you choose those specific works?

Robert: We chose works from our Gallery of California that would allow the viewer to find a narrative of California character that they could all relate to. All of the works give the viewer the chance to experience something unique and fun!

Slow Art Day: And lastly, feel free to add any other information about your event that you think is important.

Robert: Please come with California on the mind! And afterwards, feel free to take the conversation of slow art to the online social world and talk to OMCA on Facebook and Twitter!

Slow Art Day: Thank you so much Robert! Best of luck in your Slow Art Day event.

[If you’re in the area, make sure to check out the Oakland Museum of California’s Slow Art Day event. You can sign up to attend here, and get a sneak peek of the works that will be featured in the event both on our Tumblr and on OMCA’s website.]

Slow Art with Willa Koerner and SFMOMAslow

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[Slow Art Day Social Media Manager Alie Cline recently interviewed Willa Koerner from the San Francisco Museum of Modern Art to chat about the museum’s new Slow Art Day inspired project, SFMOMAslow.]

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Slow Art Day: First, introduce yourself for us – what do you do at SFMOMA?

Willa: I’m Willa Koerner, SFMOMA’s Digital Engagement Associate. I manage SFMOMA’s social media accounts, from planning, writing, and editing posts, to documenting the goings-on of the museum, to collaborating with co-workers on digital projects and online engagement initiatives.

Slow Art Day: How did you initially hear of Slow Art Day? What sparked your interest in the project?

Willa: I heard about Slow Art Day through the social media grapevine. My interest was sparked right from the get-go, as the idea of looking/thinking slowly is fascinating when contextualized within the incredibly manic pace of the Internet.

Slow Art Day: How did the idea for SFMOMAslow initially develop, and how have you expanded on “Slow Art Day” and turned it into a larger project?

Willa: In collaboration with Suzanne Stein, SFMOMA’s Head of Community Engagement (and manager of SFMOMA’s blog, Open Space), I’ve been working on ways to get people talking with the museum in exciting, interesting ways through crowd-sourced projects hosted on a special Tumblr (SFMOMAcrowd). Hosting successful user-generated projects can be a bit difficult, and we’ve seen firsthand how challenging it can be to generate interest/response to a project prompt, no matter how interesting that prompt may seem to us within the museum. In my opinion, this is due to a simple truth: people don’t want to spend their valuable time creating something unless there is an explicit reason to participate, or a reward. Knowing this, we wanted to pursue a prompt that would ultimately lead to a rewarding and satisfying experience for all types of participants. The Slow Art Day concept fit this desire perfectly, so we decided to create a whole slew of programming, tweaking the idea so that it would be interesting to those who can visit the gallery in person as well as those who may prefer to participate remotely.

Slow Art Day: What has the response been like?

Willa: People have seemed genuinely excited about (and possibly thankful for) the idea of #SFMOMAslow/Slow Art Day. It is an invitation to relax and appreciate life, isn’t it? In terms of participation with the crowd-sourced project more people prefer to watch than to join in, I think, but those folks who have taken the leap and participated seem to have truly valued the experience. One person ended her post with, “ I feel as if [looking slowly] sharpens perception because there is a very deep meditative quality to it! Thank you!” That made me smile.

Slow Art Day: How do you think “slow” art fits into our fast-paced, modern world?

Willa: I see Slow Art Day and the challenge to truly look slowly as a bit of an intervention. People move so quickly and rush through experiences that would be much more magical when taken in at a slower, more contemplative pace. I wish I didn’t, but I too am guilty of senselessly rushing through all sorts of experiences — it’s the curse of having endless access to information and ideas, and seemingly thing after thing to rush off to. We joke about “FOMO” [Editor’s note: “fear of missing out”] but it’s a real and problematic plague for our generation! We want to see it all, do it all, and share it all. Slow looking is a way that we can re-learn how to think critically and be patient with ourselves and our minds.

Slow Art Day: We couldn’t agree more! Finally, what are you most looking forward to on Slow Art Day itself?

Willa: I’m closing my eyes and imagining Slow Art Day at SFMOMA… in my mind, I see myself smiling a lot and enjoying a rewarding day filled with compelling art, perceptive people, and intriguing conversation. Stay tuned for my tweets on that Saturday — I’ll be using the #SFMOMAslow hash tag!

And, before I sign off, I want to extend huge thanks to Alie, my interviewer, and everyone who volunteers to help spread the ideas of Slow Art Day to people around the world! You guys are doing a terrific job.

Slow Art Day: Thanks, Willa! We very much appreciate all the hard work you are putting in to spreading the idea of slow art as well.

[If you’re in the San Francisco area, make sure to check out SFMOMA’s Slow Art Day event and learn more about SFMOMAslow through their tumblr, SFMOMAcrowd]

Slow Art Day with David Faux at the University Museums at Iowa State University

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[In this series, we interview hosts for Slow Art Day and get their thoughts on hosting, the art of looking, and the slow art community. Today we interview David Faux, who is hosting a Slow Art Day event at the University Museums at Iowa State University.]

Slow Art Day: Tell us a little about yourself.

David: I am a recent graduate of Iowa State University with a B.S. in history and a minor in Native American studies. I’m a new interpretation specialist here and I am responsible for working with my colleagues to develop programing that will interest the fickle and ever-changing pool of 18-24 year old students that we have on campus.

Slow Art Day: And tell us about the distinctive history and collection of the University Museums at Iowa State University.

David: Iowa State University was the very first land grant college in the nation and today Iowa State has the largest collection of public works of art on any campus in the nation. This unparalleled collection of over 2,000 works includes two grand scaled murals by Grant Wood, 12 major sculpture installations by Christian Petersen during his 21 year residency, and nearly 600 other major works of art by nationally and internationally known artists.

Slow Art Day: Why did you choose to host Slow Art Day there?

David: Far too many students  walk to and from class with their heads down oblivious to their surroundings. Programs like Slow Art Day fit right in with our other programming efforts to get people to stop, look around, and engage with all of the wonderful objects that inhabit their learning environment.

Slow Art Day: What works are you going to be viewing?

David: We are going to be looking at some of our N.C. Wyeth painting from the artist’s America in the Making series. We are fortunate to have the complete set and we are going to be loaning the works out soon, so I am giving as many ‘last chance’ exposures to the work as possible. The works are are part of the New Deal era regional works, one of our most extensive collections.

Slow Art Day: Tell us about a work of art you like.

David: The other day I represented the University Museums in rededicating The History of Dairying mural located in the courtyard of our Food Sciences department. That mural was the very first that Christian Petersen painted/sculpted for the college (as part of the PWPA) and the fountain attached to the mural has been out of service for over 20 years.  That fountain plays a crucial role in the history of our art on campus legacy, but more importantly was an important part of a lot of past Iowa Staters’ lives and memories. To share in those memories and be a part of a new and exciting chapter of that sculpture’s role on campus was an extremely humbling moment for me.

Slow Art Day: Thank you, David. Good luck with Slow Art Day!

[Make sure to check out David’s Slow Art Day event at the University Museums at Iowa State University.]

Twitter, tumblr, and Slow Art: oh my!

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If you follow Slow Art Day on our various social media channels, you might have noticed an interesting conversation unfolding this week over whether programming like Slow Art Day can succeed in today’s fast-paced, digital environment. It all started when Sarah Bailey Hogarty from the de Young & Legion of Honor Museums looped us into a conversation happening at the 2013 Museums and the Web Conference:

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Of course, we had to respond!

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Which opened the floodgates for more dialogue and opinions from both sides:

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While twitter is fantastic for short, 140 character thoughts, we wanted to address our thoughts on the power of slow looking in a longer format, so our Social Media Manager Alie Cline took to the Slow Art Day tumblr to respond to Koven Smith’s initial concerns about Slow Art. Focusing on the ideas of slow looking and engagement, the post details how Slow Art Day can work within digital culture, “…so people can share their insights, observations, and engage with the artwork in a way that reaches beyond just the initial reaction of “I like this” or “I don’t like this.” Make sure to check out the entire post on our tumblr!

We love the thoughtful and respectful dialogue that took place on our social media channels – make sure to follow Slow Art Day on Twitter, Facebook, and Tumblr for more conversations like this one!

Slow Art Day with Elizabeth Markevitch at ikonoTV, Berlin

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[In this series, we interview hosts for Slow Art Day and get their thoughts on hosting, the art of looking, and the slow art community. Today we interview Elizabeth Markevitch, who is a global sponsor of Slow Art Day through her interesting company, ikonoTV, Berlin.]

Slow Art Day: Let’s start with a bit of background about yourself and ikonoTV. You are the founder, right?

Elizabeth: Yes, I founded ikono in 2006.

Slow Art Day: What was your founding vision?

Elizabeth: During my long-time experience in the art world, I became more and more aware of the necessity for exploring new ways of displaying art and opening it up to a broader audience. Art needs to be seen, and the joy of seeing and experiencing art should not be restricted to a small group of art professionals or collectors.

Slow Art Day: As you know, of course, we share that vision with you. How did you get from that vision to starting ikono?

Elizabeth: I explored different paths.  I cofounded www.eyestorm.com in 1998 as the first online gallery at that time selling international contemporary art on a global scale. Then, some years later, the fundamental idea of making art internationally accessible found its final and strongest realization through ikono.

Slow Art Day: So why bring art to TV in this new way?

Elizabeth: I thought why not achieve for the arts with TV as radio has been achieving for music? Why not use this mass medium for bringing the entire world of arts into the homes of an international public? Over the past few years, we have established a wonderful collaboration between art historians, curators, and cameramen in working with artists and international art institutions. We are producing video clips about artworks from all time periods, movements and disciplines, highlighting single exhibitions as well as the most stunning collections and treasures of our cultural heritage.

Slow Art Day: Tell us more about how you ‘see’ art.

Elizabeth: The first encounter with art is a visual one – you just need your eyes for discovering and experiencing its richness and plurality. A certain knowledge or expertise is what comes in a second or even third step. ikono offers this very first meeting: we are building a visual bridge to the arts, encouraging you to trust your eyes, and to rely on what you see and feel.

Slow Art Day: How does this connect with your notion of time?

Elizabeth: We take the notion of time seriously by inviting you to dive into the artwork contemplatively and to become fascinated by its details. You will always discover things you have never seen or noticed before! We allow art to speak for itself, which is why we never add any sounds or narrative elements and why we avoid any interruptions from commentary or advertisement. However, in case you would like to know more, you can of course find all additional information and further links on our homepage.

Slow Art Day: You guys are planning something special for Slow Art Day – five video clips, each dedicated to a single artwork. Say more.

Elizabeth: We decided to dedicate the entire program for April 27th, 2013 to Slow Art Day. Our curators have selected some of our most beautiful video clips to be presented throughout the day: we will showcase Hans Holbein the Younger’s double portrait of The Ambassadors and the unexcelled depiction of The Tower of Babel, painted by Pieter Brueghel the Elder. We will present artworks of Caspar David Friedrich, the wonderful Eugene Delacroix, Vincent van Gogh, and the universal genius Karl Friedrich Schinkel. Viewers will also find contemporary examples, including the fascinating light installation of Kite & Laslett, our current Artists of the Month, and the Spatial Reflections series, a selection of artistic positions from Lebanon, Syria and Palestine, curated by Charlotte Bank. I do not want to reveal too much before its presentation, so please feel cordially invited to tune in for discovering more!

Slow Art Day: Can people watch ikonoTV if they are not currently in your cable footprint?

Elizabeth: At the moment you must meet certain technical requirements to watch our HDTV program. While ikonoMENASA is broadcasted in the countries of the Middle East, Northern Africa, and Southern Asia via satellite (ArabSat) or IPTV (du, Etisalat or Solidere IPTV Broadband Network), ikonoTV is on view in Germany and Italy via Telekom Entertain and Cubovision.

But we have very good news: In 2013 we will increase our international presence by also being on view in new countries throughout Europe. Furthermore, we have already started preparing our live web stream, which is to be launched within the upcoming months. From that very moment on, everyone around the world will be able to enjoy art and to contemplate it wherever they are-an amazing perspective! In June we will announce further details, so stop by our website or join our newsletter to stay posted. Also begin checking our blog right away, where you will find all further information about ikono’s support of Slow Art Day 2013!

Slow Art Day: Great – thanks for sponsoring Slow Art Day again this year.

[Make sure to tune into ikonoTV, Berlin, if you can!]

Slowing Down at Museo MARCO

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[Slow Art Day has asked its 2013 hosts and volunteers to write short summaries of their own experiences looking slowly at artworks of their choosing.]

After looking around the Museo Marco, I chose the artwork The Fuck Off Project by Daniel Ruanova to examine patiently as part of the initiative of Slow Art Day. There were, no doubt, other pieces that called my attention, but the idea of examining this particular piece interested me the most. This artwork consists of a series of metallic rods that are assembled into a set of pointy extrusions. It almost looks like a “wire frame” (like those seen in animation programs) of the back of a porcupine.


Daniel Ruanova. The Fuck Off Project. 1976

At first glance the work certainly seemed aggressive. Although not insulting (at least until you read the title), I initially did not want to get near it. Each of the protrusions appear to be directed toward the viewer, independent of the viewing angle. Judging by the name, I thought that this was precisely the motive of the artist – i.e. to portray aggression.  That made me think of similar shaped things in nature that convey the exact same defensive idea, like pufferfish or the porcupine, and I concluded that the artist may have been inspired by such animals.

Despite my apprehension, I decided to slowly approach the piece. As I got nearer, I noticed that the feeling of aggression became stronger.  I decided to actually walk into it and that changed my experience of the piece completely. There, inside it, I felt protected. The metallic arms were no longer pointed towards me but towards everyone else. It’s as if now their sole purpose was my defense. I sat down to be able to immerse myself deeper, and, as expected, the sense of security was intensified. There, in the midst of all those metal rods, I felt comfortable.

The next thing I noticed was the facial expressions of the people in the museum when they noticed me there. Assuming they shared the feeling I had felt while looking at the sculpture from the outside, I could understand why. I sat there for awhile, watching people pass looking bewildered.

I now understand the Slow Art Day initiative in a better way and can see how slow looking can really transform the experience.  Looking slowly and taking the time to move in and around this artwork completely changed my perception – and – this insightful episode reaffirmed my decision to be a host during the Slow Art Day for Museo Marco in Monterrey on April 27.

– David Zambrano Reyes, Volunteer at MARCO

[Make sure to check out Museo MARCO’s Slow Art Day event in Monterrey, Mexico.]

Take a Slow Look, Canada

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Slow Art Day has asked its 2013 hosts and volunteers to write short summaries of their own experiences looking slowly at artworks of their choosing.

The day of my assignment, I strode into the gallery with purpose; J.E.H. MacDonald’s October Shower Gleam, 1922, was the only work I was going to spend time with that day.  This work did not initially outwardly appeal to me – I felt like I was up for a challenge to see what it would be like to look at it slowly.

J.E.H. MacDonald, October Shower Gleam, 1922. Image courtesy of WikiPaintings.

I set my alarm for the proscribed 10 minutes, and set my eyes (and mind) to work. What initially made the painting unattractive to me, the garish 70s mix of close-to-neon colours with earthy greens and browns, I set my eye to first. Looking closely at what I read as autumnal trees and brush, I soon discovered a graceful patterning of organic shapes in the entirely unnatural colours of bright pink and teal, outlined in ultramarine blue, with a ground of gessoed and textured canvas showing through. As my eye traveled downwards, towards the reflection of the landscape in the still lake, I realized that MacDonald’s depiction of water consisted solely of a reflection of the patterning I had been closely studying.

What I read as “water”, in fact, didn’t contain something normally characteristic in depictions of water; namely the colour blue. MacDonald actually had painted a ground of light orange onto which he had then transcribed his reflected scenery. Sandwiching this mirrored landscape was a mass of roiling clouds, done in wavy lines of lavender and deep purple, as well as a rocky outcropping of land containing a few windswept trees in the foreground. They squished me into the landscape in such a way that I felt like my only escape was forward, toward the rolling hills and the two small “V’s” of clear sky – away from the October shower that was imminent, seen in the shiny wetness of the purple clouds.

My “introduction” to the work lasted a mere minute or two. After that, I was lost in the landscape, its patterns, shapes, colours, and texture, until my alarm rudely interrupted. Ten minutes felt like two; I could have easily spent another ten or twenty minutes immersed in the work.

Though not initially appealing to me, I grew, through this exercise, to appreciate aspects of the work that weren’t immediately apparent. Practicing slow looking with a work I wasn’t immediately attracted to in a positive way helped me remember that to “like” and “dislike” are fluid categories (and don’t always include “appreciate”). I was also reminded not to always take other people’s word for it – it is always more rewarding to see for yourself.

-Tori McNish, Slow Art Day volunteer

Slow Art Day with Natalie Iturbe at the Melrose Trading Post

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[In this series, we interview hosts for Slow Art Day and get their thoughts on hosting, the art of looking, and the slow art community. Today we interview Natalie Iturbe, who is hosting a Slow Art Day event at the Melrose Trading Post in Los Angeles.]

Slow Art Day: Tell us about yourself and your passion, Natalie.

Natalie: My passion is art! I am a visual artist and somewhat of a curator. I express my passion through my job and through my artwork. At my job I bring in various local vendors to sell in our weekly community market. It is a particular selection process, and I aim to keep a good balance of original artwork, vintage and antique items, fun collectibles and fashion-related items. Through my art I am able to release my inner thought processes and energies onto a canvas or a piece of paper. It is absolutely necessary for me to create art in order to maintain a balanced and happy life.

Slow Art Day: And what is Melrose Trading Post?

Natalie: The Melrose Trading Post is the weekly nonprofit community market I manage every Sunday. We are located in the heart of Los Angeles at Fairfax and Melrose Avenues in the parking lot of Fairfax High School. We are sandwiched between two of LA’s artistic communities, Fairfax Village and the Street Art District. The vendors that come in range from local artists, craftspeople, entrepreneurs, collectors, antique buffs, historians and more. The money raised through our $2 admission fee and the vendor booth rentals benefit programs for Fairfax High School students. These programs include club fulfillment requests, Greenway Arts Education Programs, teacher supply requests, school beautification projects and more.

Slow Art Day: You have hosted Slow Art Day before. How’d you first hear about it?

Natalie: I saw an article about it online last year. I volunteer at the county museum (LACMA) and I noticed that many people only look at individual pieces of art for a few seconds. The artist may have taken years to create the piece, but it only gets a few seconds of a patron’s time. By bringing Slow Art Day to the Melrose Trading Post, I saw it as a way to slow Angelenos’ hasty life pace down long enough to look at the local artists’ work that we feature.

Slow Art Day: At your Slow Art Day – the artists are there to interact directly with the public, yes?

Natalie: Yes – the Melrose Trading Post is a very interactive experience. We have over 240 artists and vendors who you can talk to, haggle with, and pick their minds about their various topics of expertise. Our Slow Art Day is unique because you can actually speak with the artist. You can ask them questions, make a direct purchase and follow their creative journey. We like Slow Art Day here because it is yet another way to bring patrons and local artists together to engage and inspire each other.

Slow Art Day: What is one of your favorite art works?

Natalie: I love the work of Remedios Varo. Her paintings are so mystical and haunting. I also love Henri Matisse’s artwork, especially his more colorful pieces before World War 1.

[Make sure to check out Natalie’s Slow Art Day event at the Melrose Trading Post in Los Angeles, California.]

‘Fair go’ and Slow Art Day – An Interview with Elle Credlin

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[In this series, we interview hosts for Slow Art Day and get their thoughts on hosting, the art of looking, and the slow art community. Today we interview Elle Credlin, the Public Programs officer for Bayside City Council in Sandringham, Victoria, Australia.]

Slow Art Day: Tell us about yourself and about Bayside City Council’s Art and Heritage Collections.

Elle Credlin: I’m Bayside City Council’s Art and Heritage Collections and Public Programs Officer. I have a Bachelor of Arts (History) and a Postgraduate Diploma in Cultural Heritage/Museum Studies. My role is to manage Council’s art and heritage collection and also run public programs for the Gallery @ BACC. Council’s art and heritage collection is comprised of over 2000 items including municipal records, plans, maps, textiles, photographs, mayoral regalia and a range of visual arts.

Slow Art Day: That’s great. Tell us more about your role as Public Programs Officer.

Elle: I develop and manage the range of public programs and outreach services to accompany and enrich the exhibition program. These include things like curator’s talks, workshops, tours, art appreciation evenings and now Slow Art Day! We also run an Art and Dementia program titled Connections. Through discussion based tours of art work, the program provides a unique opportunity for people living with dementia to connect, interpret and express experiences through a work of art.

Slow Art Day: Please tell us more about the Dementia program. Do many other programs like that exist in Australia?

Elle: Connections is based on the National Gallery of Australia’s award winning Art and Alzheimer’s program. In 2012, gallery staff received training from NGA educators in how to deliver the program. Each program runs over a four week period and three works of art are discussed each week amongst the four participants. The program employs specialised forms of communication and strategies to encourage participation and support inclusiveness. These strategies include hand gestures, smiling, leaning forward and allowing for silence. It is run during normal gallery opening hours to prevent the marginalising of participants. We are really proud of Connections because it extends beyond many activities commonly available to people with dementia. Participants are able to engage in meaningful activity in an environment where their intellect is respect and valued. As far as I’m aware, we are the only local municipal gallery that runs this particular type of program in the state of Victoria, but that may have changed.

Slow Art Day: Why are you so passionate about making art more accessible?

Elle: I absolutely hate the idea that people could be intimidated or frightened by visiting a gallery or find themselves plagued by the ‘white box syndrome’. Galleries should be inclusive and welcoming. Every single person should have the opportunity to experience the richness of the arts. More broadly, as we are based within a local government context, we also need to align ourselves with the broader organisational mission of inclusivity, accessibility and facilitating opportunities for people of all abilities to participate in community life.

Slow Art Day: We obviously agree. Switching gears – Slow Art Day has really taken off in Australia. There are 13 venues in Australia making it more than 5% of the total worldwide venues yet Australia has only about .3% of world population.  Why do you think Slow Art Day is such a big hit there?

Elle: I’m not sure, that is a really interesting question. Melbourne, in particular, has a thriving artistic and cultural scene so that could have something to do with it. Maybe the fact that Slow Art Day is an accessible and affordable activity mirrors the ‘fair go’, non-elitist attitude of many aspects of Australian culture and life i.e. that everyone should have access to the same opportunities and experiences.

Slow Art Day: Say more about ‘fair go’ – is that Australian lingo?

Elle:  ‘Fair go’ is a very Australian term.  Although it has many different meanings, I think it is fundamentally a commitment to egalitarianism in all aspects of culture and life; that we are all given every reasonable opportunity to access to the same opportunities and rewards. That is how I see it anyway.

Slow Art Day: What more can you tell us about your event? Have you chosen your art?

Elle: For Slow Art Day, we will be celebrating the works of a number of significant early 20th century Australian artists, including Tom Roberts, Frederick McCubbin and Arthur Streeton. We will be having lunch in the municipal chambers. If it’s a nice day, we might sit out in the rose garden.

Slow Art Day: You plan to make Slow Art Day a regular fixture in your public programs. Does that mean you plan to do regular events throughout the year based on slow looking?

Elle: Yes, Slow Art Day will now be a regular feature in our program. Our Art and Dementia program, as mentioned, is very much aligned with the idea of slow looking. We also host ‘soiree’ type evenings with wine and cheese, which are very popular. These evenings are very relaxed and people are encouraged to take their time with the works.

Slow Art Day: Let’s finish by asking what’s one of your favourite pieces of art? And why?

Elle: That is a hard question! I love Ben Quilty’s work. I think he’s amazing.

[Make sure to check out Elle’s Slow Art Day event at The Gallery at BACC in Brighton, Victoria.]

‘Face’ to Face with Dorian Gray

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Martin Kline, Dorian Gray, 2011. Image Courtesy of the Harvard Art Museums.

Slow Art Day has asked its 2013 college interns to write short summaries of their own experiences looking slowly at artworks of their choosing.

Out of the corner of my eye, I can feel Dorian Gray digging into the back of my neck, his carbonized tendrils reaching outward with a foreboding aura.

Martin Kline’s Dorian Gray (2011) is currently situated on the fourth floor of the Sackler Museum (one of the Harvard Art Museums). The encaustic on panel work resides in a tucked-away enclave to the left, and I might have passed it by, if not for the incredible breathtaking presence of the piece quickly enveloping me. The odd fact that this very contemporary work is being displayed on a floor usually reserved for historical European works from Middle Ages to Modern Art is jarring. And yet, it seems completely appropriate.  Its uniqueness demands its own votive-like shrine. It shouts loudly for your attention in order to simmer to a boil before your stolen attention.

This ‘portrait’ does not portray the Oscar Wilde character in his eternal youth. Instead, the spellbinding work showcases the blistering and decaying remains of the bewitched painting. Miraculously the work still carries the same devilish, enigmatic force that you would expect from a depiction of Dorian’s debaucherous descent in his perpetual youth.

As I gaze at Kline’s work, however, I temporarily forget all literary references. Regardless of intent or allusion, this piece literally feels timeless. From all directions and perspectives it becomes reminiscent of so many worldly forms. I feel as if I need to mentally map the pulsating topography of the piece inch by inch. A gigantic festering blister at direct view morphs slowly into a singed old growth forest to bubbling, oozing lava, to a hearty crop of stalagmites as my gaze traverses the panel. I am able to visually trace the peaks and valleys, following them down into the crevasses created by the dripped wax terrain. The technique used by Kline, curiously one of addition and growth instead of the destruction that you would assume of the corrupted portrait, adds to the oddly lively artwork.

Martin Kline, Dorian Gray (detail), 2011.

Martin Kline, Dorian Gray (detail), 2011.

I realize something while looking horizontally from the right at the Martian landscape (after exhausting all of my other viewing options, museum etiquette-wise). Stepping back a few feet, I see that the wax used is a variety of colors, not the monotone mound it appears to be. Light gray, dark gray, even a sickly shade of green is intermixed to add depth and shading to the work. I was so close and drawn into the work that I didn’t realize this core component. What else did I miss?

I draw back, not in retreat, but in pursuit. The optical feat created both by the layers of wax and its pigmentation is still enchanting and intoxicating. As I’m across the gallery, however, I realize that I’ve made a crucial mistake in my original viewing of the work. This is not a remnant of past events, or a passively brewing force.

This work has a life of its own and it’s still spreading.

-Karen Trop, Bennington College.

Martin Kline’s Dorian Gray among other great works is available to view at the Arthur M. Sackler Museum in Cambridge, MA. The Harvard Art Museums are not currently hosting a Slow Art Day event. Inspired? Sign up as a host today!