On April 5, 2025, Walyalup Fremantle Arts Centre (WFAC) in Western Australia held their first Slow Art Day during the Perth Festival exhibition season and focused on four contemporary works presented in the Wardong Gallery.
Kate Mitchell, Prompts for Idea Induction 2024, HD video, 16:9, silent. 38 minutes, 58 seconds. Photographer: Shannon Lyons
Before the slow looking began, Shannon Lyons, Engagement and Public Programs Coordinator, welcomed participants and acknowledged the Whadjuk people as the traditional custodians of the land.
Shannon outlined a self-directed structure for the morning and invited participants to spend approximately 15 minutes with each of the four mapped artworks, choosing their own order. They were encouraged to unplug, remain quiet, and refrain from reading the gallery texts, focusing instead on what they could see and experience directly. Notepaper, pencils, and clipboards were offered for those who wished to write or draw, and stools were available for seated viewing.
After an hour of slow looking, the group reconvened in the center of the gallery for a relaxed discussion. Conversation prompts invited participants to share one word to describe an artwork, reflect on details noticed, and consider what it felt like to look slowly.
For many attendees, this was a new experience. Most had never spent sustained time with an artwork before. The extended encounter with Mitchell’s video work encouraged careful observation and personal interpretation.
We look forward to seeing what the WFAC comes up with for Slow Art Day 2026.
On April 5, 2025, the Marjorie Barrick Museum of Art at the University of Nevada, Las Vegas hosted their fifth Slow Art Day with a thoughtful and community-centered program grounded in the theme “Slow Looking as Community Third Place Making.”
Facilitated by Dr. Zida Wang, Manager of Community Engagement and Outreach, the day invited participants to consider how an art museum can function as a “third place” — a welcoming social environment beyond home and work where reflection and connection can unfold naturally. Throughout the day, participants including UNLV students, local artists, and families, moved through the galleries at their own pace.
The featured works for slow looking were paintings by Japanese-American artist Yoko Kondo Konopik:
Play with Blue and Two Yellow (2004)
Sunny Beach (2019)
Las Vegas Lullaby (2021)
Yoko Kondo Konopik: Play with blue and Two Yellow (2004)Yoko Kondo Konopik: Sunny Beach (2019)Yoko Kondo Konopik: Las Vegas Lullaby (2021
These bold, geometric compositions — with their intersecting planes of color, stripes, arcs, and spatial tension — offered rich opportunities for observation and interpretation.
After introducing the selected works, visitors were encouraged to engage in self-guided slow looking supported by printed prompts developed by the museum. These prompts invited participants to reflect not only on what they saw, but also on their own physical presence in the gallery.
They were asked to consider the size and dimensionality of the artwork, notice unexpected details, reflect on how their body was positioned in front of the work, and even become aware of sound and air temperature. Additional prompts invited visitors to find artworks connected to values such as compassion, courage, joy, or personal growth.
Influenced by Third Place Theory, constructivist museum approaches, and other approaches like visual thinking, the program blended independent reflection with facilitated dialogue. Participants journaled quietly, then gathered for informal conversations to share interpretations. The tone was open, exploratory, and welcoming. There was no pressure to “get it right.” Instead, the emphasis was on slowing down and discovering meaning collectively.
We love the flyer they created. As you can see below, it used oversized, rounded outline lettering with playful cutout details and a cool blue palette that gave it a distinctly 1960s modernist poster vibe. The bold typography, clean sans-serif subtext, and simple graphic shapes also created a retro feel that was both groovy *and* approachable.
According to visitors, the Slow Art Day experience made the galleries felt less like formal exhibition spaces and more like living rooms for communal viewing. Some returned to the same painting multiple times. Others compared how their perceptions shifted after hearing a peer’s insight.
By the end of the day, the event affirmed the Barrick Museum’s belief that art museums can serve as inclusive third space for reflection, empathy, and connection. In other words, Slow Art Day did not simply encourage looking; it encouraged belonging.
We are grateful to Dr. Zida Wang and the team at the Marjorie Barrick Museum of Art and look forward to what they come up with for 2026!
For their fourth Slow Art Day, the Brigham Young University Museum of Art in Provo, Utah celebrated from Monday, March 31 through Saturday, April 5 and invited visitors to practice slow looking using four different strategies and a small group of works in the Crossing the Divide exhibition on display on the main level of the museum.
Featured works:
“A Corner Window in a Pawn Shop” by Rose Hartwell (1893)
“Trifloria” by Jeanne Leighton-Lundberg Clarke (c. 1981)
“LOVE” by Robert Indiana (1973)
“View of Monterey Bay” by Raymond Dabb Yelland (1879)
“Great White Throne” by Phillip Henry Barkdull (1930)
Look Big
Rose Hartwell, A Corner Window in a Pawn Shop (1893), oil on canvas. Brigham Young University Museum of Art.
Visitors were encouraged to “cast a wide net” and examine every detail in Hartwell’s painting. The prompt challenged them to name ten different items for sale in the shop window — a structured way to slow down and notice complexity.
Narrow Your Focus
Jeanne Leighton-Lundberg Clarke, Trifloria (c. 1981), oil on canvas. Brigham Young University Museum of Art.
Here the instruction was the opposite: limit attention to colors, shapes, and patterns. By narrowing their focus, visitors discovered how repetition, contrast, and structure shape the viewing experience.
Change Your Perspective
Robert Indiana, LOVE (1973), aluminum. Brigham Young University Museum of Art.
Participants were invited to view Indiana’s sculpture from multiple angles, either in person or through online images. Altering physical perspective revealed new alignments of form and shadow.
Compare and Contrast
Raymond Dabb Yelland, View of Monterey Bay, 1879, oil on canvas.
Phillip Henry Barkdull, Great White Throne (1930), oil on canvas. Brigham Young University Museum of Art.
Visitors looking, comparing and contrasting Yelland and Barkdull.
Visitors were prompted to compare subject, color, line, and composition between the two landscapes. This strategy encouraged noticing similarities and differences in mood, structure, and visual language.
After completing the activity, participants returned to the front desk to receive a small prize. All visitors selected a postcard or sticker featuring one of the works. Children also received a kaleidoscope, and adults chose between a museum pin or sticker.
At Slow Art Day HQ, we love that The BYU Museum of Art asked visitors to look with four different. That’s a great design for a thoughtful Slow Art Day.
We look forward to seeing what the BYU Museum of Art comes up with for Slow Art Day 2026.
On April 5, 2025, Choi Sunu House in Seoul, South Korea participated in their third Slow Art Day with a reflective program titled “Discovering the Beauty and Heart of Korea” (“한국미 한국의 마음을 찾는 시간”).
Although rain fell steadily across Seoul that day, creating challenges for attendance, the quiet weather deepened the contemplative atmosphere of this historic hanok home nestled in Seongbuk-dong.
Choi Sunu House preserves the legacy of art historian and cultural scholar Choi Sunu (1916–1984), whose writing celebrated Korean aesthetics, craftsmanship, and spirit. Rather than centering a single artwork, the entire house and garden became the focus of slow looking — and slow reading.
Participants were invited to walk slowly through the traditional courtyard and wooden halls, surrounded by early spring blossoms. Plum flowers and azaleas were just beginning to bloom against tiled roofs and stone walls. The soft sound of rain added to the sensory experience.
The core activity of the day was transcription.
Visitors selected passages from Choi Sunu’s writings and carefully copied them by hand into squared manuscript notebooks. This act of deliberate writing encouraged participants to move at the pace of each word, absorbing not just meaning but rhythm and feeling. The practice echoed traditional Korean calligraphic discipline while remaining accessible to all.
Some guests chose to sit in the courtyard near flowering trees. Others settled indoors beside books and archival materials. A small round table was set outdoors with a publication featuring cultural artifacts and a blank page for reflection. The setting itself — stone statues, gravel paths, wooden floors warmed by filtered spring light — became part of the meditation.
The program encouraged participants to:
Take a slow walk through Choi Sunu House
Read selected passages from his essays
Transcribe a sentence or paragraph that resonated
Spend quiet time in the garden surrounded by spring blossoms
By combining slow walking, slow reading, and slow writing, Choi Sunu House beautifully expanded the meaning of Slow Art Day beyond visual observation alone. The event demonstrated how cultural heritage sites can invite visitors into embodied connection with language, architecture, landscape, and memory.
We are grateful to the team at Choi Sunu House and the National Trust Cultural Heritage Fund for carrying Slow Art Day forward in Korea, even under gray skies.
For their first Slow Art Day, the Salem Public Art Commission partnered with the Salem Public Library to invite the community to slow down with three abstract paintings from the City of Salem’s Public Art Collection. The event took place on Saturday, April 5, 2025, from 11:00 AM to 12:00 PM and followed the classic Slow Art Day format: quiet viewing followed by discussion.
Featured works:
Still Life in Flux (2014) by Nancy Lindburg
Dwelling (1965) by Carl Morris
View (1973) by Louis Bunce
Still Life in Flux by Nancy Lindburg, 2014. Carl Morris Dwelling, 1965 Louis Bunce View, 1973
The Commission selected these three abstract paintings because they are thoughtfully installed within the Salem Public Library and represent artists with strong ties to the Pacific Northwest.
Participants gathered by the window facing Peace Plaza and began with approximately ten minutes of silent viewing per artwork. The group was encouraged simply to look — noticing color relationships, compositional structure, surface texture, and emotional tone before moving into conversation.
Nancy Lindburg’s Still Life in Flux (2014) presents layered geometric forms in vibrant oranges, blues, and deep neutrals, creating a sense of movement within abstraction. Carl Morris’s Dwelling (1965) offers a vertical composition grounded in earthy browns and textured surfaces, punctuated by small bursts of color. Louis Bunce’s View (1973) introduces architectural structure and rhythmic pattern, balancing a vivid green plane with repeated arch-like motifs and a distant horizon.
The experience was made especially meaningful by the presence of Nancy Lindburg herself — a Salem resident and long-time local arts advocate — who joined the group. After the quiet viewing period, Lindburg shared insights into her artistic process and engaged directly with participants during what coordinators described as a lively post-viewing discussion.
The conversation that followed the silent viewing allowed participants to compare perceptions and discoveries. As often happens on Slow Art Day, viewers noted details they might otherwise have missed — subtle shifts in color, interplay between positive and negative space, and how each painting’s scale influenced their physical experience in the room.
The event was organized by Susan Napack, coordinator for the Salem Public Art Commission, in collaboration with Kathleen Swarm and the library team. The Commission also created a clear and inviting flyer (below) outlining the structure: silent viewing from 11:00–11:30, followed by reflection and discussion from 11:30–12:00 and providing QR codes to the global website and to their event site.
Also, they did a good job of marketing including getting The Statesman Journal, the local newspaper, to cover the event.
At Slow Art Day HQ, we are especially glad to welcome Salem’s Public Art Commission to the global movement. We love when city collections — especially those installed in civic spaces like libraries — become the focus of slow looking. Public art belongs to everyone, and this event demonstrated how simply creating space and time can transform everyday encounters into meaningful experiences. We also appreciate the generosity of artist Nancy Lindburg in participating directly in the conversation.
We look forward to seeing what the Salem Public Art Commission comes up with for Slow Art Day 2026.
For their second Slow Art Day (and their first time hosting the program on-site) the Smithsonian’s National Museum of Asian Art in Washington, DC offered four hours of immersive programming, inviting visitors to slow down through guided looking, mindfulness practices, gallery conversations, and movement.
The day unfolded through a thoughtfully structured sequence of offerings designed to meet visitors wherever they were.
Throughout the four hours, hundreds of Slow Looking Guides were distributed from the information desk, inviting visitors to deepen their connection with the art through sketching prompts, poetic reflection, comparisons, and written responses.
Participant viewing the Slow Looking Guide designed by the museum.
Four docents roamed the galleries, engaging visitors in informal conversations about the museum’s world-renowned collections. These roaming discussions allowed participants to linger, ask questions, and explore artworks through sustained dialogue rather than quick viewing.
Gallery docent in discussion with Slow Art Day participants.
Two guided Slow Looking sessions were scheduled in the Japanese screen gallery, one for families and one for adults. Due to a large gathering on the National Mall that day, the family session did not run. However, 15 visitors participated in the adult session focused on the early 17th-century folding screen “Trees.”
Participants spent extended time observing the green malachite pigments layered over gold foil. As they looked more closely, subtle botanical details emerged — magnolia veins, pine and cedar needles, tiny acorn buds, delicate blossoms. The facilitator described the work as “a gardener’s dream brought indoors,” noting how the composition moves viewers from luminous gold panels into dense greenery, like stepping gradually into a forest.
Visitors looking at “Trees” (雑木林図屏風), Japanese folding screen (1600–1630).
In the museum’s outdoor courtyard, 24 visitors joined Forest Bathing sessions led by a certified forest therapy guide. Though not a traditional forest setting, the courtyard’s Japanese maples, ferns, holly, pine, peonies, birds, bees, and even beetles became focal points for sensory awareness. Participants were invited to gently touch plants — an uncommon freedom in a museum environment — and to slow down through guided sensory exercises.
Participant in the Forest Bathing session in the courtyard.
Visitors also participated in a Qigong session, a standing mindful movement practice rooted in Chinese tradition. Through slow, nature-inspired movements and breath awareness, participants were encouraged to notice the flow of energy in their bodies and mirror the rhythms of the natural world.
Participants during the Qigong session.
With their 2025 Slow Art Day, The National Museum of Asian Art demonstrated how structured programming, roaming conversation, embodied practice, and simple prompts can invite visitors into meaningful slowness.
At Slow Art Day HQ, we are especially inspired by how the National Museum of Asian Art expanded slow looking beyond the gallery walls, integrating folding screens, forest bathing, mindful movement, and docent engagement into a cohesive experience.
We are grateful to Jennifer Reifsteck and the entire team at the National Museum of Asian Art for their thoughtful leadership. We look forward to seeing what they design for Slow Art Day 2026.
For their eighth Slow Art Day, Artichoke Gallery at MelonRouge in Magaliesburg, South Africa invited visitors to slow down with art and poetry at an interactive morning titled “Afriku: Slow Visions & Whispered Words.” The event paired slow looking at a curated selection of African artworks with a hands-on Japanese haiku writing workshop led by gallery owner Hannelie Sanders.
On Saturday, April 5, 2025, participants gathered in the gallery’s contemplative space to begin their slow looking experience. The exhibition offered a rich range of African art — from textured mixed-media works and figurative compositions to abstract pieces that emphasize line, pattern, and gesture. The diversity of the artworks created varied visual rhythms: some pieces invited attention to bold color and dynamic shapes; others unfolded quietly, revealing depth and nuance through closer observation.
As participants slowed down with individual works, they were encouraged to engage with formal elements such as surface texture, mark making, and spatial relationships, and with the emotional presence each piece carried. These visual qualities provided fertile ground for deep attention, allowing slow lookers to connect more intimately with what they saw.
After an initial period of quiet observation, Hannelie Sanders introduced the basics of Japanese haiku. Participants were then invited to translate what they noticed in the art into their own three-line poems, using mood, imagery, and sensory detail as inspiration. The morning’s workshop emphasized presence, patience, and creative response, encouraging people to let what they saw inform what they wrote.
Following the haiku writing, the group shared reflections over a light lunch. Many spoke of how slowing down shifted their perception, helping them notice details and relationships within the artworks that might otherwise go unseen. In a further celebration of creative engagement, the haiku poems crafted during the session were displayed alongside the exhibition for the remainder of its run through May 4, allowing poetry and visual art to exist side by side.
At Slow Art Day HQ, we appreciate how Afriku wove visual art with poetry (and lunch!) into the slow looking experience. We love that participants’ poems became part of the exhibition itself.
We look forward to seeing what Artichoke Gallery at MelonRouge comes up with for Slow Art Day 2026.
For their first Slow Art Day, the Wichita Falls Museum of Art at MSU Texas in Wichita Falls hosted a focused workshop within the exhibition Follow the Waters by Delita Martin, led by Dr. Zora Carrier, Executive Director of the Museum.
Participants were invited to slow down with five selected works from Martin’s exhibition, spending 10–15 minutes in silent observation with each piece. The workshop centered on Martin’s layered mixed-media portraits of Black women, exploring themes of cultural storytelling, symbolism, and spiritual legacy.
Following the slow-looking sessions, the group gathered for a facilitated discussion that encouraged participants to share personal interpretations, reflect on emotional responses, and consider how extended time and dialogue can transform the viewing experience.
To support the process, the Museum provided a structured worksheet titled The Art of Seeing (attached below) that guided participants through observation, implication, analysis, and reflection, prompting them to consider elements of art such as line, color, texture, rhythm, and unity, while also imagining the moments before and after the scene depicted. This layered approach reinforced visual literacy and encouraged deeper engagement beyond first impressions.
(By the way, museums and galleries should feel free to steal some of their lovely worksheet design.)
Feedback from participants was what we have heard from many thousands around the world: One participant discovered layers they might otherwise have missed while another shared that hearing others’ interpretations shifted their own perspective about the art.
We welcome the Wichita Falls Museum of Art to the Slow Art Day community, and look forward to seeing how they build on this strong beginning for Slow Art Day 2026.
For their fourth Slow Art Day, Caloundra Regional Gallery in Australia thoughtfully expanded their event format by introducing guided mindfulness activities to help participants truly slow down before engaging with the art.
Held from 8 – 10am (before regular gallery opening hours), 34 attendees gathered for a guided breathing exercise to help get settled into the experience, soften their gaze, and prepare to look deeply and intentionally.
Using a specially designed worksheet (you can find it below), attendees then spent 8–10 minutes with four selected artworks, plus one artwork of their own choosing.
Featured works included:
Peter Harris | Jar | c.1992–3
Johanna DeMaine | Bottle | c.1980s
Peter Hudson | Girraween After Dark | 2022–23
Amanda Western | Country Lane | 2023
Miranda Skoczek | Untitled (impala) | 2012
Peter Harris Jar c.1992-3.Johanna de Maine Bottle c.1980s.Peter Hudson | Girraween After Dark | 2022-23.Amanda Western | Country Lane | 2023.Miranda Skoczek | Untitled (impala) | 2012
The worksheet prompted participants to observe carefully, reflect on emotions, imagine stepping into the scenes, and even sketch details they noticed. As outlined in the worksheet, there was “no right or wrong way to look at art”, just an invitation to notice, feel, and reflect.
After the viewing sessions, guests enjoyed home-baked refreshments and fresh fruit platters generously provided by the Friends of the Gallery. A mindful tea-drinking exercise encouraged participants to extend the slow experience beyond the artwork and into everyday sensory awareness.
Adding to the atmosphere, local musicians Graham and Rowena provided harp and guitar music throughout the morning.
Musicians Graham and Rowena.
Feedback from participants was overwhelmingly positive, with many expressing appreciation for the quiet early-morning setting and the structured yet personal format of the experience.
A heartfelt thank you to Senior Learning and Engagement Officer Jenny Jones, the Caloundra Regional Gallery team, the Friends of the Gallery, and the talented musicians for creating such a thoughtful Slow Art Day.
We look forward to what they come up with for Slow Art Day 2026.
For their first Slow Art Day, the Museo Edward James, also known as Las Pozas, in Xilitla, Mexico hosted a contemplative experience titled “Finding Seclusia,” led by Beatriz Acosta.
The museum, which is dedicated to the legacy of Edward Frank Willis James, is set in a rainforest, and features towering surrealist sculptures amid pools and waterfalls.
That’s all we at Slow Art Day HQ need to know to jump on the plane to Xilitla (pronounced: hee-LEET-lah).
James, an eccentric British poet, artist, and patron of the Surrealist movement created the Edward James Sculpture Garden, Las Pozas, as a fusion of the organic and the artificial, merging jungle and concrete into a single, dreamlike environment where imagination and inner worlds could take physical form.
For their Slow Art Day, the museo welcomed a group of high school students through five carefully designed stations with unique slow-looking experiences. The session began in the Seclusia room with an introduction to the Slow Art Day movement and the power and purpose of slow looking. Participants also received a handout with prompts and spaces to write their notes throughout the experience.
The first of the five stations focused on photographs of West Dean, Edward James’s childhood home. Participants explored James’s early life and family context, reflecting on how expansive spaces and environments can shape imagination and inner worlds.
Visitor Looking at James’ life in West Dean Timeline.West Dean House (Cortesy of West Dean College)
At the second station, participants spent quiet, individual time reading selections from the digital archive of James’s poetry book, The Bones of My Hands. This station emphasized attentive reading and personal interpretation, allowing each participant to engage with James’s words at their own pace.
Bones of my Hand – Edward JamesHighschoolers looking at James’ printed poems.Museum guide explaining James’ books.
The third station centered on 14 original molds used in the creation of the sculpture garden. Participants closely observed the forms, textures, and details of the molds, considering how abstract ideas are translated into physical structures.
Visitor touching one of the sculptures.Molds – Edward James Museum Collection.
The fourth station took place on the museum balcony, where participants engaged in silent observation of the surrounding landscape. They were invited to notice sounds, colors, movement, and physical sensations, recognizing nature as an essential component of James’s creative universe.
View from the Museum.
The final station consisted of a 15-minute immersive video, Seclusia, which explored themes of imagination, interior worlds, and the human desire to create a personal refuge. This concluding experience allowed participants to synthesize what they had encountered throughout the session.
Seclusia Immersive Experience – Edward James Msseum Collection
We at Slow Art Day HQ love everything about this and look forward to seeing what creative design the Museo Edward James comes up with for Slow Art Day 2026.
