Multi-lingual Slow Art Day at MO Museum

For their first Slow Art Day, the MO Museum in Vilnius, Lithuania, organized a free multi-lingual international event on Zoom as part of their MO Conversations program. On 10 April 2021, the museum hosted five conversation groups throughout the day to discuss ‘Interior XI,’ an artwork by Romanas Vilkauskas, in English, Russian, or Lithuanian.

Participants were invited to join a session in their preferred language and look slowly at the artwork before joining a discussion with one of the facilitators: Karen Vanhercke for English; Simona Košinskaitė and Justina Kaminskaitė for Lithuanian; and Irina Leto for Russian.

ROMANAS VILKAUSKAS, Interior XI, 1997 – 1998, oil on canvas, 105,5 x 125 cm. Copyright MOMuseum, Vilnius

The aim was to encourage participants to connect with a single artwork for an entire hour, and no prior knowledge of art was required. The facilitators were well versed in the “visual thinking strategy” (VTS) discussion technique, which they used for the sessions.

Staged picture with art on view and facilitator Karen Vanhercke, Educational Curator at MOMuseum

Participants loved the event and left positive feedback:

Looking at, instead of reading about, the art: the practice of  ‘slow art’ transformed my experience and gave me a deeper connection.

Participant’s quote

Actually, the major takeaway from today’s Zoom call, was my change of perception! In one hour the artpiece changed in front of my eyes. In the beginning it was just an artwork, but in the end it was a story.

Participant’s quote

The discussion made me appreciate it on different levels: peeling away at the layers of expression… It is truly a great piece, and great to see how timeless and flexible art can be.

Participant’s quote

At Slow Art Day HQ, we are excited that the MO Museum designed such an inclusive slow art event in three different languages. We encourage museum educators to consider multi-lingual options for future Slow Art Day events, and we look forward to whatever they come up with in 2022.

Johanna, Jessica, Ashley, and Phyl

P.S. You can follow updates from the MO Museum on their Facebook and Instagram pages.

Slow Art for Educators at the Smithsonian

For their second Slow Art Day, The Freer Gallery of Art and Arthur M. Sackler Gallery, the Smithsonian’s National Museum of Asian Art in Washington, D.C., organized a virtual slow looking workshop specifically for art educators focused on the Japanese artist Katsushika Hokusai (1760–1849). The aim of the session was to share slow looking ideas and skills that can be applied as teaching methods.

Detail of Katsushika Hokusai. Thunder God. Edo period, 1847. Ink and color on paper. 126.9 x 53.8 cm (49 15/16 x 21 3/16 in). Courtesy of Freer Gallery of Art.
Katsushika Hokusai. Thunder God. Edo period, 1847. Ink and color on paper. 126.9 x 53.8 cm (49 15/16 x 21 3/16 in). Courtesy of Freer Gallery of Art.

After a brief introduction by Education Specialist Jennifer Reifsteck, Faylinda Kodis, high-school Visual Educator, led the slow looking activity. BoBeen Chung, Program Assistant for the Department of Engagement and Visitor Experience, supported by sharing links for participants in the chat. The structure of the session is outlined below.

1. Start with a relaxation and meditation “eye palming” activity

2. Observe Hokusai’s “Thunder God” for 10 minutes – without prior knowledge of the work (and without distractions, including mobile phones).

3. Write observations on Hokusai’s artwork using the following prompts:

  • Describe: What did you see?
  • Analyze: Why do you think the artist made certain decisions in this artwork?
  • Interpret: What is the message, story, or theme of this artwork?
  • Inquire: What would you like to know about this artwork?

4. Discussion of the artwork and observations

Jennifer Reifsteck closed the day’s program by sharing a brief history of the Freer and Sackler’s Galleries, information on Hokusai’s collection, and where to find lesson plans and useful material for educators on the Gallery’s website.

We encourage educators to view the recording of the session and this Google doc highlighting the participants’ reflections.

Screenshot from the beginning of the Zoom session.

The event was attended by 53 participants from all over the world, including Romania, France, India, Austria, and several states across the United States: Virginia, Maryland, Washington, D.C., Connecticut, Florida, California, Rhode Island, and New York.

Participants loved the event, and left positive feedback:

“Congratulations and THANK YOU for today’s work and the follow-on resources. What lovely teamwork and expertise to share with us educators. Thanks to all participants, too!”

Participant’s quote from Zoom’s chat

“These resources/sharings are some of the BEST things that have come out of the pandemic, RIGHT?  Bless your good work!”

Participant’s quote from Zoom’s chat

“Amazing! Thank you, I am very inspired by this educational slow looking technique.”

Participant’s quote from Zoom’s chat

“Thank you for this wonderful approach to perception.”

Participant’s quote from Zoom’s chat

“Excellent, very informative & inspirational lessons on slow looking with Hokusai at Freer with you. Thank you so much.”

Participant’s quote from Zoom’s chat

“Thank you for all of this. It was very informative and of great benefit for me and my teaching going forward.”

Participant’s quote from Zoom’s chat

“Therapeutic to slow look. I appreciate this platform to collaboratively slow look and appreciate out loud. So I’m curious if the Freer or other art museums are offering more mornings like this to bring folks together for the shared experience. Now that the nation is ZOOMING as never before, it unleashes some more possibilities.”

Participant’s quote from Zoom’s chat

At Slow Art Day HQ, we are excited that the Smithsonian designed a slow art event specifically for educators, which advances our mission of equipping educators with the skills to implement slow looking in their teaching.

We look forward to seeing what they come up with in 2022!

Johanna, Jessica, Ashley, and Phyl

In Mindful Memory: Slow Art with the Patricia & Philip Frost Art Museum

For their 9th Slow Art Day, the Patricia & Philip Frost Art Museum at Florida International University, in Miami, Florida, invited participants to join them for a virtual guided meditation, a yoga session, and a close-looking art exercise.

The event was organized in memory of Helena Venero, a dedicated docent, volunteer and art lover who enthusiastically helped the Frost Art Museum host their first Slow Art Day. We never knew Helena, but we feel her spirit strongly, and are really touched that the Museum organized the event in her memory.

Slow Art Day Zoom Session: Screenshot of Krysten Medina’s yoga session from the gallery on Zoom.
In the background: Chris Friday, “20 Feet Tall.” (Chalk on Arches paper, 2021)


On April 10, Victoria R. Gonzalez, a Health Educator, opened the event by encouraging participants to turn off their cellphones and join her in a guided meditation.

This prepped participants for the virtual yoga class that followed, which was led by Krysten Medina, a Prana Yoga instructor. With artwork in the background, she encouraged participants to give love and care to their bodies during the session as a grounding practice.

After yoga, participants were invited to complete a close-looking exercise using one of the below five works from the Gallery’s permanent collection.

Pepe Mar, ‘Mothership,’ Mixed media on wood, 2020, Courtesy of the Artist and David Castillo Gallery
René Portocarrero, ‘Mujer,’ 1954, painting, 15.25 x 11.5 in, Darlene M. and Jorge M. Perez Art Collection at FIU

Xaviera Simmons, ‘Beyond the Canon of Landscape,’ color photograph. 2008 Courtesy of the Artist and David Castillo Gallery

Unknown, ‘Mexico  Mask,’ wood paint. 20th Century  6 5/8 x 6 3/8 x 4 ½ inches  Gift of Lawrence and Linda Twill, FIU
Edouard Duval Carrie, ‘Regional Study,’ mixed media on paper. 2002  80 x 60 x 2 ½ inches  Purchase made possible with funds donated by Dr. Sanford L. and Dolores Ziff. FIU

Participants chose one of the artworks, and spent 15 minutes looking slowly. They were then asked to ponder the following questions:

1. Describe the object.

2. What emotions, moods, ideas, or thoughts does the object convey or generate?

3. How has the maker/artist manipulated the materials and/or elements to convey or generate these emotions, moods, ideas, or thoughts? 

4. What social, cultural, and historical factors might have influenced the maker/artist’s choices, and the object’s meaning?

5. What personal meaning or significance do you find in this object?

6. How would you compare this work to other artworks that you have seen? How is it similar and how is it different?

7. What other observations do you have?

Emily Afre, Education Specialist at the Gallery, thanked the Slow Art Day HQ team for “the opportunity to participate in another year of taking it slow.”

In turn, we would like to thank Emily and The Frost Art Museum for their long-term commitment to celebrating Slow Art Day, and for holding this year’s event in memory of someone who started their journey in Slow Art. We love being part of a global movement that helps people learn to look at and love art, all while slowing down in this fast-paced, multi-tasking world.

We can’t wait to see what the Patricia & Philip Frost Museum comes up with for their 10th Anniversary Slow Art Day in 2022.

Johanna, Jessica, Ashley, and Phyl

P.S. If you are interested in following the Frost Art Museum’s updates, here you can find their Facebook page.

Slow Art and Mindfulness with the Art Gallery of Ontario

For their 7th Slow Art Day on April 10th, the Art Gallery of Ontario (AGO) in Toronto, one of Canada’s largest art museums, shared a video and five artworks from their collection to their social media platforms, Facebook, Instagram, and Twitter.

A couple of days before the event, AGO uploaded a slow looking video featuring Clarence Alphonse Gagnon’s ‘Study of a Hare in Winter’ (1922), with a slow looking and mindfulness exercise guided by Melissa Smith, Assistant Curator of Community Programs.

Slow Looking video produced by the Art Gallery of Ontario for Slow Art Day 2021, featuring Clarence Alphonse Gagnon’s ‘Study of a Hare in Winter’ (1922), with a slow looking exercise guided by Melissa Smith, Assistant Curator of Community Programs.

On the actual day of the event, participants were then invited to focus on each of these five artworks for 10 minutes:

  • Kazuo Nakamura, Blue Reflections, 1962
  • Abraham Anghik Ruben, Sedna, c.1990
  • Vilhelm Hammershøi, Interior with Four Etchings, 1904
  • Julie Mehretu, Algorithms, Apparitions and Translations, 2013
  • Christi Belcourt, Wisdom of the Universe. 2014

They were also encouraged to leave comments under each image.

Below are images of the artworks, which we encourage you to experience slowly using the AGO’s prompts that follow.

Kazuo Nakamura, Blue Reflections, 1962
oil on canvas, Overall: 101.7 x 127 cm. Purchase, with funds from the Peter Larkin Foundation, 1962. © Art Gallery of Ontario 62/8

Prompts for Kazuo Nakamura

For this Kazuo Nakamura piece don’t just look slowly, look closely. See how subtly the colours change. Pay attention to how the gradual shifts in brushstrokes give a sense of movement to the landscape. What do you notice about how the brushstrokes are applied? Each and every brushstroke is calculated and purposefully applied. Nakamura is best known for this analytical approach in his paintings, and in his later works, he was influenced by mathematics and scientific theories. He sought to discover a universal pattern in art and nature. What do you think this universal pattern would look like? Do you prefer an analytical approach or a more gestural one?

xxxxxx

Potrebbe essere un'immagine raffigurante 1 persona e scultura
Abraham Anghik Ruben, Sedna, c.1990
mottled dark green Brazilian soapstone, inset stone eyes, Overall (approx.) 70 × 35.5 × 18 cm. Gift of Samuel and Esther Sarick, Toronto, 2001. © Abraham Anghik Ruben. 2001/400 

Prompts for Abraham Anghik Ruben

Abraham Anghik Ruben is a storyteller and tells his stories through the medium of sculpture. His sculptures often tell the legends, myths, and spiritual traditions of the Inuit people and the Arctic land. A recurring figure in Ruben’s works is the Inuit Sea Goddess, Sedna. Look at how her hair dramatically but gracefully arches up behind her like it is flowing with the movement of water. Notice how her eyes stand out from the rest of the sculpture, and how she clutches her hands close to her torso. What do her expression and her posture suggest? What is the message Ruben is trying to share?

xxxx

Potrebbe essere un contenuto artistico raffigurante spazio al chiuso
Vilhelm Hammershøi, Interior with Four Etchings, 1904
oil on canvas, Framed: 74.7 × 63.6 cm. Purchased with the assistance of a Moveable Cultural Property grant accorded by the Department of Canadian Heritage under the terms of the Cultural Property Export and Import Act, 2015; © Art Gallery of Ontario. 2014/1054

Prompts for Vilhelm Hammershøi

Looking for a little calm and quiet? Come and join us in Vilhelm Hammershøi’s “Interior with Four Etchings”. A muted scene in both colour and sound, we invite you to hush the world around you as you spend some time with this piece. The female figure is the artist’s wife, Ida. Since she has her back to us, we cannot read her expression. But because she is turned away, we can enter and explore this private space freely. Take a look around. Notice how the light softly enters from the left, creating reflections on surfaces and depth in the space. Where do your eyes go? To the items on the table? To the etchings on the wall? What are the etchings of? Look closely because there are details here that could have easily escaped you before.

xxxxx

Potrebbe essere un contenuto artistico
Julie Mehretu, Algorithms, Apparitions and Translations, 2013
One of a suite of five etchings. Etching with aquatint, spitbite, soft ground, hardground, drypoint and engraving in black ink on paper. Sheet: 79.4 × 94.8 cm. Purchase, with funds from the Trier-Fodor Fund, 2019. © Julie Mehretu, courtesy Marian Goodman Gallery. 2019/2322.1

Prompts for Julie Mehretu

There’s no piece quite like this Julie Mehretu that demonstrates the importance of an unhurried and patient approach to art. Mehretu is inspired by landscapes, cities, and human activity within nature. Particularly interested in layered imagery, Mehretu’s printmaking technique requires her to slow down as she layers line upon line to create this surreal landscape. Take a look, what do you see? Now, look closer. Even closer. The closer you look the more details you’ll see. The larger narrative will begin to fall apart, revealing various smaller narratives beneath. Just as the piece evolves with each of Mehretu’s lines, your experience of this work will also evolve over time. So, go on. Look again.

xxxx

Nessuna descrizione della foto disponibile.
Christi Belcourt, Wisdom of the Universe. 2014
Acrylic on canvas, unframed: 171 × 282 cm. Purchased with funds donated by Greg Latremoille, 2014. © Christi Belcourt 2014/6

Prompts for Christi Belcourt

Ten minutes is hardly enough time to contemplate the wisdom of the universe, both the concept and this piece by Metis artist Christi Belcourt. Take your time to really explore this piece. What type of birds do you see? What type of flowers and vegetation can you recognize? Imagine yourself in this space. Move through the branches and notice the balance and harmony. Can you hear the sounds of the animals? Can you smell the flowers around you? See how everything is connected. This great network of life. Belcourt’s piece asks us to reflect upon the well-being of all living species on this earth, as the current climate crisis affects us all. Take a deep breath, and surround yourself with the wisdom of the universe.

xxxx

The event was well received, with 10,000+ likes and views on the AGO’s social media platforms.

Below are some great quotes form participants:

This is my favourite painting at the AGO! I always spend a long time in front of it and always pick up something new each visit.

Participant’s comment under Nakamura’s painting – Instagram

Love this idea!!

Participant’s comment on Instagram

We appreciate the Art Gallery of Ontario’s thoughtful design for this multi-day virtual event, and look forward to what they come up with for Slow Art Day in 2022.

Johanna, Ashley, Jessica, and Phyl

(Anything But) Black and White: Slow Art Week at NMWA

For their 8th annual (and 2nd virtual) Slow Art event, the National Museum of Women in the Arts (NMWA) in Washington DC, invited visitors to take part in a Slow Art Week, which opened on April 2 and culminated in a virtual gathering on April 10, facilitated by a museum educator.

The NMWA created a virtual collection, “(Anything But) Black and White”, for the week of activities. The Museum’s aim with this collection was to remind that life is rarely clearcut, and that we should seek to discover and embrace nuance, variety, and difference. The selected artworks were available to view online throughout the week, and were on display in the museum for those who could visit in person.

               Shirin Neshat, On Guard, 1998; Gelatin silver print with ink, 11 x 14 in.; National Museum of Women in the Arts, Gift of Tony Podesta Collection; © Shirin Neshat

The final event of Slow Art Week, held on Saturday the 10th, featured lively conversation about the experience of slow looking. To facilitate more intimate dialogue with the group the museum used breakout rooms, which is a great tool during virtual sessions.

The NMWA provided participants a detailed PDF with instructions to review before joining the session on Saturday 10th.

We encourage museum educators and curators to review the PDF above to get a sense of the design of the whole event. We will highlight just a few things here.

We particularly liked the four guiding questions the NMWA asked participants to consider ahead of the Saturday session. Those questions were the following:

  • How might art help you appreciate perspectives other than your own?
  • What are your first impressions or assumptions based on? What do you need for your opinions to evolve or change?
  • Have you experienced a shift from binary to spectrum thinking about a topic in the last year? What influenced that change in thinking?
  • How can we seek to “find the gray” in the world around us?

Also in preparation for the Saturday session, the close looking PDF provided various entry points for participants, including prompts for kinesthetic and visual learners. The aim was to give participants the opportunity to approach the process of slow looking in way(s) most comfortable for them. Some of the provocations are listed below.

  • Consider the artwork’s details. Roll up a sheet of paper to create a viewfinder. Look at the artwork through it to isolate and consider the artwork’s parts.
  •  Arrange things you find around your home to make a temporary found-object sculpture that is inspired by your favorite choice. Take a picture of your sculpture. Post it to social media and tag @womeninthearts and @slowartday.
  • Create a bank of words and phrases that come to mind as you look at an artwork.

Slow Art Week was well received:

 “For the NMWA session I did the independent slow looking first, then attended the Zoom meeting. All of it was rewarding. I enjoyed the chance for interaction in the small groups. Hearing other people talk about their observations, questions, ideas, etc. is a reminder to me that I miss things even when looking closely and/or I interpret what I see differently than other people. Above all what was most meaningful to me was the opportunity to “commune” with other, like-minded (art-minded) people. For a short time I felt less alone. What I enjoyed about the day overall (attended Slow Art Day at both NMWA and Philadelphia Museum of Art) is that I allowed myself to have a whole day for art things, which was like medicine.”

Participant’s quote

“If you want to learn about and get to know a person, you spend time with them. The same is true with works of art. Time to look, time to pause, time to breathe. Time to process and to just be. NMWA’s works of art deserve this, and so do we. These works can become our life-long friends.”

Participant’s quote

 “I participated in the independent slow looking and in the Zoom meeting. For me, both were important, I guess one needs time to look in your own times and places, and you also arrive prepared to the meeting. The meeting is also important because it is the opportunity to share and to listen to other experiences and views. For me both are learning opportunities and experiences.”

Participant’s quote in response to the moderator’s questions: What element(s) of Slow Art Day did you take part in—independent slow looking, Zoom meeting, both? Which element(s) did you find most rewarding. Why?

 “I did not do the independent slow looking exercise since I only decided to participate a short while ahead of enrolling in the session. During the Zoom meeting, I found the conversation that you facilitated thoughtful and respectful, with time given in between words for collective observation. When you added information about the works, it was artfully done, with just the right amount so as to further the looking dialogue that was happening between us.”

Participant’s quote

We at Slow Art Day HQ would like to thank the NMWA for their long-lasting commitment to Slow Art Day, and love how creative and inclusive their Slow Art Week was. The pandemic has proven quite isolating for many, and we agree, as one participant mentioned, that enjoying art slowly is “like medicine” for the soul.

We look forward to seeing what the NMWA comes up with for Slow Art Day 2022 (and, again, encourage museum educators to review their detailed PDF for ideas and inspiration).

Johanna, Jessica, Ashley, and Phyl

P.S. If you would like to be updated with the NMWA’s events you can follow the on Facebook, Instagram, and Twitter.

Long Exposure: Slow Looking Photography at FOMU

For their 6th Slow Art Day, the Foto Museum (FOMU), in Antwerp, Belgium, organized four virtual slow looking sessions featuring two photographs:

  • Lynne Cohen, Recording Studio, 1987.
  • Martine Franck, Quartier de Byker, Newcastle upon Tyne, Royaume-Uni, 1977.
Recording Studio, 1987 © Lynne Cohen, Courtesy Rodolphe Janssen.
Quartier de Byker, Newcastle upon Tyne, Royaume-Uni, 1977© Martine Franck / Magnum Photos.

Each virtual session opened with a warm welcome from a guide, and introductions from participants.

Without giving any details of the photographs, the guide shared each one and invited participants to look slowly and freely discuss their thoughts.

At the end of the session, all participants were guided through a mindful full-body check to reconnect to their physical surroundings.

Participants engaging with one of the photographs
Participants on Zoom

The participants enjoyed the slow looking and were eager to share their reflections, both about the pictures and the sessions.

“It’s a nice way to interact with strangers.”

Participant’s quote

“I was surprised that the time went by so quickly!”

Participant’s quote

“Nice food for thought with lots of different perspectives.”

Participant’s quote

At Slow Art Day HQ we are really impressed with FOMU’s commitment to hosting not one – but four – sessions in one day. Bookending each event with an introduction round and a mindful cooling-down activity is a great structure that we hope other museums adopt for a future Slow Art Day.

We look forward to what FOMU comes up with for their 7th Slow Art Day in 2022.

Johanna, Jessica, Ashley, and Phyl

Japanese Women Artists: Slow Art Day at the Gardiner Museum

For their second Slow Art Day, the Gardiner Museum in Toronto (ON), Canada, created a slow looking video that focused on two ceramic sculptures by renowned Japanese women artists:

  • Fujikasa Satoko Hiten; Seraphim, 2016 Stoneware with white slip glaze.
    The Diana Reitberger Collection
  • Hattori Makiko. Ryū: Flow, 2017 Unglazed porcelainous stoneware
    The Diana Reitberger Collection
Fujikasa Satoko Hiten; Seraphim, 2016 Stoneware with white slip glaze. 23 1/4 x 25 1/8 x 17 3/4 in. The Diana Reitberger Collection

Hattori Makiko. Ryū: Flow, 2017 Unglazed porcelainous stoneware.
The Diana Reitberger Collection

On April 10, the museum invited participants to watch the below video showcasing the sculptures.

We recommend that museum educators and Slow Art Day fans around the world watch this simple and lovely slow looking video. The video is also accessible through the Museum’s website and social media channels: Facebook, Instagram and Twitter.

For those interested in the history of Japanese women sculptors, we recommend this article published in Pen [ペン]: Japan’s Female Ceramists Celebrated on the International Stage.

Slow Art Day 2021 video created by the Gardiner Museum. Music: White Lotus by Kevin Macleoud


While watching the video, participants were given the following prompts to better engage with the artworks:

Seraphim

  • Outline the sculpture with your eyes, noticing each bump and curve.
  • Trace the outline of the shadow at the base of the sculpture.
  • Look at the negative space created around and within the piece. What shapes do you see?
  • Observe the different areas of shadow and light. Try to identify all the various tones of grey, white, and black.
  • What would you title this piece?

Ryū: Flow

  • Look at the object as a whole. What does it look like to you? Does it remind you of anything familiar?
  • Observe the texture of the piece from a distance. What do you think it will look like up close?
  • What do think this piece would feel like to touch? Imagine resting your hand against it.
  • Pick a point along one of the little ribbons and follow it with your eyes, weaving among the spirals and folds. What shapes can you create?
  • Imagine picking up the sculpture. How heavy do you think it would be? Feel its weight in your hands.
  • If you were picking a spot to display this piece, where would you put it? Close your eyes and visualize it there.


Participants responded well to the video. We include some of their comments below:

I love experiencing the movements in such quietness. Thanks for showing us!

Participant’s quote


Wonderful pieces, beautifully shot! I could see the flow and feel the texture.

Participant’s quote.


Both beautiful pieces, a very meditative relaxing view of each individually. I really enjoyed looking at these two pieces in this way.

Participant’s quote


Such a lovely escape.

Participant’s quote


It is SLOW ART DAY… and the Gardiner Museum has released this wonderful 5 minute video designed to help us pause and reflect in the midst of our busy lives. What a great idea!

Participant’s quote



We at Slow Art Day HQ loved the video and the prompts. The mindful connection with the ceramic sculptures recreated and enhanced the experience.

We are considering a global tour of Slow Art Day museums, perhaps starting next summer. We would definitely love to visit the Gardiner Museum and see these beautiful sculptures in person.

And, of course, we look forward to what the Gardiner Museum comes up with for Slow Art Day 2022.

Johanna, Jessica, Ashley, and Phyl

Relax and Re-energize: Slow Art Day at Galleria l’Arte di Seta

For their first Slow Art Day, the Galleria l’Arte di Seta, in Ljubljana, Slovenia, organized a mindful Zoom session on April 10, featuring three different paintings:

  • Camille Pissarro. A Creek in St. Thomas (Virgin Islands), 1856.
  • Auguste Renoir , Jeune Espagnole jouant de la guitare, 1898.
  • Vasily Kandinsky, Composition 8 (Komposition 8), 1923.
Camille Pissarro. A Creek in St. Thomas (Virgin Islands), 1856.
Oil on academy board, 24.5 x 32.2 cm, Courtesy of National Gallery, Washington.
Auguste Renoir , Jeune Espagnole jouant de la guitare, 1898.
Oil on canvas, 55.6 x 65.2 cm. Courtesy of National Gallery Washington
Vasily Kandinsky, Composition 8 (Komposition 8), 1923.
Oil on canvas, 140.3 x 200.7 cm. Courtesy of Guggenheim Museum.

Participants joined the two-hour Zoom session, which included 10 minute observation of each of the three paintings, followed by discussion.

Lidija Drobež, founder of Galleria l’Arte di Seta, was positively surprised by the enthusiasm and depth of insight from the participants. In fact, to foster even deeper discussion, she said the gallery might focus on one or two pieces of art next year.

Several participants left wonderful feedback.

“When I heard the title of event I was sceptical. After the session I can say that it was not only relaxing and reenergising but it gave me a lot of insights about myself.”

Ana Tijssen – Slow Art Day participant

“I joined the session out of simple curiosity. For the first time in my life I took more time to view a painting: I discovered things which took me by surprise. What I take out of whole event, is how diverse insights participants obtained and yet our conversation was open and positive all the time.”

Monika K. – Slow Art Day participant

“The more I was focusing on the paintings, the more it made me realise how everything is connected in life. For example – much more than being fond of traveling, I am fond of living in foreign countries and during the Slow Art Day session I realised why. When I allowed myself to stop and take time to be with the painting it was only then when I could feel a deeper connection and a sense of familiarity. It is the same with foreign countries – traveling through them seems like rushing through the gallery from one famous painting to another – the experience may appear fleeting and empty. Living in a foreign country, on the contrary, is like taking time to get to know the “painting” in depth, which feels meaningful and enriching.”

Anja Humljan – Slow Art Day participant

“I really appreciated the event, because it created the possibility of valuing different ways of seeing. One was to connect with myself and rediscover the joy of personal discovery almost like a child. And, of course, last but not least, I really enjoyed the insights and comments of other participants.”

Nenad Filipovic – Slow Art Day participant

Due to the enthusiastic response to the event by participants, the Gallery plans to organize an in-person event later this year once they can re-open. Visit their Instagram account to stay updated with their work.

At Slow Art Day HQ, we love the passion for slow looking that Lidija Drobež and her participants show. We must admit that our original design for Slow Art Day was to have participants look for one hour at one painting, but we decided that might be too intimidating. Yet, we still know the power of even slower looking, and are thus excited to see what Lidija Drobež comes up with for 2022.

Johanna, Jessica, Ashley

5-in-1 at Albany Institute’s First Slow Art Day

For their first Slow Art Day, the Albany Institute of History and Art in Albany, NY, hosted five interconnected virtual events:

  • Social media slow looking activity
  • Word clouds from the virtual activity
  • Slow panning video
  • Wellness workshop
  • A “look & learn” for families

On April 10, the museum started their Slow Art Day by sharing three artworks to Instagram.

Viewers were asked to respond with one-word descriptions of the images, which the museum turned into word clouds to illustrate the feelings evoked. “Breezy”, “depth” and “freedom” were frequent responses.

The museum also produced a slow looking video that features the sculpture “The Fist” by Alice Morgan Wright. Viewers were encouraged to find a quiet space, silence their technology, take a few deep breaths, and observe the sculpture for one minute in silence. The video slowly circles the sculpture, allowing viewers to see it from every angle. At the end of the minute, the video moderator guides participants through thought provoking questions about the sculpture. View the video below and try this slow-looking activity for yourself.

Slow looking video of Alice Morgan Wright, ‘The Fist’, 1921. Video produced by The Albany Insitute of History and Art.

For the Zoom-based wellness workshop ‘Making Meaning: Meditating on Artwork as Wellness’, participants were guided through an hour of exploring, viewing, and discussing works of art with licensed art therapist Chloe Hayward. They were also invited to share an object from their personal space as a vehicle for connecting to the artworks. The session ended with a guided meditation.

People responded positively to the digital events hosted by the Albany Institute, with one participant calling them “invaluable at this time”. Victoria Waldron, Education Assistant at the Albany Institute, said the Albany Institute’s first Slow Art Day program was a success, with 60+ combined participant and social media interactions.

At Slow Art Day HQ, we love that the Albany Institute of History and Art chose to host five connected events for their first Slow Art Day, and are already excited to see what they plan for Slow Art Day 2022.

– Johanna, Jessica, Ashley

What’s in a Name? Titles and Emotions at MART

On April 10th, the Museo di Arte Moderna e Contemporanea di Trento e Rovereto (MART) in Rovereto, Italy, organized a virtual Slow Art Day event that focused on re-titling artworks based on participants’ emotional experiences of slow looking.

Images of three artworks from the MART collection were emailed to the 15 registered participants ahead of joining a Zoom session. Once in the virtual session, participants were given 45 minutes to look slowly at three artworks. They then split into 3 discussion groups, each led by a coordinator, that focused on the emotions and observations of the participants while viewing the works. Participants were then asked to give each artwork their own title based on emotions experienced during the slow looking. The day after the session, participants were sent a brief profile of each artwork that included the emotional titles, the actual title, and the name of the artist, date, and art movement.

Below is one of the artworks along with a word cloud of the emotional titles given by the participants. Some of these translate to: “Disgust”, “Towards tomorrow?”, “Artist’s self-portrait”, “Who am I?”.

Arnulf Rainer, Splitter, 1971
Pastel and oil on photography, cm 60,5 x 50,5, Mart
Titles assigned to the artwork by the participants.

The event was well recieved by all the attendees, with one participant commenting:

“See how this way of following art stimulates a lot of creativity in us. Beautiful. We are like amateur jazz improvisers, extemporizing on a score!”

Participant Quote

That’s right. Slow looking is like jazz improvisation. We love this design of MART’s first official Slow Art Day event and hope that others decide to copy this.

Note that their Slow Art Day was not their first slow looking series. In 2020, local art enthusiast and MART member Piero Consolati approached Denise Bernabe, the Membership Coordinator at MART, about the possibility of organizing slow art sessions. Thanks to their initiative, MART has hosted nine slow art sessions since May 2020, which are now held monthly at the museum (so far, mostly virtually).

At Slow Art Day HQ we are delighted that slow looking has become a staple activity for the MART Museum. Denise Bernabe and Piero Consolati share updates with us about the status of slow art at MART throughout the year.

We look forward to MART’s continued events throughout the year, and their celebration of Slow Art Day in 2022.

– Johanna, Jessica and Ashley