Our 2021 report is now available for you to review.
Read it and get inspired by your fellow slow-art-loving educators, curators, and artists.
As of 2021, Slow Art Day events have been held in more than 1,500 museums around the world.
Yet, we continued our second decade during the second year of the pandemic with many museums and galleries still closed in spring of 2021.
Despite the closures, 110 organizations registered for Slow Art Day 2021, and we received 37 reports, which we catalog in this annual report as a way to encourage sharing of best practices among our global community.
So, take a look and get inspired as you design your 2022 slow looking sessions.
And thank you for helping us grow in our second decade (2021 was our 12th year!) – and for all you do to remind the world of the power of art to bring all of us together as humans deserving of respect and inclusion.
Best,
Ashley, Erica, Jessica Jane, Johanna, Maggie, Phyl, and Richard
P.S. We are thinking now especially of our Ukrainian colleagues (several Ukrainian museums registered for Slow Art Day again this year). We cannot imagine what they are going through.
We’re excited that a growing number of museums in the Ukraine are joining Slow Art Day 2022. We thank them for reminding us all of our shared humanity (and love for art) in a time of tensions and troop deployments.
The latest Ukrainian organization to register is The Khanenko Museum, which holds Ukraine’s largest collection of European, Asian, and ancient art.
Of course, Slow Art Day 2022 will be happening not only in Kyiv, but all over the world.
In fact, it will be our 13th annual celebration of the power of slowing down, looking at, and loving art.
Educators, curators, artists and others have planned wonderful sessions everywhere from South Africa to Brazil, Mexico, Singapore, France, Italy, Germany, Sweden, Spain, Finland, UK, Belgium, Australia, Latvia, Slovakia, Hungary, Poland, New Zealand, across the U.S. and Canada, and many other places and spaces around the world.
If you have not yet registered to host a Slow Art Day event, then please sign up.
– Ashley, Jessica Jane, Johanna, Maggie, and Phyl
P.S. Our 2021 annual report comes out next week and is chock full of great ideas to inspire you in the design of your 2022 sessions (while waiting, you can review the 2020 and 2019 reports).
We are excited to announce that our Slow Art Day 2021 Annual Report, which details the hard work and creativity of educators, curators, artists, and docents from around the world, will be published next week.
For those of you designing Slow Art Day 2022 events, this report will inspire and guide you in the design of your slow looking events.
In the meantime, you can also read our 2020 and 2019 annual reports, which are also chock full of good ideas for running Slow Art Day events.
And if you have not yet registered your museum or gallery for 2022, then please sign up.
– Ashley, Jessica Jane, Johanna, Maggie, and Phyl
P.S. 73 museums and galleries have already registered for 2022 including the Olena Kulchytska Art and Memorial Museum in Lviv, Ukraine, The Met Cloisters in New York, the National Gallery of Singapore, the Ashmolean Museum at Oxford University, the Art Gallery of Ontario, and many, many others (see the full list).
Have you ever wondered “Okay. – So, how do I start ‘Slow Looking’?”, or, if you are a museum educator, “How do I help a visitor slow down?”
One answer comes from the interactive art appreciation online New York Times column Close Read, written by critics Jason Farago and Arthur Lubow. They use an observational technique to closely examine work as diverse as an Albrecht Durer self portrait or a Jasper Johns abstraction.
Of course, being art historians Farago and Lubow bring context and relevance to the exploration, but this extended way of looking is a possible model for advanced slow looking sessions.
(Ed: For museum educators designing events, Slow Art Day HQ recommends a simple approach that allows participants to discover that looking slowly with no prep or expertise can be transformational; to that end resources such as this step by step process used by Brigham Young University Museum of Art for their first Slow Art Day in 2021 can be quite useful.)
While I have done a lot of slow looking (and slow painting) in my life, this series helped me see even more clearly.
This is what I notice about the Close Read method:
The critic starts by taking in the whole object and thinking about what it is – a figurative study of an interior/ exterior environment, a landscape, a ‘documentation’ of a historical event, or a self portrait.
Then they get specific describing the characters the atmosphere and the general feeling of the piece. (Incidentally, back when I was an art teacher, I would ask my students to start a critique by describing the image to a blind person, naming all the parts as specifically as they could- I found this tool helped students start really looking).
Then the critic starts in with observing parts. Noticing. Noticing. Noticing. The pose, the background, the brushwork, the characters- primary and secondary – the light and the dark passages.
Once the parts are named the critic becomes curious about each one and what it might represent- They ‘Sit with it’ and let the work reveal itself. Asking themselves: Why is this compelling?
As they notice they ponder: Why this depiction? What could that possibly mean? How does it expand the meaning of the work?
Finally they embrace context- comparing it to other works, putting it in cultural and historical context, and inviting us in to a deeper understanding.
We can expand our Slow Art experience by adopting some of the techniques above including reading about the artist’s life, comparing one artwork to another, and by looking at the works of the artist’s influencers and contemporaries….but remember our main focus, especially with the public, is on the simple art of L O O K I N G with no expertise or historical knowledge required.
“In Memory of My Feelings — Frank O’Hara”, Jasper Johns, 1961.
Enjoy!
Hedy Buźan Founding Host, Slow Art Day
Hedy Buzan is an artist and founding host of Slow Art Day. She also helped launch the Laguna Beach Sawdust Festival, an annual arts festivalin Southern California.
Slow Art Day is committed to publishing posts like this from our hosts around the world. Here are some tips.
Freelance writer, Rebecca Hardy Wombell, asks about the role of digital in building the slow art movement in her recent article for MuseumNext, where she also documents the history of Slow Art Day and our relationship to the Internet.
We originally launched Slow Art Day as an antidote to the negative effects of the Internet – effects I had already begun to see in 2008 while running a digital consulting firm helping companies like Apple and Facebook. For years since then, our rule at Slow Art Day has been simple: we can use the Internet to evangelize slow looking, but the events must be in museums and galleries and definitely *not* online.
Of course, the pandemic forced us to go online and so we pivoted and quickly taught museums how to use Zoom and the basics of how to run slow looking sessions virtually.
From there, many galleries and museums all over the world used their creativity and ingenuity to design Zoom-, social media-, video-based and hybrid events, as well as some in-person sessions where possible (all of which Wombell documents, and which our 2021 annual report will summarize when it’s released in February).
Wayne Thiebaud died on Christmas Day 2021 at the age of 101.
Thiebaud was one of the most important American artists of our generation. Mis-described as a “Pop Artist”, Thiebaud’s work was simultaneously accessible and deep, rooted in art history and slyly funny, idiosyncratic yet universal. His work, accessible in print and online but always best seen in person, was thick with glorious impasto and color nuance.
American in his subject matter – he famously painted still lifes of cakes and pies, but also archetypal figures and landscapes of the vertiginous hills of San Francisco and the rolling Sacramento Delta. Thiebaud was eclectic in his influences: there is as much Matisse, Daumier and Cezanne in his works as there is the influence of Hopper and Disney. Moreover, Thiebaud had a brilliant mind, as evidenced in this 1981 essay A Fellow Painter’s View of Georgio Morandi.
Thiebaud was always looking, looking, looking, and open to the new. This brief video by the Morgan Library gives some insight to his constant evolution as an artist (as well as a look at some of his great work).
At the end of his life he did a series of paintings of the most hackneyed subject in American art – clown paintings – and made them into a transcendental experience.
An exhibition of his work was shown last year at Laguna Art Museum. While Covid restrictions prevented a Slow Art Day there, my review for the local paper can be read here.
Moreover, Thiebaud the man was humble, approachable and kind.
You can see that in this video below where he takes a slow look at Rosa Bonheur’s “outstanding” painting, The Horse Fair.
Thiebaud had a second home in Laguna Beach and loaned and gave works to the local museum, as well as mentoring artists up to the final year of his life. He liked to work in the mornings, play tennis, take a nap and work again in the afternoons. He drew daily. He loved to teach and each of the three times I’ve heard him lecture he repeated the same anecdote:
“I love to ask students, especially beginning students one question: ‘Who is painting the painting – you or the painting?’ They invariably answer ‘I am painting the painting’ To which I say ‘Wrong answer! You need to follow the painting and see where it takes you.”
What wonderful words of advice, as regards painting and life.
Hedy Buźan Founding Host, Slow Art Day
Hedy Buzan is an artist and founding host of Slow Art Day. She also helped launch the Laguna Beach Sawdust Festival, an annual arts festivalin Southern California.
Slow Art Day is committed to publishing posts like this from our hosts around the world. Here are some tips.
For their first Slow Art Day, the gallery ARTualize in Singapore, Singapore, organized a Mindfulness with Paintings session, encouraging participants to combine mindfulness with slow looking.
On the 10th of April, ARTualize opened their two-hour session by introducing participants to some mindfulness techniques. Participants were then invited to look slowly and mindfully at selected paintings, including Low Hai Hong’s 海天一色 (literally: Sky and Sea). This was followed by discussion.
Low Hai Hong. 海天一色 (literally: Sky and Sea), from the collection Passion in Living – Paintings of Indonesia. Courtesy of ARTualize.
The gallery also hosts regular ‘Mindfulness with paintings’ sessions to get more people to discover the joy of looking at art. Sessions are held every Sunday from 2 to 4 pm.
Paintings on display in the gallery are also available for rent to give people the opportunity to experience the art in their own homes. Exhibited works are changed every two months. Click here to learn more.
At Slow Art Day HQ, our mission since 2010 has been to build a slow looking and mindfulness movement around the world. As a result, one of our goals has been to use the annual event to inspire museums and galleries to host regular slow looking sessions throughout the year.
We are happy to see that ARTualize are both participants and leaders in this movement and look forward to whatever they come up with for Slow Art Day 2022.
Johanna, Jessica, Ashley, and Phyl
P.S. If you would like to follow ARTualize’s updates, you can follow them on their Facebook page.
For their first Slow Art Day, the British Museum, in London, UK, collaborated with the Can Do Project, a skills-development programme for people aged 16-35 with a disability or long-term health condition, run by the resendential care company Leonard Cheshire.
The week-long Zoom-based slow looking program was initiated by the British Museum’s Volunteer Coordinator for Access, Equality and Young People, Jessica Starns, along with Leonard Cheshire’s Programme Coordinator, Deborah Sciortino.
During sessions, participants were invited to take a long look at objects from the museum collection, and observe their shapes, contours and colors. These ‘Can Doers’ then gave their opinion on what they believed the objects were used for. Afterwards, a brief history about the object was shared by a facilitator to spark further discussion. In the final session, participants were asked to choose their favorite object and create a short presentation about it. Alongside looking at objects slowly, topics such as equality and diversity, employability skills, helping visitors to make sense of their visit to the museum, and online safety on social media were covered with help from the Leonard Cheshire Marketing Team.
‘Can Doer’ presenting an Egyptian Artwork on Zoom
On April 10, 2021, the events culminated with a presentation of the participants’ favorite objects in collaboration with the Keiken Collective, which worked with the group to develop object reveal Instagram filters and create digital postcards using 3D scanned museum objects on the 3D & AR platform Sketchfab. The collective took inspiration from the fact that the British Museum has been selling postcards for over one hundred years. The presentations were pre-recorded at home by participants, then played for the group in the live session.
Example of a 3D artwork created on Sketchfab
Thomas Winter, the Digital Marketing Volunteer at Leonard Cheshire, wrote a blog post about the events that is worth reading.
At Slow Art Day HQ, we are excited that the British Museum, together with the Can Do Project and the Keiken Collective, designed such an inclusive Slow Art Day event. It inspires all of us when educators and organizations collaborate to design new kinds of slow looking experiences.
We look forward to seeing what the British Museum comes up with for Slow Art Day in 2022 (and would love to see another collaboration).
Jessica, Johanna, Ashley, and Phyl
P.S. The British museum has an extensive volunteer programme which you can view here.
For their first Slow Art Day, Casa Regis, a non-profit association and centre for culture and contemporary art in Valdilana, Italy, featured local artists in a video and social-media-based event.
Casa Regis’ Facebook post of the event. In the picture, Achill(a)/Frame, sculpture by Daniele Basso.
On April 10, 2021, art photographer and founder of Casa Regis, Mikelle Standbridge, uploaded a series of short videos of different artistic installations on the organization’s Instagram page.
The videos featured a soundscape of birds chirping, as Mikelle briefly introduces works by local artists Sissi Castellano, Daniele Basso, Carla Crosio, Michela Cavagna and herself. Note: the artists were selected and chosen in part because of the interesting juxtaposition of their work against the backdrop of the eighteenth-century building in which Casa Regis is located.
Below you can find pictures of the featured installations, links to the videos, and a brief description of each.
Screenshot from the short video of Sissi Castellano’s installation I AM NOT AN ARTIST
Sissi Castellano‘s silkworm cocoon installation entitled‘ ‘I AM NOT AN ARTIST‘, is based on the Japanese Mingei philosophy of objects, which the artist follows. The Mingei approach simulatenaously focuses on the function and aesthetic value of common household objects.
You can view the installation and the above video here.
Daniele Basso.Hawk. Steel and white bronze sculpure. Picture taken from Casa Regis’ IG page.
Sculptor and artist Daniele Basso‘s ‘Hawk’, which comes from a series called Frames, is a stainless steel and white bronze sculpture. The artist plays with effects of mirroring, showing the complexity and the different levels of reality.
You can find a brief explanation and watch above video here.
Carla Crosio. Cancer. Picture taken from Casa Regis’ IG page.
Artist Carla Crosio‘s installation, entitled Cancer, is made of of marble, bronze and glass and it takes inspiration from her personal life.
At Slow Art Day HQ, we love the use of video for creating slow looking environments. We recommend that our museum educator and curator friends around the world watch some of the short videos that Mikelle created.
We are also happy to report that their inaugural event was so successful that they then planned in-person Slow Art day events for the rest of 2021. Excellent!
We look forward to whatever Casa Regis comes up with for Slow Art Day 2022.
Jessica, Johanna, Ashley, and Phyl
PS: A press release of the event is available in Italian here.
For their 6th Slow Art Day, the Norton Simon Museum in Pasadena, California, designed a virtual slow looking event focused on the Russian painter Vassily Kandinsky’s painting Heavy Circles.
Vassily Kandinsky, 1927. Heavy Circles. Oil on canvas. 22-1/2 x 20-1/2 in. (57.2 x 52.1 cm) Courtesy of Norton Simon Museum
On April 10, 2021, the museum posted Kandinsky’s artwork along with slow looking prompts to their Instagram page. Viewers were invited to focus on an area of the painting that drew their eye, then turn their attention to how this area relates to the surrounding sections. Then visitors were asked to consider the entire painting, contemplating how the different parts relate to each other.
The post was a great success, and was liked 1,087 times.
Mariko Tu, who has been the Manager of Youth and Family Programs at the Norton Simon for the last seven years, let us know that this is her last year at the museum.
We want to take a moment to thank Mariko for her longtime leadership in the Slow Art Day movement. We love the slow looking events Mariko has designed over the years and look forward to doing some slow looking with her wherever she goes from here (see her great 2020 session design here).
In the meantime, we look forward to what the Norton Simon creates next year for Slow Art Day 2022.
