The Art Engager

Welcome to episode 99, where I'm diving into the concept of pacing in museum and gallery programmes, with a particular focus on the idea that "less is more."Pacing directly influences the participant experience. A well-paced programme ensures that your participants stay engaged, attentive and receptive throughout their journey. By carefully managing the rhythm and flow of stops, activities and information, we can create a balance that keeps our participants engaged without overwhelming or exhausting them. "Less is more" is a guiding principle that encourages us to intentionally selecting and presenting a smaller quantity of content, activities, or object, so that we can create more impactful and meaningful experiences for visitors. In this episode, I'll share how this can be achieved by:Streamlining content with a carefully curated selection of objects or artworks.Being selective, intentional, and thoughtful in programme design Incorporating different pacesAllowing time for participants to engageCustomizing and adjusting pacing in the spur of the momentEmphasizing quality over quantity Find out why pacing matters and how you can apply the principle of "less is more" in your own programmes to create a more focused and engaged experience for your participants. LinksSupport the ShowMy book is out in September - Slow Looking at Art: The Visible Thinking in the Museum ApproachDownload my free Slow Art GuideDownload the Ultimate Thinking Routine ListDownload the free guide - how to look at art (slowly)Join the Slow Looking Club Community on FacebookCurated newsletter by Claire BownEpisodes mentioned in today's episode:Episode 98 Radio Bart: Exploring Art with Blind MediatorsEpisode 42 How to Read a GroupEpisode 69 How to use body language to create engagementEpisode 95 How silence is a superpower in museum and gallery programmesEpisode 96 7 Ways to Make Time and Space for SilenceEpisode 29 How to Develop a Reflective Practice

Welcome to a new episode of The Art Engager podcast, hosted by Claire Bown. In this week's edition, we dive into the extraordinary world of Radio Bart, a unique audience engagement programme at the Royal Museum of Fine Arts in Antwerp. Joining me are two guests from the museum's Audience Engagement team: An van Hertum and Bart van Peer.What is Radio Bart? Radio Bart is a groundbreaking programme where visitors engage in conversations about art with blind mediators. A mobile studio moves through the museum, inviting anyone to join the hosts for a chat in front of selected paintings. Through these dialogues, participants observe, describe, and reflect on the artwork, uncovering deeper meaning and fostering a unique experience.An and Bart share how Radio Bart started, how it works, and the profound effects it has on participants. They also discuss the training and skills provided to the mediators, ensuring meaningful interactions.Don't miss this episode as we delve into the transformative power of Radio Bart. Tune in and discover a whole new way to experience and connect with art. Enjoy!LinksDownload the Ultimate Thinking Routine ListSupport the ShowJoin the Slow Looking Club Community on FacebookCurated newsletter by Claire BownVTMO Course - VTMO Beginners, Intermediate and Advanced Courses start in September, October and November 2023 respectively. Royal Museum of Fine Arts in Antwerp (KMSKA) https://kmska.be/enRadio Bart https://kmska.be/en/event/radio-bartRadio Bart email radiobart@kmska.be

In this week's episode we're exploring an innovative project at the National Civil War Centre in Newark developing creative writing skills through art and using thinking routines in really innovative ways.The visual literacy Collect Connect Create project was developed to raise self-esteem, self-efficacy and motivation for year 10 pupils (14-15 year olds)  who had struggled with disrupted learning during the Covid-19 pandemic.The longer-term aim was that young people would develop the skills, knowledge and experience to raise their attainment in their English exams, having the confidence to write a “convincing and compelling” piece of fiction, using extensive and ambitious vocabulary and demonstrating the use of different language techniques.Denise explores the key features of the programme, how it worked for students and the collaboration they had with writer-in-residence, Ioney Smallhorne.. Then we focus on the thinking routines that they used in the programme and specifically the thinking routines that they created for it, such as Look List Lose and Shapescape. They also creatively adapted thinking routines that they had learned with me on my VTMO course. We talk about how the thinking routines offered tools to the students to assist them with their writing, how they helped them learn how to look as well as write, how they gave them a framework for organising their thinking and were a launchpad to writing. If you’re interested or curious about incorporating thinking routines into an educational programme at your museum or using art as a prompt for creative writing, then this episode is for you. If you’re interested in creating your own thinking routines, listen in too!LinksDownload the Ultimate Thinking Routine ListSupport the ShowJoin the Slow Looking Club Community on FacebookCurated newsletter by Claire BownCollect Connect Create Project Resources https://www.maxliteracy.org/case-studies/newark-museum/ Pocket Prompts PDF can be found in the Lesson 1 folder. Denise Greany on LinkedInSarah Clarke on LinkedInIoney Smallhorne website

So following on from last week's episode, talking about the benefits of some silence in your museum and gallery programmes. This week I'm sharing how to do it. A little bit of silence in your programmes can benefit both you as the facilitator and the audience by promoting reflection, active listening, observation, engagement, and flexibility.It contributes to a more meaningful and effective experience for all involved. So how can we create more opportunities for silence in our museum and gallery programmes? Here are 7 easy ways to make time and space for silence.Links30+ ways to look at art slowlyDownload my free Slow Art GuideDownload the Ultimate Thinking Routine ListSupport the ShowJoin the Slow Looking Club Community on FacebookCurated newsletter by Claire BownEpisodes mentioned in today's show:Episode 25 3 Thinking Routines for Slow Looking and DrawingEpisode 29 How to Develop a Reflective PracticeEpisode 42 How to Read A GroupEpisode 44 The 4 Elements of a Great IntroductionEpisode 49 Inspiring Creative Writing Through Art with Mary Hall SurfaceEpisode 61 How mindfulness and drawing can help us to connect with artEpisode 66 7 Ways to Improve your Active Listening Skills

You’ve probably heard the phrase ‘silence is golden’ before. This proverb suggests that staying quiet or not speaking can be beneficial in certain situations. How is silence a superpower that we can leverage to our advantage in the design and facilitation of our museum and gallery programmes?Today I’m talking about why silence matters and I'm going to share some insights into why we should be harnessing this superpower to enhance our programmes.But I’m also going to explore the flip-side - why some people feel uncomfortable around silence and how you can overcome this discomfort. Then I’m exploring 8 reasons why silence is beneficial for both you as a facilitator and for your participants. PS This is part 1 of a two-part series on silence. Next week I'll be exploring how you can add more silence into your programmes.LinksDownload my free Slow Art GuideDownload the Ultimate Thinking Routine ListSupport the ShowJoin the Slow Looking Club Community on FacebookDownload the NEW resource - how to look at art (slowly)Curated newsletter by Claire BownEpisode 93 Slow Art and the Power of Slowing Down with Carl HonoréEpisode 94 Exploring Slow Art Day and Slow Looking with Phyl TerryEpisode 29 How to Develop a Reflective Practice

Episode 94 of the Art Engager features another special guest, Phyl Terry, Founder of Slow Art Day. Slow Art Day is an annual event that encourages participants worldwide to look at and discuss art slowly. To date, over 1,500 museums and galleries on every continent, including Antarctica's McMurdo Station, have participated in Slow Art Day.I first got in touch with Phyl back in 2013 when I heard about Slow Art Day. Today, we resume our conversation 10 years later about the importance of slowing down and spending more time with art. Phyl talks about how Slow Art Day originated and the hour long experience he had with a painting that started it all. We explore about how Slow Art Day has evolved over the years and some of the unique and memorable events that have taken place over that time.Phyl also talks about how organisations can participate in hosting their own Slow Art Day events or how individuals can participate even when there are no events near them. Phyl discusses the concept of "radical inclusivity" in Slow Art Day, which promotes the idea that anyone can engage with art without the need for prior artistic knowledge, through the act of looking slowly and reflecting. Finally, Phyl shares their thoughts on the future of Slow Art Day and how it might evolve as a movement in the coming years. The conversation is filled with insights and reflections on the importance of slowing down and spending more time with art. Don't miss this one!LinksEpisode Web Page (with transcript)Support the ShowDownload my free Slow Art GuideSlow Looking ClubSlowArtDay.comhttps://www.instagram.com/slowartday/https://www.facebook.com/SlowArtDaySlow Art Day 2022 Annual Report Episode 46 What is Slow Art Day

Today on the podcast, I'm delighted to be talking to bestselling author, broadcaster, two-time TED speaker and voice of the Slow Movement, Carl Honoré.In this episode, Carl Honoré, author of "In Praise of Slow," shares his insights on the benefits of slowing down in every aspect of life. Our conversation centres around the slow movement, and how slowness can 'rehumanise' us in a culture that values speed above everything else. We also discuss the slow art movement and how museums and other cultural institutions can be more welcoming for visitors who want to take a slower approach to art. Main talking points:Carl Honoré's book "In Praise of Slow" and the impact it had on society and the slow movementHow the slow movement is not just about slowing down for its own sake, but about reclaiming our humanity in a culture that treats us like machines.How the slow movement fits into the larger cultural conversation about resisting the pressures of a culture that values speed and productivity above all elseHow the pandemic has affected our relationship with time and speed, and whether it has led to a greater appreciation for slowness.How slow art can be an antidote to the fast-paced culture we live inHow museums are finding ways to create slow environments and programmes to invite people to engage deeply with art.How blockbuster exhibitions (such as the Vermeer exhibition in the Rijksmuseum)and wall labels can help or hinder us in the experience we might have in a museum.The importance of building the muscle to observe, contemplate, and look deeply at art, especially in childrenFour ways we can all incorporate the principles of slow more fully into our own livesLinksEpisode Web PageDownload my new Slow Art Guide Download the resource - how to look at art (slowly)Support the ShowJoin the Slow Looking Club Community on FacebookCarl Honoré's website: Useful links www.carlhonore.infoCarl Honoré on Social Media:YouTube ChannelInstagramTwitterLinkedInTED Talk 'In Praise of Slow'

In Episode 92, I'm chatting to Heather Thomas, the Head of Learning and Engagement at the Lightbox Museum and Gallery in Woking, UK. Heather talks about how their Art and Wellbeing programme of creative and therapeutic workshops provides opportunities for those that would otherwise not be able to access arts and heritage services.We discuss the guiding principles behind the Lightbox Museum and Gallery's work in learning and engagement, which has always included helping people with mental health issues or those who are isolated.We also discuss what the Open Mind project is and how it provides a safe space for individuals to come and learn something new, chat with others and engage with art.We talk about how Open Mind tours prioritise connection over content and are wholly participant-led, open conversations that take their cues directly from the participants, not the facilitator. Finally, we talk about the positive outcomes of the programme and the Lightbox's plans for the future.LinksLightbox website: www.thelightbox.org.uk  Museums Journal (Museums Association UK) article: https://www.museumsassociation.org/museums-journal/analysis/2022/11/its-time-for-museums-to-address-mental-health/Baring report: https://baringfoundation.org.uk/resource/creatively-minded-at-the-museum/Mind: https://www.mind.org.uk/Catalyst: https://www.catalystsupport.org.uk/If you are struggling, please contact Samaritans https://www.samaritans.org/Young Minds website for children and young people: https://www.youngminds.org.uk/

Are you tired of using the same old thinking routines in your museum and gallery programmes? Maybe it's time to try something new? In this week’s episode, I'm sharing three exciting thinking routines that you can add to your repertoire.These routines will help you engage your audience and encourage them to think creatively about art and objects. Start with the basics: building a repertoire of thinking routines. Experiment and try new thinking routines to stay curious and inspired. Three new thinking routines to try out: Imagine If, Take Note, and Creating Space for LearningImagine If: a thinking routine for looking closely, finding opportunity, and pursuing new ideas. Take Note: a thinking routine for distilling ideas in response to a piece of art or an object. Creating Space for Learning: a thinking routine that is essentially a grounding exercise that helps us to prepare for any programme, class or task.Three new thinking routines for you to try out. I hope you find them helpful in engaging your audience with art and objects in a new and exciting way. LinksEPISODE WEB PAGE Episode 6 - 6 Essential Thinking Routines You Need in your RepertoireEpisode 16 - How to use See Think Wonder in your Art DiscussionsEpisode 57 - How to End WellEpisode 59 - 9 Thinking Routines to Improve your Powers of ObservationDownload the Ultimate Thinking Routine ListSupport the ShowJoin the Slow Looking Club Community on FacebookDownload the NEW resource - how to look at art (slowly)Curated newsletter by Claire Bown

Today I’m exploring the concept of creating intellectual comfort in your museum and gallery programmes. In my (forthcoming) book Slow Looking at Art: The Visible Thinking in the Museum Approach I have a chapter dedicated to creating a collaborative culture in your museum and gallery programmes. As part of this chapter, I talk about how important it is to make participants feel not only psychologically safe, but also intellectually safe. Museums can be intimidating spaces. And this is particularly prevalent in art museums and around art in general. So many people feel that museums are not places for them, that there is a prerequisite amount of information required before you can enjoy being in a museum. Your job as a facilitator is to ensure that everyone feels confident and able to participate fully in your programme, whatever their motivation or knowledge level upon arriving. This is what it means to create intellectual comfort on a museum or gallery programme. In today's episode, I'm exploring what intellectual comfort is, why it's important and 8 ways you can foster it in your programmes. LinksEPISODE WEB PAGE Episode 74 - How to Enjoy Art (without knowing anything about it) Episode 44 - The 4 elements of a great introductionEpisode 48 - 10 types of questions you should never askDownload the Ultimate Thinking Routine ListSupport the ShowJoin the Slow Looking Club Community on FacebookDownload the NEW resource - how to look at art (slowly)Curated newsletter by Claire BownArticles quoted on Intellectual Safety:Critical Communities: Intellectual Safety and the Power of Disagreement - Ashby Butnorhttps://files.eric.ed.gov/fulltext/EJ1005647.pdfThe Importance of Intellectually Safe Classrooms for Our Keiki - Trevor Baba https://files.eric.ed.gov/fulltext/EJ1237572.pdf