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Slow looking in the Van Gogh Museum

Slow Looking in the Van Gogh Museum

Today, I’m talking to Harma van Uffelen, curator of education for the Van Gogh Museum about a brand new slow looking programme and a slow looking experience they have created for the Matthew Wong exhibition. 

We explore:

  • How the programme started and why they chose the Matthew Wong exhibition
  • Techniques for engaging participants, including a deep dive into one of Wong’s artworks (The Realm of Appearances – see it here)
  • Considerations in programme design: ensuring comfort, optimizing artwork display, and managing duration in a busy museum
  • Designing a new slow looking programme in a busy museum (hint: it can be done!)
  • “In Silence with Matthew Wong”: silent contemplation of one artwork
  • Reflections on the pilot programme and future plans

If you’ve ever thought about designing and facilitating slow looking programmes in your museum, you will learn a lot from this episode!


Art Engager Bonus

Claire Bown: Hello and welcome to The Art Engager podcast with me, Claire Bown. I’m here to share techniques and tools to help you engage with your audience and bring art, objects and ideas to life. So let’s dive into this week’s show.

Hello, and welcome back to The Art Engager podcast. I’m your host, Claire Bown of Thinking Museum, and this is a bonus episode for Slow Art Day 2024. Today, I’m talking to Harma van Uffelen. Harma works as a Curator of Education for the Van Gogh Museum, where they have dozens of exhibitions. just created a brand new slow looking programme and a slow looking experience for the Matthew Wong exhibition.

Now before our chat, don’t forget last week I was talking to award winning journalist and New York Times best selling author Bianca Bosker about her new book Get the Picture. We talk about why art matters and how we can engage with it more deeply. If you haven’t checked it out yet, head back and download episode 1 to 4.

And don’t forget that The Art Engager has over 100 episodes to choose from. You can take your pick from the back catalogue of different episodes to brush up on your skills, be inspired and learn new techniques. If you’d like to support this show and help it thrive into the future, please buy me a cup of tea on

If you’ve got a question for the show, an idea for a theme or a subject we haven’t yet talked about, or you want to suggest a guest, don’t hesitate to reach out. I’m always eager to hear from you. Especially if you’re an educator doing innovative work with engagement with arts, objects, and audiences in museums and heritage.

All right, let’s get on with today’s bonus episode. My guest today, Harma van Uffelen, works as a curator of education for the Van Gogh Museum in Amsterdam. Hamer’s work is focused around looking for the best ways to connect art and audience. Over the last few years she has worked on a variety of exhibitions such as Hockney, Van Gogh, The Joy of Nature, Colour as language, and most recently, Matthew Wong, Vincent van Gogh, Painting as a Last Resort.

For the Matthew Wong exhibition on now at the museum, she has developed, amongst other things, a slow looking programmeme and a slow looking experience in the museum called In Silence with Matthew Wong. So in today’s bonus episode, Harmer shares insights into their new slow looking initiatives, all of which are part of a broader endeavour called Open Up with Vincent.

We delve into how the programme originated and why they specifically chose to focus on the Matthew Wong exhibition. We then explore the inner workings of the programme, discussing the techniques they use to engage participants. And we do a deep dive into one of Matthew Wong’s paintings using the thinking routine, see, think, feel, care.

As with all programmes, but even more so with a slow looking one, we explore the careful considerations that were made in its design. Things like taking into account participant comfort, artwork size and location, and programme duration. Importantly, we talk about the challenges of designing a slow looking programme, in a busy museum environment.

Note, it can be done. Additionally, we explore In Silence with Matthew Wong, a special in gallery experience that encourages silent slow looking with just one artwork. And lastly, we explore We discuss what they learned from the pilot programme and their future plans for expansion. And of course, we talk about their plans for Slow Art Day itself.

If you’ve ever thought about designing and facilitating slow looking programmes in your museum, you will learn a lot from this episode. Here it is.

So, hi Harma and welcome to The Art Engager podcast.

Harma van Uffelen: Thank you, really happy to be here.

Claire Bown: So, could you perhaps start by telling us a little bit about who you are and what you do?

Harma van Uffelen: Yeah my name is Harma. I’m an education curator at the Van Gogh Museum. I’ve worked here for nine years already. And I do the interpretation for adults in the museum.

So mostly in a permanent collection, but also a lot for exhibitions. So that consists of the gallery texts, audio guides, programmes around workshops, that kind of stuff. And I also did it for our latest exhibition that’s on view now.

Claire Bown: So I’ve invited you here to talk about that very exhibition. As it’s Slow Art Day I’d love to talk to you about that exhibition and the Slow Looking programme that you’ve developed for it.

But before we do that programme’s part of a broader initiative called Open Up with Vincent. Could you tell us a little bit about that?

Harma van Uffelen: Yeah, sure.

Open Up with Vincent is actually a programme that consists of many programmes. And we started it a few years back. There was always a wish to do more with mental health and art, and especially the story of Vincent van Gogh.

So Open Up consists of programmes in which we want to start the conversation about art and about your mental health and about the positive effect art can have on your mental health. We know from Van Gogh’s letters that art was, of course, the place where he found happiness, where he found comfort. And we also want to bring a little bit of that into the programmes that we designed for it.

So we have mindfulness sessions and yoga sessions, but also guided tours. And we have special programmes also for young adults who struggle themselves with mental health challenges. And we do painting workshops for them and also guided mindfulness sessions. and we did a lot of pilots over the last few years, and we’re now slowly building the programme for more groups, for more visitors.

And this is part of that.

Claire Bown: Yeah, so you’ve decided to design a new slow looking programme around your temporary exhibition which is around the artist Matthew Wong. So can you tell us a little bit about the exhibition itself?

Harma van Uffelen: Yes, sure. We already do exhibitions around contemporary artists for a few years now.

So we started with David Hockney a few years back. And then we did Etel Adnan and now Matthew Wong. So all these contemporary artists who are inspired by Vincent van Gogh. Because we think it’s really important to show that Vincent van Gogh still inspires to this day.

And Matthew Wong was a Chinese Canadian artist. He was born in Canada, but also lived in Hong Kong, and the last few years of his life back in Canada. And he painted very colourful, expressive, imaginative landscapes. And when you see the works, you immediately see, I think, the connection between him and Van Gogh, because it’s so colourful, the brushwork is really expressive.

But when our curator dived deeper into the story, he also found out that the connections on a personal level are really there. So, they both struggled with mental health. That was also thing for Matthew Wong. They both learned a lot about art and about making art themselves.

And they were also in a way, solitary artists, but they had a large group of artists around him, for Vincent with his letters, and for Matthew through Facebook and Instagram. He connected there with a lot of other artists and learned also from them. So there were a lot of connections and we got really excited to do a show about that.

So, yeah.

Claire Bown: Yeah, and the exhibition itself is organised around certain themes, isn’t it? We walked around it a few weeks ago, we had a good look at all the different parts of the gallery in the exhibition, so could you perhaps tell us about some of the themes in the exhibition?

Harma van Uffelen: so, we start chronologically, with a theme called Learning by Doing, so it’s about the auto-didactical part of their career. And there we show how Matthew started with his artwork, so he started with really abstract, colourful works, and then he slowly built up to these more figurative, imaginative landscapes.

Then we have two chapters that are about the most obvious connections between the two. So a chapter about their use of colours and the experiments they did with colour. And a chapter about their expressive brushwork So each chapter we start with one painting by Vincent van Gogh.

And then we have a lot of paintings by Matthew, so over 60 paintings. And upstairs we have a chapter about their work on paper because Matthew Wong also did a lot of ink on paper and we have a chapter about the biggest difference in their artworks, and that is that Matthew Wong painted from imagination, from his own fantasies, while Vincent obviously painted what he saw, and he made it his own.

And then the last chapter is more about the personal things in their artwork. So, it’s more about their mental health, about their struggles, and how that’s reflected in the canvases that they painted. So, it’s a very personal chapter

But yeah, we wanted to give a very broad look not only on their artistic aspects, but also their personal life because it’s also, of course, very visible in their work.

Credit: Matthew Wong | Vincent van Gogh: Painting as a Last Resort, Van Gogh Museum, photo: Michael Floor

Credit: Matthew Wong | Vincent van Gogh: Painting as a Last Resort, Van Gogh Museum, photo: Michael Floor

Claire Bown: And thinking about the Slow Looking programme that you’ve been developing and designing, why this particular exhibition?

Harma van Uffelen: Yeah, I think the desire to build on the Open Up programme within the museum yeah we really want to expand on it. So we’re always looking for chances to do that. So what is a good fit? And I think what first came to mind for me was that the parallels in their personal life and of course the mental health aspect that we really wanted to make visible in the exhibition,

And that also has to do, I think with the paintings because Matthew Wong’s paintings are so, at first glance, they’re really aesthetically pleasing for a lot of people. But there’s also a lot going on. So they’re very dense in brushwork, but also in what you see, there’s a lot to see.

So I think that makes them really ideal paintings for slow looking to look again, to look deeper. So that was the two reasons for developing a slow looking, programme for this exhibition.

Claire Bown: And how does it work in practice? As it is Slow Art Day, we’re very much interested in the practical nuts and bolts of what the programme looks like.

Harma van Uffelen: So it’s a pilot, so we were really wondering, how often should we offer it to the visitors?

So we started with four times during the running time of the exhibition. Roughly every month. it’s a programme that’s focused on our Dutch visitors for now. We do it from March to June. And we scheduled it in for one hour, but we can come back to that later because we already have some findings from the first first run that we did.

And it’s one hour, so you can maybe do three or maximum of four artworks. And we thought it was really important that we would focus on artworks by Wong because of course there are artworks by Van Gogh in the exhibition but it’s all about his work and diving deeper into that work so we really wanted to focus on that and we also thought it was really important to not give away too much about his story beforehand because it’s really about what the group sees, and we had the idea that if we have too much information beforehand because it’s a story that can really make an impact on you and maybe it would influence you too much in how you look at the artwork.

Claire Bown: So, for participants, the most important factor, first of all, is to encourage the looking. And then information that is shared is supplemental to that. So you’re wanting to encourage people to spend longer looking at the artworks themselves.

Harma van Uffelen: Yeah that’s the first goal. Just longer looking and maybe deeper looking. because it’s not about the art historical context, it’s really about your own view and your own ideas, and also sharing that with the group and seeing more together, and maybe then also forge a better connection with the work itself and not the story behind it.

Claire Bown: Yeah, so really bringing in personal responses, personal discovery as a result of the sort of looking for longer, and also those kind of shared moments that you have together when you’re in a group and you discover more when you’re together.

Harma van Uffelen: Yeah, absolutely.

I really believe that together you see a lot more than on your own.

And it also really makes for a great social connection in a group where you don’t know anyone, but are looking together. It really forges a, yeah, a new connection that you don’t experience, I think, maybe often in a museum, or not everyone experiences often in a museum. So, I think that’s also a beautiful aspect of it.

Yeah, definitely. And how does the programme start? quite often in a slow looking programme, you might have to set expectations with people, that this is perhaps different to what they might be expecting in a museum. Yeah. So we ask everyone what brought you to this to this programme? So why did you chose to participate? So that gives a little bit of insight also for the tour guide, like okay, what kind of group do I have before me? And we also say in the introduction like, Don’t expect that you will learn a lot about Matthew and his artworks, because it’s really about the looking itself.

And then we warm up with a small looking exercise. So really get them acquainted with slow looking in general. what we did last time was, okay, look at the artwork for one minute, then turn around, what did you see, Turn back, look again.

Are there things you missed? So really get them to notice that they maybe don’t see a lot at first glance So it’s an exercise in looking better, but also to really make them aware of how much they maybe miss.

Claire Bown: Yeah, so it has a kind of twofold effect.

The first effect being they’re noticing how long they might look at something, but then they’re also warming up together in a quite low threshold activity.

So what sort of techniques are you using to encourage people to look closely?

Harma van Uffelen: Yeah,

we incorporated some drawing exercises because for me, what was an important thing to do was to make it very diverse. So to do some things individually, some things together, but also not only talking and looking,

And we have a lot of tour guides that also are very good artists themselves. So for them, it’s also really fun and nice to practice that with the group becauseyou see in different ways when you draw, you really think. feel the brushstrokes in your own hand.

Claire Bown: And I’m dying to ask because I know you did the pilot recently, so can you tell me what you learned from the pilot, what sort of findings did you get?

Harma van Uffelen: Yeah. Yeah. It was really exciting beforehand for the tour guide and me, because it was so new and you always have to see what kind of group you have before you, but it was really nice. We had eight participants.

And they were all really committed, we already knew before, they really came for this,so that was really a really nice start.

And one of the remarks we got from the participants, What really struck me was like, ‘Oh, I really feel equal to all the other participants because it’s not about art historical knowledge. It’s really about what you see and everyone can look and can notice things’.

So yeah, I thought that’s nice that you noticed that and that you feel that because it made them really open up also in the tour. So everyone felt really eager to share. So there was also a really nice social connection between the participants and they really started discussing and talking together and, yeah, looking together and then build up on what the others saw.

But of course, what we also noticed is that one hour is really too short. So yeah, I think when we’re going to do it again, we have to make it a longer programme. That was also some of the feedback we got from the participants themselves.

Claire Bown: Did they notice that time went by very quickly that it flew by.

Harma van Uffelen: Yeah, it flew by. Yeah. So, that was also a nice thing because the tour guide really took the time to ease into it and I think that’s really important that everyone feels comfortable, but that just takes time, so we were already half an hour underway before we were at the dive deeper part, so yeah, I think one and a half hour would be would be a better timing,

but we started at 9. 30, and that was really nice because there was practically no one in the gallery, and we had these little folding chairs with us, so it was a nice setup.

Yeah. So you’ve completed the pilot you’re about to launch this programme. What other factors have you taken into account for the design of this programme? Because, I often hear from museums I talk to, that they say they can’t have a slow looking programmeme because their museum is too busy.

Claire Bown: And this is the Van Gogh Museum, this is one of the busiest museums in the world. You’re putting on a slow looking programme, so, what have you taken into account with regards to space, with regards to people in the museum, how have you designed it around those factors?

Harma van Uffelen: Yeah, that’s a good one, because busyness is a factor to take into account, especially with us.

So, I think that’s one of the reasons why we wanted to start with this pilot in an exhibition, and especially an exhibition like this, because of course, if it’s an exhibition more around Van Gogh, we know that it’s also really busy there, but with these contemporary artists, we know that it’s sometimes a bit quieter, and especially in the morning hours.

So we thought we do the tryouts here and then we can see how it works and if it’s too crowded and Like I said, it went really well because it was still very quiet. And also the setup of the exhibition space is really spacious.

So there’s a lot of room. The paintings are really big, so that’s also very helpful. And we situated all the exercises in the tour around these big open spaces. So there are smaller spaces, but we designed the exercises around the big spaces. And that worked really well. There was a lot of space and people could really sit and talk and discuss.

I think because we really want to expand to the permanent collection after this and take our learnings from this one to the permanent collection. And I think we have to do it really early in the day maybe even at opening time at nine o’clock. And maybe also, like, now we really took the time, sometimes we were at one painting for maybe 15 or 20 minutes. I think we maybe have to bring it back a little bit in the permanent gallery to make it work better there and not take too much space up for the other visitors for too long a time, so.

what was really funny, we have one routine where We connect a painting by Matthew Wong to the bedroom by Van Gogh. And of course, it’s one of our highlights. So people know that it’s in the exhibition, so they especially come for it. So while we were sitting there, tourists were coming in and photographing the bedroom and then barging into the middle of our group and go back again.

So that was like, oh, okay, maybe we don’t, we even can’t do a highlight here in the exhibition. But no, most of the times it went really well and people got a smile on their face when they saw us drawing in the galleries.


So you’ve very kindly agreed to take us through in detail one of the artworks that you’re using in the programme as an example to listeners. So perhaps you could talk us through a discussion that you might have with this particular artwork.

Claire Bown: And for all the listeners we’ll put a link to it in the show notes.

Matthew Wong, The Realm of Appearances, 2018, Private Collection © Matthew Wong Foundation c/o Pictoright Amsterdam 2023
Matthew Wong, The Realm of Appearances, 2018, Private Collection © Matthew Wong Foundation c/o Pictoright Amsterdam 2023

Harma van Uffelen: So the artwork we’re talking about is The Realm of Appearances by Matthew Wong and it’s a very large artwork. It’s a landscape actually.

And you see a very dense forest in the lower part of the picture, but actually it takes up, I think, seven eighths of the canvas, and the top one eighth part is sky, and it’s bluish green grayish sky sky with a pale yellow sun or moon, we don’t know. And there is a blue band also, a blue horizontal band, which could be mountains or maybe a sea.

And the dense forest in front consists of a lot of trees, but also little paths to the trees. And dominant colours are orange and red and also blue. Yellow also, and it’s built up from a lot of dots and stripes. So these very typical brushstrokes that we also know from Van Gogh.

And In the left lower part, there’s one small person in white, and you only see very, rough strokes that suggest a person, but we don’t know if it’s a man or a woman or a child, and the person is standing in front of a well, a black and white well and the person is, I think, looking into it, but

We don’t know for sure. And the (questioning) routine we chose for this artwork,is See Think Feel Care.

The routine is all about diving into another one’s perspective. And it’s a very suitable routine we thought for for this tour because one of the Key elements of Matthew Wong’s work is that there’s almost always one or multiple figures in this kind of overwhelming, grand landscape.

And the figure is always very small, most of the time the figure is alone, but sometimes there are other ones there. And A little bit of background now, we don’t do that in the tour, but it’s to explain why we chose this routine. The figure is sometimes himself. So sometimes it’s more or less like a self portrait.

But to get back to the routine. See Think Feel Care, it’s really all about diving into the perspective of this person on the painting. And, everyone takes the perspective of this person.

And first we talk with the group about what you see, so in a more or less objective way like you know from the slow looking principles to to really look and describe what you see and talk about it together.

And then we divide the group into little groups And they take the perspective of this person on the painting and ask themselves the three key questions that are part of this routine. So what is the individual thinking? And what does the individual feel or what are their emotions?

And what does the individual care about? So what is important to them at this moment? And they can discuss it together and exchange their own personal ideas. And when they’re done, we go back to the group as a whole and do a little round through through the different groups and talk about These questions, but also about their own perspective, and how it works together with the perspective that they had to take with this person.

So, their own assumptions, or their own ideas, that get in the way of really taking the perspective of this other person. And I think when they’ve done this and you connect it in the end a little bit to Matthew Wong’s story, it can be really powerful because you have all these layers about your own perspective, the ideas you have about this person and about this painting and how that works together. And then, Matthew’s perspective as a third layer. So I think that can make a a deep exploration of the picture and of the themes that are maybe important to you, but also important maybe to Matthew.

So, it’s a routine that you would do further on in the tour. Because it really dives very deep and it’s also, I think, sometimes a difficult exercise to really transport yourself in this other person. But I think in that part of the tour, it can work really well to really make this deep connection with the work.

Claire Bown: Yeah. And that’s a really good point as well, thinking about when you do certain discussions, when you do certain activities and what their place is within the programme. So as you said, right at the beginning, that the activities that you do, they have a low threshold. They’re not too complicated.

The idea is to connect people with the work. with each other, with the museum. And then as the programme progresses, slowly the activities get slightly more in depth, perhaps more involved. And they’re asking people to make more, perhaps more complicated connections between themselves and the artwork and the artist.

Harma van Uffelen: That’s exactly it. Yeah. Yeah.

Claire Bown: And that word ‘connection’ keeps coming back. ‘ and that’s something I’d like to return to that you mentioned earlier. You were talking about the connections that people made in the group on the pilot, but you also mentioned that connections are a part of the programme.

You have used one of the thinking routines, see, wonder, connect. So there’s this kind of through line throughout this slow looking programme Could you talk a little bit about the connections that people have come up with?

Harma van Uffelen: Yeah

That’s a nice question.

I think if I begin with the tour itself that we did last week, we had the connection between Van Gogh’s bedroom and also an interior painting by Matthew Wong. And like I said earlier Van Gogh paints from reality and Wong paints from his imagination. And what I thought was really nice because we didn’t tell that to the group beforehand,

 we started with what do you see, and then we started to connect it with the Van Gogh painting. And what was really remarkable in their remarks was that they all felt that something was missing, or something was not In tune with reality in the Matthew Wong painting, like, why is this an inside room or an outside room?

What has he painted here? Is it a chair or is it a bench? a lot was unclear. and with the Van Gogh painting, they were like, Oh yeah, I can really see that someone is living in this room and I see his clothes and I see a brush on the bed.

So by saying that you really you really got the sense that they already identified these differences in their artworks without saying it explicitly. So we came back to that at the end,And then they were like, oh yeah, that makes a lot of sense with what we see and what we think about it.

So, everyone felt really comfortable sharing because we explicitly said it’s not about the story of Wong and his artworks, it’s really about what you see. So I think that made everyone very at ease with sharing their thoughts and their observations from the artworks.

And I think maybe on a deeper level also, we really want to explore the personal and human aspects of the story of Vincent, but also of Matthew. I think that’s really a big part of what we want to do as a museum, and I think that’s why connection also is maybe so important to us, that we really want to connect with the artworks, but also with the personal story of these two artists, and also with yourself and the other persons in the group, and of course in the Open Up programme itself, that’s also, I think, a big topic, so yeah, that’s maybe why it’s became a thread throughout this programme.

Claire Bown: Yeah, So you already mentioned a few plans for the future. Yeah. So what are your hopes around expansion for the Slow Looking programme? You’ve got a Slow Art Day programme that’s running, haven’t you?

Harma van Uffelen: Yeah, that’s right,

So on Slow Art Day itself we have the Slow Looking Tour and we also have this separate space on the top floor of the exhibition where we have one artwork by Matthew Wong that you can explore in silence. We ask you to explore it in silence. And we give you some suggestions of how to look at it. So how you can really do the slow looking on your own in a way.

So maybe look from a different perspective or focus on the colours or on the brushstrokes or how does it make you feel when you look at it for a longer time? And it’s a very dark room the work is really blue, the room is really blue, and there’s only one artwork, so it’s really a Tranquil room, I think.

And we did it to promote the slow looking individually, so that people can experience what they can also experience in the programme. But also we also did it as a way of reflection. Like I said, it can be a really heavy exhibition also with certain themes and especially in the end.

So we thought it would be nice to have this room on the top floor where you can really reflect on what you saw and really Come into your own feelings and thoughts about what you just saw. So we really want people to encourage to to go there and especially on Slow Art Day.

I think it’s a really nice place to be.

Claire Bown: It’s a beautiful room. I love the way you’ve set it up with a room before the room that you go into and adjust to the light and adjust to the quiet. And then you go through into the room itself.

And it’s just one artwork, as you say. It’s beautiful. Very dark, a few stools, everybody sitting in silence and looking at this one artwork. And have you found out anything from any visitors? Are you conducting any evaluation of that particular space?

Credit: Matthew Wong | Vincent van Gogh: Painting as a Last Resort, Van Gogh Museum, photo: Michael Floor

Credit: Matthew Wong | Vincent van Gogh: Painting as a Last Resort, Van Gogh Museum, photo: Michael Floor

Harma van Uffelen: We haven’t done a formal evaluation yet of that space, but we get a lot of visitor feedback from our after visit (e)mails.

And the room comes up a lot, actually, so I think that’s really nice because that means it really makes an impact . And what they say is like ‘ it’s really nice to look in a different way after I have seen the artworks and read about his story and then just be alone, have some quiet time’. So yeah, people are very positive about it to have that individual experience .

Claire Bown: I can imagine it’s quite a surprise as well.

In a space like this, to have one space with one artwork, and the silence as well, it would leave an impression on people afterwards.

Harma van Uffelen: Yeah, I think so. Yeah, I think it’s special, especially in our museum because it’s so crowded all the time. Firstly, our first idea was to make it possible that you could be there on your own with the artwork, but of course that was Very difficult with the crowds we had and I was a real, I was a little bit afraid about the silence part, like, oh, would everybody agree to that?

But yeah, it really is. We’ve been there. It really was a very silent, tranquil space.

Claire Bown: Yeah. I loved it. I think it’s a fabulous space to spend some time slow looking. So you have You have that space, you have your programme running on Slow Art Day, and any other plans for the future?


Harma van Uffelen: so, of course we’re going to do a formal evaluation of this programme. And then we really want to expand it to the permanent collection, so really make it a permanent part of our Open Up programme that we have these slow looking tours. but I don’t think every exhibitionis suitable for this programme, so I think per exhibition we have to see how it goes, but it would be really nice if we could have it in the permanent collection on Some days, but we have to figure it out because it brings its own challenges.

Absolutely. Absolutely.

Claire Bown: And I think it’s a, it’s really important to do a pilot, test it out in a small part of the museum and then see what works. What things need to be thought about for when you might expand it to the permanent collection as well. So perhaps you could share ways that listeners can find out more about the Slow Looking programmeme here, what you’re doing on Slow Art Day, maybe more about Open Up with Vincent. And get in touch.

Harma van Uffelen: Yeah

 there’s a lot about our show looking programme and about Open Up on our website, and you can also Assign yourself to the next slow looking tour if you would like.

So look on the website and if listeners have specific questions, they can always email me and happy to talk about it.

Claire Bown: Great. Yeah. So we’ll include links to to all the programmes. Signing up for the Slow Art Day Slow Looking programme as well, and everything else, including the artwork we discussed.

So thank you so much for chatting with me today, it’s been a pleasure.

Harma van Uffelen: Thank you, Claire.

Claire Bown: So a huge thank you to Harma for joining me on the podcast today for this special Bonus episode. You can find out more about the Matthew Wong exhibition at the Van Gogh Museum via the show notes.

I’ll also put links to the artwork we discuss, the slow looking programme itself, and Open Up with Vincent. If you’re interested in Slow Art Day, go to slowartday. com to find out how you can participate today. wherever you are. And you can download my free slow art guide via the link in the show notes too.

That just about wraps up this bonus episode. Thank you for tuning in. I’ll see you next time. Bye.

Thank you for listening to The Art Engager podcast with me, Claire Bown. You can find more art engagement resources by visiting my website, thinkingmuseum. com. And you can also find me on Instagram at Thinking Museum, where I regularly share tips and tools on how to bring art to life and engage your audience.

If you’ve enjoyed this episode, please share with others and subscribe to the show on your podcast player of choice. Thank you so much for listening, and I’ll see you next time.