Slow Looking With Peter Clothier

by Gregg Chadwick

Peter Clothier Leads A One Hour/ One Painting Session
photo by Joanne Warfield

Peter Clothier's important new book Slow Looking: The Art of Looking at Art guides the reader seamlessly through the history, process, and ideas behind his One Hour/One Painting sessions.  Clothier's development of One Hour/One Painting  began with the realization that along with most museum or gallery visitors, he increasingly spent more time looking at the information label on the wall than at the artwork itself. To combat this habit, Peter began to spend an hour silently and inquisitively gazing at one work of art. Much influenced in recent years by Buddhist thought and practice, Clothier combined elements of meditation and contemplation in these sessions and found more profound and rewarding experiences.  

In a One Hour/One Painting session, Peter Clothier invites small groups of participants to sit in front of a single artwork for a full hour in a gallery, museum, or studio environment.

Clothier recently hosted One Hour/ One Painting sessions during the Diebenkorn: The Ocean Park Series exhibit at the Orange County Museum of Art and at the LA Louver Gallery. Peter, also, held a session (see video below) in my Santa Monica Airport studio. Clothier began as he usually does with a brief introduction describing the hour to take place and then gently guided the participants by explaining the principles of closed-eye breath meditation,  how to relax and refresh the eyes, and provided encouragement to rid the mind of expectations and pre-judgments. For me and most of the participants that evening, the hour moved quickly as Peter led us through alternate closed and open-eyed moments. As Clothier explained, "this was individual work without initial discussion or interaction and allowed each participant to experience the artwork as fully as possible, without interruption." At the end of the hour, however, Peter invited responses and a rich discussion of the experience followed. 

Peter Clothier's Slow Looking: The Art of Looking at Art is written in clear, supportive language that illuminates art and meditation.  Clothier seeks to achieve a harmony of mind, heart, and body in his life and writing and Slow Looking provides rich examples for us to learn from and follow. In the book, we are encouraged to seek a pure visual experience with art through a beneficial process of contemplation, stillness, and serenity. Slow Looking also provides access to an audio and a video demonstration of a One Hour/One Painting session that invites readers to try it out for themselves.  Highly recommended!

Video Demonstration

Made along with participants at Gregg Chadwick's studio in Santa Monica, this video was filmed live by David Lowther.  It provides a full length example of Peter Clothier's One Hour/One Painting sessions and demonstrates the techniques involved in this guided meditation and contemplation.

Past venues & subjects for Peter Clothier's  One Hour/One Painting events :

1. Pasadena Museum of California Art—“The Matterhorn from Zermatt,” Edgar Payne

2. LA Louver—“ Echo Home,” Joe Goode

3. Laguna Art Museum—“Spring Day,” Clarence Hinkle

4. Lora Schlesinger Gallery—“I’ve Been Dating Recently,” Michael Beck

5. William Turner Gallery—“Sun Biscuit,” Ned Evans

6. Gregg Chadwick Studio—“ A Balance of Shadows,” Gregg Chadwick

7. LACMA—“Montauk Highway,” by DeKooning

8. MOCA—“Untitled,” Mark Rothko

9. The Getty—“Christ Entering Brussels,” James Ensor

10. OCMA—“Untitled Works,” Richard Diebenkorn

11. Hammer Museum—“Dr. Pozzi at Home,” John Singer Sargent; “Trees in the Garden,” Van Gogh

About Peter Clothier:

Peter Clothier has a long and distinguished career as an an internationally-known art writer, novelist and poet and describes himself as "an aspiring Buddhist who looks at art, books, and the vicissitudes of life." Clothier enjoys a world-wide following for his blog, The Buddha Diaries and is a contributing blogger in The Huffington Post. He lives and works in Southern California. His work has appeared in the Los Angeles Times, Artscene, ARTNews and other publications. He also hosts a monthly podcast entitled "The Art of Outrage," on ArtScene Visual Radio.

Peter Clothier's latest books are Persist, Mind Work, and Slow Looking.

More:

What Can Be Seen by Deborah Barlow

Peter Clothier's "The Buddha Diaries"

Peter Clothier's Website

David Bowie's New Berlin Elegy: Where Are We Now?

Early this morning David Bowie celebrated his 66th Birthday with the release of his first single in a decade. This song Where Are We Now?, taken from Bowie's forthcoming album The Next Day, is accompanied by an artful video directed by the contemporary artist Tony Oursler. Set in a black and white Berlin of memory and dream, Oursler's video combines with Bowie's voice and lyrics to question the themes of human bondage, release, freedom,  doubt, ageing, and death. 

 The video opens with a shot of a crystal skull on a table. Reminiscent of Gerhard Richter's evocative paintings of human skulls, this visual entrance to Bowie's musical memento mori,  reminds us that in Berlin we wrestle with the dead as we walk through a haunted and enchanted city. After the fall of the wall, Berlin has come to embody the future while at the same time carrying the scars of the past. 

Bowie sings:

Had to get the train
From Potsdamer Platz
You never knew
That I could do that
Just walking the dead

Gerhard Richter
 Skull (Schadel) (1983)

Where Are We Now? is as much a painting in soft greys as it is a song. A quiet rhythm of drums and synth warp and weft with minor key 
piano chords and Bowie's plaintive, elegiac voice. 

Bowie lived in West Berlin between 1976 and 1979 in the Schöneberg district in a house with Iggy Pop while Brian Eno and Tony Visconti were helping record Bowie's Berlin trilogy of albums Low, Heroes, and Lodger in the now legendary Hansa Studios.

In an interview on a French radio program, Bowie said, “Berlin has the strange ability to make you write only the important things. Anything else you don’t mention.” 

In Where Are We Now?, Bowie guides us through his former haunts:

Sitting in the Dschungel
On Nürnberger Straße
A man lost in time
Near KaDeWe
Just walking the dead

The Dschungel was a Schöneberg club frequented by Bowie, Iggy Pop, Frank Zappa, and  Nina Hagen. KaDaWe is a historical Berlin department store that originally opened in 1907. In a divided city, from its reopening in 1950 until 1989, KaDaWe was a beacon for the East and drew massive crowds after the fall of the Berlin Wall.  

In an informative piece on the creation of the cover for the upcoming album The Next Day, designer Johnathan Barnbrook writes that "the song Where Are We Now? is a comparison between Berlin when the wall fell and Berlin today. Most people know of Bowie’s heritage in Berlin and we want people to think about the time when the original album was produced and now."

Twenty thousand people
Cross Bösebrücke
Fingers are crossed
Just in case
Walking the dead

 The Bösebrücke was the bridge on which the first border crossing was opened to Eastern Berliners in November 1989 as the Berlin Wall began to fall. In Berlin, David Bowie challenged societal bondages in his art and his life. Later, the city itself broke free from the bondage of the wall. Now, years later, Bowie looks back and wonders if all the chains have been broken.

Gregg Chadwick
Berlin Noir
30"x22" monotype on paper 2011

There are hints of personal loss in Where Are We Now? as well. Does the mysterious woman who appears with David throughout the video refer to Bowie's incredibly brave and influential first wife Angela? Or is she a reference to the classical muses? Or perhaps an angel briefly freed from the the towering Siegessäule which flickers in the video behind Bowie and his partner. The political and the personal merge in Where Are We Now?. We are left with existential questions and are reminded that bodies age, marriages end, friendships dissolve and memories fade. But Bowie's quietly defiant voice does not give in to any dying of the light:

As long as there’s sun
As long as there’s sun
As long as there’s rain
As long as there’s rain
As long as there’s fire
As long as there’s fire
As long as there’s me
As long as there’s you

 Where Are We Now?
 by David Bowie
 produced by Tony Visconti 

Had to get the train
From Potsdamer Platz
You never knew
That I could do that
Just walking the dead

Sitting in the Dschungel
On Nürnberger Straße
A man lost in time
Near KaDeWe
Just walking the dead

Where are we now?
Where are we now?
The moment you know
You know you know

Twenty thousand people
Cross Bösebrücke
Fingers are crossed
Just in case
Walking the dead

Where are we now?
Where are we now?
The moment you know
You know you know

As long as there’s sun
As long as there’s sun
As long as there’s rain
As long as there’s rain
As long as there’s fire
As long as there’s fire
As long as there’s me
As long as there’s you

In March, David Bowie will release The Next Day, an album of his first new music in a decade and a reunion with longtime producer Tony Visconti. Where Are We Now? was released today on Bowie's 66th birthday. A note from his label Columbia explained this was "a timely moment for such a treasure to appear as if out of nowhere." 


Available from iTunes


More at:
Die Zeit: Nächste Abfahrt Potsdamer Platz

David Bowie: The Next Day. That album cover design

 What is the font you used for the main title?:

It is a new font that we are working on called Doctrine – this is the first major use of it. Doctrine will be released in the coming weeks at VirusFonts.