Midterm Flashcards
(111 cards)
1
Q
Freud
A
-primary ancestor of art therapy -Freud’s powerful concept of the unconscious and his still-pervasive ideas about the unconscious’ expression in dreams through symbolism -“A dream is predominantly a question of images. Part of the difficulty of dreams is due to our having to translate these images into words.”
2
Q
Jung
A
-“To paint what we see before us is a different art from painting what we see within.” -special interest to Jung was the mandala (“magic circle” in Sanscrit) which can provide comfort in structure and boundary to a psychiatric patient or client struggling with personality chaos or disintegration - he gave centrality to the image itself, rather than as a clue to be unraveled through psychoanalysis as had Freud. - Active imagination via artwork to illuminate the unconscious.; Collective unconscious is expressed through the personal unconscious and the personal unconscious is expressed through imagery
3
Q
*Margaret Namburg
A
- focus on whole child
- 1890-1983
- vision was of a psychotherapeutic process which, through spontaneous art tasks, uncovered unconscious mechanisms
- first to define art therapy as a separate mental health profession and a different form of psychotherapy in 1940 when she wrote of “dynamically oriented art therapy.”
- imagery was an outward projection of the patient’s inward intrapsychic processes. She called this projection “symbolic communication” between patient and therapist
- art is third important element (artist, therapist, artwork)
- patient should free associate to their spontaneous artwork which could then lead to their making their own interpretation of the meanings of the imagery
- emphasis on process not product
- established Walden Childrens School based on Progressive educational philosophy and psychoanalytic principles.
- sister of Florence Cane
- Walden School focused on the arts and the intellectual stimuli arising from psychoanalysis
- Imagery was an outward projection of the pateint’s inward intrapsychic processes via symbolic communication
- Focused on the patient’s transference to the artwork itself, rather than to the psychotherapist
- Help patient gain independence through control of the art product, the alleviation of fears and the evelopment of a supportive and containing environment.
- No emphasis placed on the aesthetic product itself. Her theory places art in psychotherapy not art as therapy.
4
Q
Florence Cane
A
- focus on whole child - 1882-1952, Walden School in NYC -Emotions as a wellspring to creativity -Loosening defenses via free association via movement, sound and artistic expression. - believed that the person and the product should be integrated -“loosen defenses, evoking a type of free association . . . tapping into fantasies and the unconscious” -developed the scribble technique thought to tap into the child’s unconscious processes through art making - sister of Margaret Namburg
5
Q
Viktor Lowenfeld
A
child evolved artistically in six stages: •Scribbling stage (ages 2-4) •Preschematic stage (ages 4-7) •Schematic stage (ages 7-9) •Gang stage (ages 9-11) •PseudoNaturalistic stage (ages 11-13) •Period of Decision: The Crisis of Adolescence
6
Q
Edith Kramer
A
- 1916-2014
- Believed it was about the creative process itself and the successful making of the art product, and the art product itself that can bring change and healing .
- Viewed her type of art therapy as a special form of art class.
- Art as therapy
- Sublimation:: Based on Freud’s defense mechanism of the ego where an anti-social act is transformed into a socially acceptable act. With Kramer the act was the artwork.
- Articulating the crucial notion that the therapy should be adjusted to enhance growth and change for each unique and specific client, Kramer forecasts the concept of differential diagnosis and specific treatment planning
- concepts are based in Freudian psychoanalytic thinking about human growth and development. Her art therapy fosters ego growth, enhances the development of the sense of identity and encourages the individual’s maturity and maturation processes in general.
- The integration of sublimation with the creative process and the art product is Kramer’s most important theme and enhancing the process of sublimation through the use of artis Kramer’s primary contribution to theory
- Her definitions of “good art” are “evocative power, inner consistency, and economy of artistic means.”
- Look at how clients respond to different media
- “I’ve come to feel that more talk can be included in art therapy than I have included and that there is a place for more psychotherapy in art therapy….” Kramer, 1989
7
Q
Vija Lusebrink
A
- Expressive Therapies Continum
8
Q
Linda Gantt
A
FEATS Formal Elements Art Therapy Scale
9
Q
Elinor Ulman
A
(1910-1991) First art therapy journal -allowed therapists and teachers to communicate
10
Q
Hanna Yaxa Kwiatkowska
A
- invention of family art therapy - 6 step procedure
- free pic
- pic of family >
- abstract family portrait >
- pic started with help of scribble >
- joint family scribble >
- free pic
*
11
Q
Myra Levick
A
- Founders of AATA and ties to Menninger’s Foundation in Topeka, Kansas
- energy, organizational skills and leadership
- In 1968 she established the American Art Therapy Association and was it’s first president
- Was the first co-director of the first graduate program at Hahnemann Hospital and Medical Center in Philadelphia in 1966
- 1968 created a lecture series at the medical school with all of the prominent art therapists
- 1970 ATR is established and first annual conference was held.
12
Q
Harriet Wadeson
A
- b. 1931) Eclectic approach to art therapy
- Trained by Kwiatkowska at the National Institute of Mental Health in 1961.
- 1975 receives her master of arts degree in psychology and art therapy from Goddard College in Vermont.
- 1992 edits A Guide to Conducting Art Therapy Research. Has also been editor of American Art Therapy Association Journal and taught at the University of Illinois art therapy program
- respects the contributions of many theorists and enables the clinician to draw on many sources of knowledge. It places a great deal of responsibility on the therapist to form a functional synthesis
- phenomenology, the human potential movement (which began on the West Coast and moved East) and Humanistic psychology.
- incorporated parts of existentialism, behaviorism, Erik Erikson’s developmental model, Gestalt Psychology and Carl Jung’s Analytic Psychology into her conceptual framework.
13
Q
Helen Landgarten
A
- b. 1921) psychologically minded art teacher.
- learned to integrate the personality theory and psychodynamic approach of Freud with the here-and-now stance of family theorists
- reasoned that the way the family behaved as they went about the mural task and how they handled the structure was indicative of how the family behaved with each other outside the consulting room.
- “invented” the term and use of directives . Within her framework, the art therapist is an active “agent of change” whose perspective is to intrude on the family system’s homeostasis and support a restructuring.
- “The value of the art task is threefold: the process as a diagnostic, interactional, and rehearsal tool; the contents as a means of portraying the unconscious and communication; and the product as lasting evidence of . . . dynamics”
- assessing the client or family and then from the assessment to develop a set of specific short and long-term goals for therapy. These goals were intended to be both practical and realistic.
- Born in 1921 in Detroit Michigan
- 1964 she is a psychologically oriented art teacher with geriatric patients at a community center and art therapist at an inpatient unit in LA
- Wrote several books dealing with Clinical art therapy, family art psychotherapy, adult art psychotherapy, and a multicultural assessment and treatment technique concerning magazine photo collage.
- 2007, the Helen B. Landgarten Clinic is innagurated at Loyola Marymount University.
14
Q
Janie Rhyne
A
- 1913-1995) Gestalt art therapy
- Humanistically-oriented approach which aimed for the individual’s personal growth, instead of “treating” an illness or dysfunction.
- when blocks to self awareness are removed, innate positive development and growth can continue. The Gestalt therapist attempts to break through fear, to “open up” the person’s awareness in the present.
- eclectic. But her syntheses put her firmly within the philosophy of systems thinking.
- art product can be a metaphor for the whole of a person’s life and its exploration provides a visual expression of the client’s reality
- with this unblocking of self-awareness, the client is able to make more effective choices about life.
- Gestalt art therapy “The Gestalt Art Experience” (1973)
- For Rhyne art within therapy is a fundamental and powerful integrating force for personality growth, development and expansion. Art allows the individual the experience of self awareness
- The art product can be a metaphor for the whole of a person’s life and its exploration provides a visual expression of the client’s reality.
15
Q
Judith Rubin
A
- b.1936) psychoanalytic art therapy
- ”Art Lady” for “Mister Rogers’ Neighborhood” on public television.
- 1972— Makes film about her art therapy with blind children: “We’ll Show You What We’re Gonna Do.” Decides to undertake psychoanalytic training and psychoanalysis.
- Wrote many books including “Child Art Therapy”; “The Art of Art Therapy”; Approaches to Art Therapy”; “Artful Therapy” in the 1970s and 80s
- In 2008 two films about art therapy released “Art Therapy Has Many Faces and “Beyond Words”
16
Q
Shaun McNiff
A
b. 1946) grandfather of creative arts therapies
17
Q
Bruce Moon
A
b. 1951) Existential art therapy
18
Q
Cathy Malchiodi
A
b. 1953) Trauma informed practices and expressive art therapies
19
Q
Robert Ault
A
- fashioned AATA’s original constitution and helped in its adoption, thus creating a professional organization which furthered the development of art therapy as a profession and of art therapists.
- He innovated the use of art therapy in management and business
- One of the founders and second president of AATA.
- Art therapist at the Menninger Foundation in Topeka Kansas for 32 years.
- Initiated the art therapy progam at Emporia State University
- In 1978 opened his own studio that he called Ault’s Academy of Art.
- “Each new patient is a new course of challenge and exploration. I get to hear stories and share the deepest of human convictions, conflicts, and spirit. It is an opportunity to creae, and to be in the presence of energy that comes from sharing this.”
20
Q
Expressive Therapies Continum levels
A
- Kinesthetic/sensory (action/sensory characteristics of art materials)
- Perceptual/affective (forms/emotional expression)
- Cognitive/symbolic (cognitive operations/metaphor)
21
Q
Main approaches to art therapy
as used by ETC
A
- Art as therapy
- Dynamically oriented art therapy
- Phenomenological art therapy
- Gestalt art therapy
22
Q
How would a well functioning individual work within the ETC
A
- A well functioning individual is able to process information on all levels and with all components or functions of the ETC.
- Each function can provide input for the individual to make informed decisions and life choices.
- The structure of the ETC can help art therapists assess both their clients favored components and significant obstacles to optimal functioning.
- Assessment of media preferences and styles of interactions with media as well as graphic indicators and expressive elements from final art products is important.
- Individuals may show preference/strengths or avoidance/deficits to various levels. Herein lies the beginning of determining a treatment protocol.
- Once a safe therapeutic rapport is established can gradually vary levels
- Levels of ETC are different but interconnected systems.
- when both components are contributing optimally to an experience, expressive functioning is most favorable
- emergence of higher level of functioning helps clients experience a more integrated sense of self, which can be therapeutic
23
Q
Kinesthetic/Sensory Level
A
- Infants and toddlers process information through sensation and movement.
- Focus of the activity is on the kinesthetic action rather than on the product or image.
- Important for people of all ages to have access to this type of information as this type of input is the basis for many experiences and can influence the understanding of emotion and the development of memory.
24
Q
Perceptual/Affective Level
A
- Represents the second level where children are elarning about the world and the forms around them. Art is infused with emotion.
- This level of ETC can be designed to broaden clients’ perspectives and increase their ability to see another person’s point of view.
- Emotions are used in decision making, memory functioning and motivating behavior.
25
Cognitive/Symbolic Level
* Most developmentally sophisticated and corresponds to adolescence and the development of formal operational thought.
* Images become more complex.
* Symbolic thought is present and provides access to intuitive functions.
* Cognitive information processing is essential for analytical and sequential operations.
26
Creative Level
* This level may exist at any or all of the other levels.
* Joy is experienced at this level which can lead to wholeness and balance.
* Creative involvement can be healing without cognitive overlay or symbolic interpretation (Lusebrink, 2004)
27
Don Jones
* intended to be a minister, but after WWII ended up at the Menninger Clinic where he was referred to as a “pastor-artist” setting up milieu therapy
* 1951-1966
* Focused on Freud and metaphors.
* Through the arts introduced a concept of “process vs. content analysis”.
* In 1967 went to Harding Hospital and was there until 1988.
* One of major founders of AATA in 1969.
28
Lucille Venture
First person in the country to earn a Ph.D with a dissertation focused on art therapy “The Black Beat in Art Therapy Experiences” (1977)
29
Georgette Powell
* In 1958 caring for her mother with dementia she read about art therapy and began her art therapy education with Edith Kramer.
* In 1966, she established “Art in the Park as in annual event in Wa DC
* and in 1970, she established “Tomorrow’s World Art Center where art therapy was provided for children, adolescents and the elderly.
30
Cliff Joseph
* Within the art therapy community he acted as a strong voice for oppressed in New York City.
* In 1963 he worked at Abraham Jacobi Hospital in the North Bronx where he met Edith Kramer.
* Taught at Pratt Institute
31
ethics
Ethics is a discipline within philosophy that is concerned with governing human conduct.
32
morals
Morals are tied to values and attitudes that follow a certain set of beliefs, typically set within cultural or religious contexts.
33
Three primary modes of ethical thinking
* Deontological-legalistic: The worth of an action is determined by its conformity to some binding role rather than by its consequences.
* Antinomian: Not based on laws. Every individual must rely upon the moment itself to provide its own ethical resolution.
* Teleological Contextualism: Half way between the first two modes. Determines solutions to ethical problems in situations based on moral maxims of a professional community
34
informed consent
* Should discuss Roles of both client and therapist and outline expectations and limitations of the art therapy process
* Art therapist is still obliged to explain clients rights to the minor in an age appropriate manner
* Art therapy clients have the right to be informed about
* Art therapy process – including theoretical approach of the art therapist
* Art therapists expectations of the client
* Limitations of the art terapy process
* What the client may expect from the art therapist (safety, predictability, and relationship 0
* Any risk that may be associated with the art therapy process
* Limitys of confidentiality – situations where confidentiality cannot be maintained
* Financial arrangements – including fees and charges, and insurance reimbursement issues
* Content of and access to their files
* Credentials of the art therapist – including academic degrees, registration, national board certification, and state licenses the art therapist holds
* Termination of therapy
* Supervisory relationships the art therapist may utilize
* The main thing is to help the client express themselve
35
confidentiality
* Section 2 of Ethical Principles for Art Therapist
* when a client has communicated to a professional a specific and immediate threat of serous bodily injury against a readily identifiable thrid party then the professional bears a duty to warning the third party against such a danger
* both the rights of clients and rights of images must be addressed as one considers confidentiality issues in art therapy
* Three primary circumstances when art therapist must breach a clients confidence
* When client is dangerous and likely to do harm to another
* when client is likely to harm him/herself
* Whenever art therapist has reason to suspect child abuse or neglect
* The privacy rule requires art therapists to
* notify clients about their privacy rights and how their information can be used
* Adopt and implement privacy procedures for their practice
* be responsible for seeing that privacy procedures are followed
* Maintain secure records that contain individually identifiable health info
36
Tripartite nature of art therapy relationships
* Three equal partners (artwork, client, and art therapist) Re. artworks and images as independent entities that deserve compassion
* "I am suggesting that we have to remember the context to which we refer. In the art therapy relationship in which the client/ artist is attempting to make life changes, the clients interpretaion of the artwork is the most legitimate, baybe the only legitimate one" - moon
* Benevolent qualities of interpret and interpretation
* Interpret: to bring out the meaning of
* Interpretation: the expression of a persons conception of a work of art, subject, etc through acting, playing, writing, performing, criticizing, etc
* When interpretaion of a clients artwok is an interpersonal process (among art therapist, client, and image), there is a spirit of respect and opennness to multiple meanings that honors all of the parties involved
* Multiple interpretaions may be equally valid
* Ethically speaking, ther is no one way to interpret an clients image
37
Art Therapy Domains of Assessment
* Clinical Interview
* Assessment of Relationship
* DynamicsCognitive/Neuropsychological and Developmental Evolution
* Tools that Address Various Realms of Treatment
38
Clinical Interview
* Requires art therapist to obtain information about the client through multiple sources.
* Ex. Diagnostic Drawing Series:
* Materials: 12 Rainbow colored chalk pastels, Textured white paper 18x 24in
* Instructions: Client will draw 3 images (Free picture, Draw a Tree, Draw how you feel)Drawings are assessed using the Drawing Analysis form Content Checklist
39
Assessment of Relationship Dynamics
* tools for examining couples, families, and group dynamics are included in this domain.
* The primary purpose is to assess attachment, function of interpersonal relationships.
* Ex. Birds Nest Drawings:
* Materials: Pencil, 8 pack of crayons, 9x12in
* Instructions: Clients are asked to draw a birds nest.
* Drawing is assessed using the manual for Kaiser’sBirds Next Drawing Checklist
40
Cognitive/Neuropsychological and Developmental Evolution
* These assessments are designed to measure cognitive skills or intelligence which overlap with assessments that measure developmental levels.
* Ex. Silver Drawing Test:
* Materials: Pencil and Silver Drawing Test packet, A rock, a tin can, toilet paper role, paper towel roll.
* Instructions: Predictive Drawing, Drawing from observation, Drawing from Imagination,
* Assessed using the Scoring manual
41
Tools that Address Various Realms of Treatment
* These assessments rare used to create treatment plans.
* These assessments can address present problems and create therapy goals.
* Ex. Bridge Drawing:
* Materials: 8 ½ X 11 blank, white paper; drawing utensils of choice
* Instructions: Draw a bridge going from one place to another. Then ask client where they are in the picture and what direction they are moving in.
* Assessed using the Bridge Drawing Rating Manual
42
self- disclosure
* spectrum of possibilities from opaqueness to transparency, with translucent approximately midway between
* how much or how little art therapists reveal to clients about personal lives has profound implications for their therapeutic work
* art therapist may sometimes need to be opaque to their clients, but should never be less thatn transparent to themselve
* The key is authenticity and selective self –disclosure. Is it benefitting my client?
43
dual relationships
* usually brought on by internal wishes of art therapist
* simultaneous or sequential
* providing professional service to individual while also engaging in nonprofessional relationship with individua
* Multiple Relationships:
* Providing art therapy to a family member or to a friend
* Giving gifts to clients
* Receiving gifts from clients
* Attending a cleint’s wedding or other social function
* Combining the roles of art therapy supervisor and art therapist
* Becoming sexually involved with a client, supervisee or student
44
five tenets of ethical multicultural competence in art therapy
1. in order to appreciate and honor differences in clients cultures, ATs must be aware of and value their own cultural backgrounds
2. ATs need to be aware of how their own clturesal and aesthetic biases influence their assumptions and values about clients artworks and behaviors
3. ATs need to be sensitive to their clients cultural backgrounds, and cognizant of culture-specific meanings associated with colors, forms, and symbols
4. ATs must be aware that an individual clients dysfunction develops in a sociocultural context. the cultural context influences the particular nature and form of the dysfunction, as well as what constitues normal behavior
5. ATs must develop teatment plans and interventions appropriate to working with people from different cultural backgrounds
45
restrictive media
* one of the two broad properties of art media as used in ETC
* resist easy alteration
* likely to promote a considered and thoughtful experience
46
fluid media
* one of two broad properties of art media as used in ETC
* such as watercolor paints and chalk pastels
* likely to arouse emotion
* hypothesized to access unconscious processes, mediated on a preverbal level by the right hemisphere of the brain, and thus aid in the integration of long-term memory
47
nine curative factors of AT for children
1. AT promotes internal locus of control
2. AT assists in creating personal narrative
3. Displacement into art allows emotional safety to process difficult content
4. problem-solving through art therapy supports mastery and cognitive development
5. AT allows for nonverbal expression when words fail
6. using metaphores connects individuals to universal themes
7. visual expression levels the playing field for those with stronger verbal defenses
8. provides clients safe access to nonverbal memories
9. creative process need not be judged
48
Erikson’s Stages of Psychosocial Developmental Theory
* identity as dev concept
* foreclosed identity: individual commits to life direction w/out experimenting with alternatives
* Stage 5 – adolescent period: Identity vs. Role Confusion
* Stable/solid view for society’s modern culture
Infancy- Under 2 years- Hope- Trust vs. Mistrust- MotherCan I trust the world?- Feeding, abandonment
Toddlerhood- 2–4 years- Will- Autonomy vs. Shame/Doubt- ParentsIs it okay to be me?- Toilet training, clothing themselves
Early childhood- 5–8 years- Purpose- Initiative vs. Guilt- FamilyIs it okay for me to do, move, and act?- Exploring, using tools or making art
Middle Childhood- 9–12 years- Competence- Industry vs. Inferiority- Neighbors, SchoolCan I make it in the world of people and things?- School, sports
Adolescence- 13–19 years- Fidelity- Identity vs. Role Confusion- Peers, Role ModelWho am I? Who can I be?- Social relationships
Early adulthood- 20–39 years- Love- Intimacy vs. Isolation- Friends, Partners- Can I love?- Romantic relationships
Middle Adulthood- 40–59 years- Care- Generativity vs. Stagnation- Household, Workmates- Can I make my life count?- Work, parenthood
Late Adulthood- 60 and above- Wisdom- Ego Integrity vs. Despair- Mankind, My kind- Is it okay to have been me?- Reflection on life
49
Adolescent Identity Development - Briggs
* adolescent not only simpley have to deal with problem of leaving childhood certainties and dependencies but also have to gain way of relating to adult postmodern society
* Consider the uncertainties and complexities of the adult world
* Technological advances: excitement
* Mourning childhood
* Fear of loss of control
50
Vygotsky
* collaborative learning process contributes to psychological dev
* Relationship based process, interconnectivity
* Social factors and language contributing to development
* Accounts for context and interaction with adult world changes
51
Carol Gilligan
* Transition into adulthood
* gender identity development as requisite by society
* Societal and Biological pressures
* Sex – biological attributes
* Gender – socially constructed roles, behaviors and expressions
52
Why art making via art therapy is therapeutic for adults
* Adults learned to avoid through language
* We all have creative potentials we aren’t aware of – adults forget this
* Creativity combats stagnation - Erikson
53
neuroaesthetics
* investigates important connections between science and art
* The study of the neuronal processes that underlie aesthetic behavior
54
neurogenesis
* growing of new neurons
* assists in coping wth stress
role AT plays in relation: novelty that comes with art making, contributes to ability of newborn neurons to florish and latch on to memory centers of our brain and survive
55
plasticity
* the capacity for neurons to connect and form new pathways
* (synaptic plasticity) when receptors adjust their responses to specific stimulating molecules known as neurotransmitters
* (neuronal plasticity) modify neuronal networks by enhancing or pruning synaptic contacts
role AT playes in relation: can help restructure the brain?
56
-primary ancestor of art therapy -Freud’s powerful concept of the unconscious and his still-pervasive ideas about the unconscious’ expression in dreams through symbolism -"A dream is predominantly a question of images. Part of the difficulty of dreams is due to our having to translate these images into words.”
Freud
57
-"To paint what we see before us is a different art from painting what we see within.” -special interest to Jung was the mandala (“magic circle” in Sanscrit) which can provide comfort in structure and boundary to a psychiatric patient or client struggling with personality chaos or disintegration - he gave centrality to the image itself, rather than as a clue to be unraveled through psychoanalysis as had Freud. - Active imagination via artwork to illuminate the unconscious.; Collective unconscious is expressed through the personal unconscious and the personal unconscious is expressed through imagery
Jung
58
* focus on whole child
* 1890-1983
* ***_vision was of a psychotherapeutic process which, through spontaneous art tasks, uncovered unconscious mechanisms_***
* ***_first to define art therapy as a separate mental health profession and a different form of psychotherapy in 1940 when she wrote of “dynamically oriented art therapy.”_***
* imagery was an outward projection of the patient’s inward intrapsychic processes. She called this projection “symbolic communication” between patient and therapist
* art is third important element (artist, therapist, artwork)
* patient should free associate to their spontaneous artwork which could then lead to their making their own interpretation of the meanings of the imagery
* emphasis on process not product
* established Walden Childrens School based on Progressive educational philosophy and psychoanalytic principles.
* sister of Florence Cane
* Walden School focused on the arts and the intellectual stimuli arising from psychoanalysis
* Imagery was an outward projection of the pateint’s inward intrapsychic processes via symbolic communication
* Focused on the patient’s transference to the artwork itself, rather than to the psychotherapist
* Help patient gain independence through control of the art product, the alleviation of fears and the evelopment of a supportive and containing environment.
* ***_No emphasis placed on the aesthetic product itself. Her theory places art in psychotherapy not art as therapy._***
\*Margaret Namburg
59
- focus on whole child - 1882-1952, Walden School in NYC -Emotions as a wellspring to creativity -Loosening defenses via free association via movement, sound and artistic expression. - believed that the person and the product should be integrated -“loosen defenses, evoking a type of free association . . . tapping into fantasies and the unconscious” -developed the scribble technique thought to tap into the child’s unconscious processes through art making - sister of Margaret Namburg
Florence Cane
60
child evolved artistically in six stages: •Scribbling stage (ages 2-4) •Preschematic stage (ages 4-7) •Schematic stage (ages 7-9) •Gang stage (ages 9-11) •PseudoNaturalistic stage (ages 11-13) •Period of Decision: The Crisis of Adolescence
Viktor Lowenfeld
61
* 1916-2014
* ***_Believed it was about the creative process itself and the successful making of the art product, and the art product itself that can bring change and healing_*** .
* Viewed her type of art therapy as a special form of art class.
* ***_Art as therapy_***
* ***_Sublimation:: Based on Freud’s defense mechanism of the ego where an anti-social act is transformed into a socially acceptable act. With Kramer the act was the artwork_***.
* Articulating the crucial notion that the therapy should be adjusted to enhance growth and change for each unique and specific client, Kramer forecasts the concept of **differential diagnosis** and **specific treatment planning**
* ***_concepts are based in Freudian psychoanalytic thinking about human growth and development. Her art therapy fosters ego growth, enhances the development of the sense of identity and encourages the individual’s maturity and maturation processes in general_***.
* ***_The integration of sublimation with the creative process and the art product is Kramer’s most important theme and enhancing the process of sublimation through the use of artis Kramer’s primary contribution to theory_***
* Her definitions of “good art” are “evocative power, inner consistency, and economy of artistic means.”
* Look at how clients respond to different media
* “I’ve come to feel that more talk can be included in art therapy than I have included and that there is a place for more psychotherapy in art therapy....” Kramer, 1989
Edith Kramer
62
- Expressive Therapies Continum
Vija Lusebrink
63
FEATS Formal Elements Art Therapy Scale
Linda Gantt
64
(1910-1991) First art therapy journal -allowed therapists and teachers to communicate
Elinor Ulman
65
* invention of family art therapy - 6 step procedure
* free pic
* pic of family \>
* abstract family portrait \>
* pic started with help of scribble \>
* joint family scribble \>
* free pic
*
Hanna Yaxa Kwiatkowska
66
* Founders of AATA and ties to Menninger’s Foundation in Topeka, Kansas
* energy, organizational skills and leadership
* In 1968 she established the American Art Therapy Association and was it’s first president
* Was the first co-director of the first graduate program at Hahnemann Hospital and Medical Center in Philadelphia in 1966
* 1968 created a lecture series at the medical school with all of the prominent art therapists
* 1970 ATR is established and first annual conference was held.
Myra Levick
67
* b. 1931) Eclectic approach to art therapy
* Trained by Kwiatkowska at the National Institute of Mental Health in 1961.
* 1975 receives her master of arts degree in psychology and art therapy from Goddard College in Vermont.
* 1992 edits A Guide to Conducting Art Therapy Research. Has also been editor of American Art Therapy Association Journal and taught at the University of Illinois art therapy program
* respects the contributions of many theorists and enables the clinician to draw on many sources of knowledge. It places a great deal of responsibility on the therapist to form a functional synthesis
* phenomenology, the human potential movement (which began on the West Coast and moved East) and Humanistic psychology.
* incorporated parts of existentialism, behaviorism, Erik Erikson’s developmental model, Gestalt Psychology and Carl Jung’s Analytic Psychology into her conceptual framework.
Harriet Wadeson
68
* b. 1921) psychologically minded art teacher.
* learned to integrate the personality theory and psychodynamic approach of Freud with the here-and-now stance of family theorists
* reasoned that the way the family behaved as they went about the mural task and how they handled the structure was indicative of how the family behaved with each other outside the consulting room.
* “invented” the term and use of directives . Within her framework, the art therapist is an active “agent of change” whose perspective is to intrude on the family system’s homeostasis and support a restructuring.
* “The value of the art task is threefold: the process as a diagnostic, interactional, and rehearsal tool; the contents as a means of portraying the unconscious and communication; and the product as lasting evidence of . . . dynamics”
* assessing the client or family and then from the assessment to develop a set of specific short and long-term goals for therapy. These goals were intended to be both practical and realistic.
* Born in 1921 in Detroit Michigan
* 1964 she is a psychologically oriented art teacher with geriatric patients at a community center and art therapist at an inpatient unit in LA
* Wrote several books dealing with Clinical art therapy, family art psychotherapy, adult art psychotherapy, and a multicultural assessment and treatment technique concerning magazine photo collage.
* 2007, the Helen B. Landgarten Clinic is innagurated at Loyola Marymount University.
Helen Landgarten
69
* 1913-1995) Gestalt art therapy
* Humanistically-oriented approach which aimed for the individual’s personal growth, instead of “treating” an illness or dysfunction.
* when blocks to self awareness are removed, innate positive development and growth can continue. The Gestalt therapist attempts to break through fear, to “open up” the person’s awareness in the present.
* eclectic. But her syntheses put her firmly within the philosophy of systems thinking.
* art product can be a metaphor for the whole of a person’s life and its exploration provides a visual expression of the client’s reality
* with this unblocking of self-awareness, the client is able to make more effective choices about life.
* Gestalt art therapy “The Gestalt Art Experience” (1973)
* For Rhyne art within therapy is a fundamental and powerful integrating force for personality growth, development and expansion. Art allows the individual the experience of self awareness
* The art product can be a metaphor for the whole of a person’s life and its exploration provides a visual expression of the client’s reality.
Janie Rhyne
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* b.1936) psychoanalytic art therapy
* ”Art Lady” for “Mister Rogers’ Neighborhood” on public television.
* 1972— Makes film about her art therapy with blind children: “We’ll Show You What We’re Gonna Do.” Decides to undertake psychoanalytic training and psychoanalysis.
* Wrote many books including “Child Art Therapy”; “The Art of Art Therapy”; Approaches to Art Therapy”; “Artful Therapy” in the 1970s and 80s
* In 2008 two films about art therapy released “Art Therapy Has Many Faces and “Beyond Words”
Judith Rubin
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b. 1946) grandfather of creative arts therapies
Shaun McNiff
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b. 1951) Existential art therapy
Bruce Moon
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b. 1953) Trauma informed practices and expressive art therapies
Cathy Malchiodi
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* fashioned AATA’s original constitution and helped in its adoption, thus creating a professional organization which furthered the development of art therapy as a profession and of art therapists.
* He innovated the use of art therapy in management and business
* One of the founders and second president of AATA.
* Art therapist at the Menninger Foundation in Topeka Kansas for 32 years.
* Initiated the art therapy progam at Emporia State University
* In 1978 opened his own studio that he called Ault’s Academy of Art.
* “Each new patient is a new course of challenge and exploration. I get to hear stories and share the deepest of human convictions, conflicts, and spirit. It is an opportunity to creae, and to be in the presence of energy that comes from sharing this.”
Robert Ault
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* Kinesthetic/sensory (action/sensory characteristics of art materials)
* Perceptual/affective (forms/emotional expression)
* Cognitive/symbolic (cognitive operations/metaphor)
Expressive Therapies Continum levels
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* Art as therapy
* Dynamically oriented art therapy
* Phenomenological art therapy
* Gestalt art therapy
Main approaches to art therapy
as used by ETC
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* A well functioning individual is able to process information on all levels and with all components or functions of the ETC.
* Each function can provide input for the individual to make informed decisions and life choices.
* The structure of the ETC can help art therapists assess both their clients favored components and significant obstacles to optimal functioning.
* Assessment of media preferences and styles of interactions with media as well as graphic indicators and expressive elements from final art products is important.
* Individuals may show preference/strengths or avoidance/deficits to various levels. Herein lies the beginning of determining a treatment protocol.
* Once a safe therapeutic rapport is established can gradually vary levels
* Levels of ETC are different but interconnected systems.
* when both components are contributing optimally to an experience, expressive functioning is most favorable
* emergence of higher level of functioning helps clients experience a more integrated sense of self, which can be therapeutic
How would a well functioning individual work within the ETC
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* Infants and toddlers process information through sensation and movement.
* Focus of the activity is on the kinesthetic action rather than on the product or image.
* Important for people of all ages to have access to this type of information as this type of input is the basis for many experiences and can influence the understanding of emotion and the development of memory.
Kinesthetic/Sensory Level
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* Represents the second level where children are elarning about the world and the forms around them. Art is infused with emotion.
* This level of ETC can be designed to broaden clients’ perspectives and increase their ability to see another person’s point of view.
* Emotions are used in decision making, memory functioning and motivating behavior.
Perceptual/Affective Level
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* Most developmentally sophisticated and corresponds to adolescence and the development of formal operational thought.
* Images become more complex.
* Symbolic thought is present and provides access to intuitive functions.
* Cognitive information processing is essential for analytical and sequential operations.
Cognitive/Symbolic Level
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* This level may exist at any or all of the other levels.
* Joy is experienced at this level which can lead to wholeness and balance.
* Creative involvement can be healing without cognitive overlay or symbolic interpretation (Lusebrink, 2004)
Creative Level
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* intended to be a minister, but after WWII ended up at the Menninger Clinic where he was referred to as a “pastor-artist” setting up milieu therapy
* 1951-1966
* Focused on Freud and metaphors.
* Through the arts introduced a concept of “process vs. content analysis”.
* In 1967 went to Harding Hospital and was there until 1988.
* One of major founders of AATA in 1969.
Don Jones
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First person in the country to earn a Ph.D with a dissertation focused on art therapy “The Black Beat in Art Therapy Experiences” (1977)
Lucille Venture
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* In 1958 caring for her mother with dementia she read about art therapy and began her art therapy education with Edith Kramer.
* In 1966, she established “Art in the Park as in annual event in Wa DC
* and in 1970, she established “Tomorrow’s World Art Center where art therapy was provided for children, adolescents and the elderly.
Georgette Powell
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* Within the art therapy community he acted as a strong voice for oppressed in New York City.
* In 1963 he worked at Abraham Jacobi Hospital in the North Bronx where he met Edith Kramer.
* Taught at Pratt Institute
Cliff Joseph
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Ethics is a discipline within philosophy that is concerned with governing human conduct.
ethics
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Morals are tied to values and attitudes that follow a certain set of beliefs, typically set within cultural or religious contexts.
morals
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* Deontological-legalistic: The worth of an action is determined by its conformity to some binding role rather than by its consequences.
* Antinomian: Not based on laws. Every individual must rely upon the moment itself to provide its own ethical resolution.
* Teleological Contextualism: Half way between the first two modes. Determines solutions to ethical problems in situations based on moral maxims of a professional community
Three primary modes of ethical thinking
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* Should discuss Roles of both client and therapist and outline expectations and limitations of the art therapy process
* Art therapist is still obliged to explain clients rights to the minor in an age appropriate manner
* Art therapy clients have the right to be informed about
* Art therapy process – including theoretical approach of the art therapist
* Art therapists expectations of the client
* Limitations of the art terapy process
* What the client may expect from the art therapist (safety, predictability, and relationship 0
* Any risk that may be associated with the art therapy process
* Limitys of confidentiality – situations where confidentiality cannot be maintained
* Financial arrangements – including fees and charges, and insurance reimbursement issues
* Content of and access to their files
* Credentials of the art therapist – including academic degrees, registration, national board certification, and state licenses the art therapist holds
* Termination of therapy
* Supervisory relationships the art therapist may utilize
* The main thing is to help the client express themselve
informed consent
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* Section 2 of Ethical Principles for Art Therapist
* when a client has communicated to a professional a specific and immediate threat of serous bodily injury against a readily identifiable thrid party then the professional bears a duty to warning the third party against such a danger
* both the rights of clients and rights of images must be addressed as one considers confidentiality issues in art therapy
* Three primary circumstances when art therapist must breach a clients confidence
* When client is dangerous and likely to do harm to another
* when client is likely to harm him/herself
* Whenever art therapist has reason to suspect child abuse or neglect
* The privacy rule requires art therapists to
* notify clients about their privacy rights and how their information can be used
* Adopt and implement privacy procedures for their practice
* be responsible for seeing that privacy procedures are followed
* Maintain secure records that contain individually identifiable health info
confidentiality
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* Three equal partners (artwork, client, and art therapist) Re. artworks and images as independent entities that deserve compassion
* "I am suggesting that we have to remember the context to which we refer. In the art therapy relationship in which the client/ artist is attempting to make life changes, the clients interpretaion of the artwork is the most legitimate, baybe the only legitimate one" - moon
* Benevolent qualities of interpret and interpretation
* Interpret: to bring out the meaning of
* Interpretation: the expression of a persons conception of a work of art, subject, etc through acting, playing, writing, performing, criticizing, etc
* When interpretaion of a clients artwok is an interpersonal process (among art therapist, client, and image), there is a spirit of respect and opennness to multiple meanings that honors all of the parties involved
* Multiple interpretaions may be equally valid
* Ethically speaking, ther is no one way to interpret an clients image
Tripartite nature of art therapy relationships
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* Clinical Interview
* Assessment of Relationship
* DynamicsCognitive/Neuropsychological and Developmental Evolution
* Tools that Address Various Realms of Treatment
Art Therapy Domains of Assessment
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* Requires art therapist to obtain information about the client through multiple sources.
* Ex. Diagnostic Drawing Series:
* Materials: 12 Rainbow colored chalk pastels, Textured white paper 18x 24in
* Instructions: Client will draw 3 images (Free picture, Draw a Tree, Draw how you feel)Drawings are assessed using the Drawing Analysis form Content Checklist
Clinical Interview
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* tools for examining couples, families, and group dynamics are included in this domain.
* The primary purpose is to assess attachment, function of interpersonal relationships.
* Ex. Birds Nest Drawings:
* Materials: Pencil, 8 pack of crayons, 9x12in
* Instructions: Clients are asked to draw a birds nest.
* Drawing is assessed using the manual for Kaiser’sBirds Next Drawing Checklist
Assessment of Relationship Dynamics
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* These assessments are designed to measure cognitive skills or intelligence which overlap with assessments that measure developmental levels.
* Ex. Silver Drawing Test:
* Materials: Pencil and Silver Drawing Test packet, A rock, a tin can, toilet paper role, paper towel roll.
* Instructions: Predictive Drawing, Drawing from observation, Drawing from Imagination,
* Assessed using the Scoring manual
Cognitive/Neuropsychological and Developmental Evolution
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* These assessments rare used to create treatment plans.
* These assessments can address present problems and create therapy goals.
* Ex. Bridge Drawing:
* Materials: 8 ½ X 11 blank, white paper; drawing utensils of choice
* Instructions: Draw a bridge going from one place to another. Then ask client where they are in the picture and what direction they are moving in.
* Assessed using the Bridge Drawing Rating Manual
Tools that Address Various Realms of Treatment
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* spectrum of possibilities from opaqueness to transparency, with translucent approximately midway between
* how much or how little art therapists reveal to clients about personal lives has profound implications for their therapeutic work
* art therapist may sometimes need to be opaque to their clients, but should never be less thatn transparent to themselve
* The key is authenticity and selective self –disclosure. Is it benefitting my client?
self- disclosure
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* usually brought on by internal wishes of art therapist
* simultaneous or sequential
* providing professional service to individual while also engaging in nonprofessional relationship with individua
* Multiple Relationships:
* Providing art therapy to a family member or to a friend
* Giving gifts to clients
* Receiving gifts from clients
* Attending a cleint’s wedding or other social function
* Combining the roles of art therapy supervisor and art therapist
* Becoming sexually involved with a client, supervisee or student
dual relationships
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1. in order to appreciate and honor differences in clients cultures, ATs must be aware of and value their own cultural backgrounds
2. ATs need to be aware of how their own clturesal and aesthetic biases influence their assumptions and values about clients artworks and behaviors
3. ATs need to be sensitive to their clients cultural backgrounds, and cognizant of culture-specific meanings associated with colors, forms, and symbols
4. ATs must be aware that an individual clients dysfunction develops in a sociocultural context. the cultural context influences the particular nature and form of the dysfunction, as well as what constitues normal behavior
5. ATs must develop teatment plans and interventions appropriate to working with people from different cultural backgrounds
five tenets of ethical multicultural competence in art therapy
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* one of the two broad properties of art media as used in ETC
* resist easy alteration
* likely to promote a considered and thoughtful experience
restrictive media
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* one of two broad properties of art media as used in ETC
* such as watercolor paints and chalk pastels
* likely to arouse emotion
* hypothesized to access unconscious processes, mediated on a preverbal level by the right hemisphere of the brain, and thus aid in the integration of long-term memory
fluid media
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1. AT promotes internal locus of control
2. AT assists in creating personal narrative
3. Displacement into art allows emotional safety to process difficult content
4. problem-solving through art therapy supports mastery and cognitive development
5. AT allows for nonverbal expression when words fail
6. using metaphores connects individuals to universal themes
7. visual expression levels the playing field for those with stronger verbal defenses
8. provides clients safe access to nonverbal memories
9. creative process need not be judged
nine curative factors of AT for children
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* identity as dev concept
* foreclosed identity: individual commits to life direction w/out experimenting with alternatives
* Stage 5 – adolescent period: Identity vs. Role Confusion
* Stable/solid view for society’s modern culture
Infancy- Under 2 years- Hope- Trust vs. Mistrust- MotherCan I trust the world?- Feeding, abandonment
Toddlerhood- 2–4 years- Will- Autonomy vs. Shame/Doubt- ParentsIs it okay to be me?- Toilet training, clothing themselves
Early childhood- 5–8 years- Purpose- Initiative vs. Guilt- FamilyIs it okay for me to do, move, and act?- Exploring, using tools or making art
Middle Childhood- 9–12 years- Competence- Industry vs. Inferiority- Neighbors, SchoolCan I make it in the world of people and things?- School, sports
Adolescence- 13–19 years- Fidelity- Identity vs. Role Confusion- Peers, Role ModelWho am I? Who can I be?- Social relationships
Early adulthood- 20–39 years- Love- Intimacy vs. Isolation- Friends, Partners- Can I love?- Romantic relationships
Middle Adulthood- 40–59 years- Care- Generativity vs. Stagnation- Household, Workmates- Can I make my life count?- Work, parenthood
Late Adulthood- 60 and above- Wisdom- Ego Integrity vs. Despair- Mankind, My kind- Is it okay to have been me?- Reflection on life
Erikson’s Stages of Psychosocial Developmental Theory
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* adolescent not only simpley have to deal with problem of leaving childhood certainties and dependencies but also have to gain way of relating to adult postmodern society
* Consider the uncertainties and complexities of the adult world
* Technological advances: excitement
* Mourning childhood
* Fear of loss of control
Adolescent Identity Development - Briggs
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* collaborative learning process contributes to psychological dev
* Relationship based process, interconnectivity
* Social factors and language contributing to development
* Accounts for context and interaction with adult world changes
Vygotsky
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* Transition into adulthood
* gender identity development as requisite by society
* Societal and Biological pressures
* Sex – biological attributes
* Gender – socially constructed roles, behaviors and expressions
Carol Gilligan
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* Adults learned to avoid through language
* We all have creative potentials we aren’t aware of – adults forget this
* Creativity combats stagnation - Erikson
Why art making via art therapy is therapeutic for adults
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* investigates important connections between science and art
* The study of the neuronal processes that underlie aesthetic behavior
neuroaesthetics
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* growing of new neurons
* assists in coping wth stress
role AT plays in relation: novelty that comes with art making, contributes to ability of newborn neurons to florish and latch on to memory centers of our brain and survive
neurogenesis
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* the capacity for neurons to connect and form new pathways
* (synaptic plasticity) when receptors adjust their responses to specific stimulating molecules known as neurotransmitters
* (neuronal plasticity) modify neuronal networks by enhancing or pruning synaptic contacts
role AT playes in relation: can help restructure the brain?
plasticity
