New York London

Judith A. Rubin

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Library of Congress Cataloging‑in‑Publication Data

Rubin, Judith Aron.The art of art therapy : what every art therapist needs to know / by Judith Aron Rubin. -- 2nd ed.

p. ; cm.Includes bibliographical references and index.ISBN 978-0-415-96094-6 (hardback : alk. paper)1. Art therapy. I. Title. [DNLM: 1. Art Therapy. WM 450.5.A8]

RC489.A7R83 2011616.89’1656--dc22 2010035022

Visit the Taylor & Francis Web site athttp://www.taylorandfrancis.com

and the Routledge Web site athttp://www.routledgementalhealth.com

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Contents

Acknowledgments ixForewordtotheRevisedEdition xiPreface xiiiIntroduction xv

Part 1 The Art Part

1 KnowingMaterials 5Introduction 5WhatKindofMaterials? 5KnowingMediaWellEnoughtoHelpOthers 6“IfYouWereanArtMaterial,Tool,orProcess,WhatWouldYouBe?” 9RecommendedReadings 9

2 KnowingProcesses 13WhatDoWeMeanbyProcessinArtTherapy? 13Exploring 13IncubatingandOrganizing 14ReinforcingCreativeBehavior 15BeingOpen-MindedandFlexible 17ObservingtheProcess 17References 19RecommendedReadings 19

3 KnowingProducts 23UnderstandingtheArtProduct 23HowtoLookattheProduct 24KnowingForm 24KnowingContent 25RecommendedReadings 28

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Part 2 The Therapy Part

4 KnowingDevelopment 35TheImportanceofKnowingNormalDevelopment 35TakingaHistoryUsingArt 39References 41RecommendedReadings 41

5 KnowingDynamicsandDeviations 45TheoreticalUnderpinnings 45UnderstandingtheClient 46References 49RecommendedReadings 50

6 KnowingTherapy 53KnowingtheFramework 53KnowingtheRelationship 55KnowingStagesofTherapy 59References 63RecommendedReadings 63

7 KnowingArtTherapy 67WhatYouNeedtoKnow 67WhatYouNeedtoBelieve 70WhoYouNeedtoBe 71References 73RecommendedReadings 73

Part 3 The Interface

8 SettingtheStage 81LayingtheGroundwork 81BeginningArtTherapyTreatment 83ConsiderationsofTimeandSpace 83SettinguptheWorkingEnvironment 85SettingtheStagePsychologically 87WhySettingtheStageMatters 89RecommendedReadings 90

9 EvokingExpression 93DecidingWhattoDo 93KnowingYourselfasaClinician 95References 100RecommendedReadings 101

10 EnablingCreation 105TheImportanceofObserving 105If,When,andHowtoIntervene 106UsingYourselftoFacilitateAnother’sProcess 107

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KnowingYourLimitations 108UsingYourArtistSelfasaTherapist 109UsingYourTeacherSelfasaTherapist 111UsingYourTherapistSelf 112References 114RecommendedReadings 114

11 FacilitatingReflection 117TheValueofReflecting 117TheCreativeChallengefortheArtTherapist 120CreativeInterviewing 121References 126

12 WorkingArtistically 129Introduction 129TheRelationshiptoOtherArtForms 131TheRoleofInsightinArtTherapy 133References 135RecommendedReadings 136

Part 4 Applications

13 DifferentPopulations 143Introduction 143DevelopmentalFactors 144KnowingDisorders 147UnderstandingThoseWhoAreDifferent 149References 151RecommendedReadings 152

ArtTherapyWithChildren,Adolescents,theElderly 152ArtTherapyforSpecificDisordersandDisabilities 152

14 DifferentSettings 155GettingtoKnowthePlaceYouWork 155GettingtoKnowYourCoworkers 157References 163RecommendedReadings 163

15 DifferentModes 167IndividualArtTherapy 167AreYouSoloorAdjunctive? 170GroupandFamilyArtTherapy 170CollaborationWithCoworkers 172DoingCo-therapy 173KnowingDifferentTherapeuticModes 174References 176RecommendedReadings 176

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Part 5 Related Service

16 KnowingTeaching 183Introduction 183DecidingWhattoTeach 183DecidingHowtoTeach 186PuttingItIntoaBroaderContext 188LearningbyDoing 188TeachingCarefully 189FutureLearning 190EvaluatingTeaching 190References 191RecommendedReadings 191

17 KnowingSupervision 195Introduction 195UsingArtworktoEnhanceSupervision 202References 206RecommendedReading 206

18 KnowingConsultation 209Introduction 209UnderstandingtheLargerPicture 210AssessingWhatSeemstoBeNeeded 210References 215

19 KnowingResearch 219Introduction 219NeededResearch 225MeasuringtheCreativeProcess 228References 231

20 KnowingTheory 235TheMixedBlessingsofBorrowedTheory 235ThinkingTheoretically 236DoestheShoeFit? 238ATentativeTheoreticalBeginning 239ArtinthePresenceofAnother 241References 243

Addendum:KnowingWhatYouDon’tKnow 247AppendixA:BooksinArtTherapyandRelatedAreas 249AppendixB:ContentsoftheDVD 263Index 271

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ChaPtEr 7Knowing Art Therapy

What You Need to Know

Assuggested,beinganartistandanicehumanbeingisnotenoughtomakeyouagoodarttherapist.Topermitthefullestpossibleuseofartforthepurposeofhealing,youmustknow certainthings,mustbelieve inothers,andmustbe acertainsortofperson.Onlyifthesethreeconditionsaremetisitpossibletoachievegenuineartistry asanarttherapist.

Beforeyoucanfunctionasanarttherapistwithpatientsorclients,youneedtoknowagreatdeal aboutart. Most importantare thenecessaryunderstandingsand informationaboutmaterials,processes,andproducts,asdetailedinthefirstthreechapters.Intheareaoftherapy, youneedtoknowagooddealaboutdevelopment(normalandabnormal),aboutdynamics(individualandgroup),andaboutthetherapeuticprocess(theframework, therelationship,andthestages).

Tobeginsynthesizingwhatyouknowaboutartandabouttherapy,itisvitaltobeclearaboutyouridentityasanarttherapist.Thisisasnecessaryforprivateworkwithpatientsasitisforpublicinterchangewithcolleagues.Sincearttherapyisahybriddiscipline,it issuperficiallysimilartoawidevarietyofotherfields,fromarteducationtoplaytherapytooccupational,recreational,andactivitytherapy.

Sinceallofthesemayinvolvetheuseofartmaterialsbyindividualsorgroups,theycanlook strikingly alike to the naïve observer. Even the clinician’s behavior may be similar,whetherhelpingsomeonetousematerialsappropriatelyoraskingquestionsaboutprocessorproduct.Nevertheless,arttherapyisdifferentfromallofthesefields,despitesomeover-lappingareaswitheach.

Whilethereareoftensuperficialsimilaritiesbetweenartandtheotheractiontherapies(recreation,activity,andoccupationaltherapy),thereisadeeperaffinitybetweenartandtheothercreativeexpressivetherapies(music,movement,drama,poetry,andphototherapy).Althoughtheprimarymodalityineachisdistinct,itisalsotruethathumanbeings,espe-ciallyinasituationthatpromotesfreedomofexpression,oftenmovespontaneouslyfromonemodetoanother.

Children frequentlycreatedramaswhile theydrawor sculpt; adolescentsandadultssometimeswritepoetryontheirpaintings.Suchspontaneousshiftshaveledmeinmyown

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worktoamultimodalapproach.Whileitisespeciallyappropriatefortheveryyoung,it isalsoapplicabletoadolescents,adults, families,andgroups.AlthoughIdorespect thosewhoareable to facilitatework inmore thanoneart formandwhobelieve inan inter-modalapproach(Atkins,2002;Atkins,Williams,&Suggs,2007;Knill,Levine,& Levine,2005; McNiff, 2009; Pearson & Wilson, 2009), I have never thought of myself as doing“expressive therapy” because I have never felt capable of doing it, not because I do notthinkitisagoodidea.

Ipreferwhenpossibletocollaboratewithanexpertinanothermodalitysincemyownskillsarelimitedincreativeareasotherthanart,butIfeelcomfortablewithpermittingorevenencouragingashiftofmodeduringtheworkingprocesswhenitseemstobeappropri-ate.Ithinkofmyselfthroughoutasanarttherapist,notanexpressiveartstherapist,aplaytherapist,oranactivitiestherapist,fortheartprocessisalwaysatthecenterofmywork.ForNatalieRogers(1993),whowastrainedbothasadancerandasanartist,“thecreativeconnection”isinternalandtotallyauthentic.

Issues of identity in a synergistic discipline such as art therapy have naturally beenofconcern fromthefirst. It isnecessarynotonly to relate the twocomponents (artandtherapy)inawaythatmakessensebutalsotodifferentiatearttherapy,asnotedearlier,fromitsactivitycousinsanditscreativeartssiblings.Thereareeventimeswhenyoumayneedtoclarify,foracolleagueorapatient,thedistinctionsbetweenarttherapyandtheuseofartbyotherkindsofcliniciansasinthediagnosticdrawingsrequestedbysomepsychologistsorthepaintingsusedbysomepsychiatrists.

Whenapsychologist,psychiatrist,socialworker,orcounselorusesartextensivelyinhisorherwork,isthatpersonthenanarttherapist?Thisisadifficultquestionsinceitishighlylikelythatanyoneusingartagreatdealissomethingofanartisthimself,suchascounselorSamGladding(2005),GestalttherapistJosephZinker(1977),psychiatristMardiHorowitz(1983),orpsychoanalystMarionMilner(1957,1969).

Nevertheless,evenforthosewhohaveasincereaffinityforartandwhoemployitclini-cally,iftheirprimaryidentityissomethingelse,artisthenseenasanadjunct—usedwhenperceivedasusefulorappropriate,butnotalways,orusuallycentraltotheindividual’spro-fessionalworkasatherapist.Bycontrast,thearttherapist’sprimarymodalityisart,despitethe fact that thetalkingtimemayoccasionallyexceedthedoingtime,or that theremayevenbesessionswhenthepressuretotalkissogreatorthedepressionsoprofoundthatthepersondoesnotcreatewithmedia.

Theseinstancesaretheexception,however,andthe“rule”isthatinmostarttherapy,allorpartofeverymeetingisspentcreatingorlookingatart.Whethertheartisthoughtofprimarilyasavehicleforsublimation(artastherapy—healingthroughthecreativeprocess)orforcommunication(artinpsychotherapy),theartprocessandproductalwaysoccupyconsiderabletimeandspace.

Inadditiontotheongoingtaskofdefiningyouruseofartintherapy,itismosthelpfultobecomeinformedinsomedetailaboutthoserelateddisciplinesmentionedabove.Onlythencandistinctionsbeclearlymade,bothforyourselfandforthesocietyinwhichyouworkasaprofessional.Whileitisnecessarytoknowwhatarttherapyis, itisperhapsevenmoreimportanttoknowwhatitisnot.

Youcanonlybeclearabouthowyouaredifferentfromyourprofessionalrelativesifyoualsoknowagreatdealaboutthem,soit followsthatanarttherapistoughttobeknowl-edgeableaboutherclosestrelations,especiallytheotherartsandactivitytherapies.Onlybyknowinghowarttherapyissimilartoanddifferentfromoccupational,recreational,or

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playtherapycanyoudiscussintelligentlywithcolleaguesorpatientswhatarttherapyinparticularhastooffer.

Arttherapyisauniqueprofession,withtheentrylevelforpractitionersonlyafter2yearsoffull-timetrainingatthemaster’slevel.Thisisnecessarybecausedoingarttherapyinthefullestsenserequirescombiningadeepunderstandingofartandthecreativeprocesswithanequallysophisticatedunderstandingofpsychologyandpsychotherapy—knowingwellalloftheareasdiscussedinthisbooksofar,aswellashowtoputthemtogetherinthebesttherapeuticway—thesubjectofthenextsection.

In the years since the first edition of this book was published, an awareness of “arttherapy”asanideahasbecomepartofourculture.Thisheightenedconsciousnessofthehealingpowerofarthasalsobredagreatdealofconfusion.Itseemsthereforeevenmoreimperativeinthefast-changingworldofthe21stcenturytoclarifytheoften-blurrydistinc-tionsbetweentrainedarttherapistsandothersprovidingtherapeuticartactivities.

Thisincludesartistsinresidence(Herbert,Deschner,&Glazer,2006;Riccio&Rollins,2001; Rollins & Mahan, 1996), art teachers, and volunteers who provide therapeutic artactivities to individuals under stress, from homeless shelters to hospitals (Graham-Pole,2000). There will probably never be enough trained art therapists to meet the immensehumanneedforthehealingpowerofart.Soinmyopinion,thesedevelopmentsaretobewelcomed. In the best of all possible worlds, volunteers or artists who offer art to thoseinneedwouldbesupervisedandtrainedbyarttherapists.However,evenwhenthisidealsituationisnotpossible,itisvitallyimportanttoeducatethepublicandprofessionalswhohavesomethingtosayaboutwhooffersartandaboutthedifferencebetweenavolunteerartistandatrainedarttherapist.

Themainreasonforeducatingothersissothatthosewhoarevulnerablearemorelikelytobetreatedthroughartbysomeonewhoistrainedand,becauseofthattraining,isalsomorelikelytohelpandlesslikelytodoharm.Artisawonderfulmedicine,butthatislargelybecauseitissopotent.Usingartwithpeoplewhoarefragilerequiresskill,sensitivity,andthekindofknowledgethatonlycomesaftermanyhoursofsupervisedpractice.Thus,theneed forpubliceducationandawareness regardinghowart therapistsaredifferent fromothersbearingcrayonsandpapertothoseinpain.

Artisapowerfultool—onethat,likethesurgeon’s,mustbeusedwithcareandskillifitistopenetratesafelybeneaththesurface.Usingmediawiththosewhoaresignificantlydis-abledordisturbed(evenwithoutanalysisofprocessorproduct)requiresanunderstandingnotonlyofartbutalsooftheworldofthosewithwhomyouareworking.Theuseofartasasymboliccommunicativemediumisaclinicallydemandingtaskthatcarrieswithitbothatremendouspotentialandanequallygreatresponsibility.

A parent, teacher, or artist without clinical training can indeed provide people withgenuinelyhelpful—andinmanyways“therapeutic”—artexperiences.Cautionisrequired,however,intheuseofsuchexperiencesforadeeperunderstandingorremediationofinter-nalpsychologicalproblems.There, inbothdiagnosisandtreatment,closeclinical super-visioninthelearningphasesandearlyworkstagesofarttherapyseemstometobenotonlydesirablebutalsoessential.

Dealing with those who are already vulnerable, or “opening up” others in a way thatcreatesacertainvulnerability,canbeeitherhelpfulorharmful.Oneneednotbeafraidtodomanywonderfulandmeaningfulthingswithpeopleinart,butonemustalwaysrespectthe importance and the uniqueness of an individual’s emotional life. One also grows torespect,withsomeaweandhumility,thepotencyofart,especiallyinthecontextofthosespecialhumanrelationshipspromotedinarttherapy.

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What You Need to Believe

Beliefisnotthesameasknowledge,despitethefactthatmostpeopletryhardtojustifytheirconvictionsonsomerationalbasis.ThebeliefsthatIfeelareessentialforanarttherapistconcerntheneed,theright,andthecapacityofeveryhumanbeingtobecreative.Onlyifyouareconvincedoftheneedcanyoumotivatethosewhoatfirstappearapatheticorresistant.

Onlyifyouareconvincedoftherightcanyouworkeffectivelywiththoseseverelydis-abled individuals forwhomfully formedartmayneverbepossible,butwhodeserve theopportunitytodeveloptotheutmostwhateversensoryandcreativepotentialtheypossess.Andonlyifyouareconvincedthateverypersonhastheabilitytobeacreativeartistcanyousincerelystrivetofindthesonginthesoul,thepoetryintheperson,whateverthemediumormodality.

Ithinkthatanothernecessarybelief is inarttherapyitself,whichprobablyinvolvesasincereconvictionthatbothartandtherapycanhelppeople—and,onapersonallevel,thatyoucanenablethattohappen.Unlesssomeonereallybelievesinarttherapyasatreatmentmodality,shemaybetemptedtoengageinthekindofcleverornaïvemislabelingthatoftenservesshort-termpersonalorpoliticalgoals.

If,however,sheknowsthatsheisnot doingarttherapyuntilandunlesssheistrainedasatherapist,thensheisnotlikelytomasqueradeasan“arttherapist,”eventhoughshemaybeofferingarttoadeviantpopulationorinatreatmentsetting.Althoughthiswasamorecommonproblemwhenthefirsteditionofthisbookwaswritten,thegrowthof“healingarts”andthepopularityofusingartinclinicalworkbyothertherapistshascreatedanewsetofconcernsaboutmisrepresentation.

Itisactuallynotamatterofwhereatherapistworksorwhomsheservesthatmakesanactivityart therapy.Whatdoesmatteristhegoal(therapy)andtheuseofartastheprimarymodalityinthepursuitofthatgoalofhumangrowthinamorethanmomentaryway.Evenwhenthatisthecase,however,thereissometimesatemptationtocallwhatoneisdoingsomethingelsebecauseofthepervasiveanxietyattendantonthewordtherapy.Thisislesstruenow,althoughthetermcounseling,whichusedtomeancareeradvising,hasbecomemorecommonandisgenerallylessthreatening.

Thecommonfearsofpatientsaboutbeingharshlyexposedormanipulatedinapainfulwaymaybeconfirmedwheneveranyonecallsherselfan“arttherapist”withouttherequisitetrain-ing.Althoughtheprofessionhasgrowninthepastthreedecades,thisisstillunfortunatelythecaseinmanysettings;administratorsseemstrangelycomfortablewithcallinganartschoolgraduatewithnopsychologybackgroundatherapist despitethefactthattheywouldneverallowsuchanindividualtogivepsychologicaltestsormakeapsychiatricdiagnosis.

While this situation isof concern primarily to trainedpractitioners and theirprofes-sionalassociations,Ihopethatitwillbecometheconcernofallwhobelieveinthehealingpowerofartandthecreativerightofeachhumanbeingtosafeandethicaltreatment.WhileIwasrevisingthissection,arespectedcolleaguenotedonanInternetlistservthataplaytherapistwithoutpropertrainingwasadvertisingacourseontheuseof“arttherapy”withchildren.EventhoughtheAmericanArtTherapyAssociationworkedhardtoobtain“titleprotection”forthecredentialATR(registeredarttherapist),thereisstillthepossibilityofmisunderstandingandmisrepresentation.

Ihavealsobelievedthatarttherapistsdonotownartanymorethanweowntherapy.Infact,Ihavealwaysbeeninfavorofhelpingothertrainedmentalhealthprofessionalstouseart(whichtheydoanyway)moreeffectivelywiththeirpatients.Suchusageprecededthe development of the specialized profession of art therapy and can certainly coexist.

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Certainly those artistswhoofferhealingexperiencestopeopleunderstress,despitethefactthattheyarenotclinicians,havetherighttodoso,andmanyaregiftedandpassionateintheirwork.However,itisourjobtoeducatethemaboutthelimitationsofwhattheycandoandtoofferguidelinesforsafety.

Inaddition,Ibelievethatmostofthetime,when“arttherapy”isdescribedassuchbutisnotconductedbyatrainedarttherapist,theintentisnotmalicious.Butitisindeedconfus-ingtothepublicandeventoothersinmentalhealth.Again,Iseeitastheresponsibilityofthearttherapycommunitytoeducateotherssothattheyunderstandthedifference,whichhopefullywillfacilitatethehiringofqualifiedarttherapistsnotonlyfordirectservicebutalsoassupervisors,consultants,andteachersofotherswhowant touseart inabroadlytherapeutic fashion.These rolesarediscussed in the last sectionof thisbook,onrelatedservice.Butfirst,Iwanttoreturntowhatisrequiredofagoodarttherapistbytalkingnotaboutknowingorbelievingbutaboutbeing.

Who You Need to Be

Perhapsevenmoreimportantthanbelievinginyourselforinarttherapyisbeing therightsortofperson.Thereisnosinglebestpersonalityforgoodarttherapy,anymorethanthereisonlyonerightwaytobehaveasanarttherapist.Butsomecharacteristicsdoseemtobeessentialandareprobablypotentialinmostpeople,althoughtheyaresadlyundevelopedor inhibited in many. Nevertheless they are important, perhaps vital, and the challengeis todeveloptheminyourself.Thesenecessaryqualities includesomerelatedtocreativethinking, such as fluency, flexibility, originality, and an ability to take risks, to tolerateambiguity,andtoregressintheserviceoftheego.Certainly,youmusthaveexperiencedthecreativeprocessyourselfinordertobeaneffectivearttherapist.

Incontrasttosomeofmycolleagues,however,Idonotbelievethatyouneedtobeanactivelypracticing,exhibitingartist.Rather,what isessential is thatyouhaveknown, insomedepthandatapersonallevel,whatitmeanstocreatewithartmedia—thepainaswellasthepleasure,thetensionaswellastherelease.Inaddition,itisimportanttobeabletouseyourowncreativeactivity,evenifyouarenotshowingingalleriesorsellingwork,foryourpersonalpleasureandtheself-carethatallpsychotherapistsneed.

Incidentally,Ifinditreallyintriguingthatarttherapistsdonotalwaysbehavecreatively intheirclinicalwork,despitethefactthatmostarepracticingartists.Howisitthatpeoplecanbecomfortablemanipulatingessentiallyunpredictablematerials, enduringandevenenjoyingtheinevitabletensionsofthecreativeprocess,yetsooftenseemunabletoadoptthesameattitudeinregardtotheirworkastherapists?

Perhaps, having identified themselves as artists before they became therapists, theyareunderstandablycautiousabouttappingwhattheyknowtobepowerful,butnoteasilycontrolled,innerenergiesintheserviceofthisnewidentity.Indeed,theyarerighttobecautious—forwhileitisnecessarytogainaccesstothosepotentresources,itisalsoessen-tialtocontroltheirovertexpressionandtodosowithinsomeclearlyboundedframework.Inart, this framework isprovided largelyby themedium, shapedby theartist’s intent;in therapy,itisprovidedbythetreatmentcontextandtheroleoftheclinicianwithinthatframeofreference.It is for thatreasonthatanart therapistneedstobeclearabouttheboundariesofherbehaviorsothatshecanhavethesamekindofsecureframeworksheprovidesforherpatients.

Giventhatcaution,andwithsufficientknowledgeaboutbothartandtherapyinyourmental storehouse, I submit that an effective art therapist is a person who enjoys the

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challengeofusingcreativethinkingintheserviceofthetherapeutictaskathand.Ibelievethisistruewhethertheclinicalquestionsareaboutthewhat ofsymbolicmeaning,thewhy ofbehavior,orthehow andwhen ofintervention.

The persistent search by some art therapists for simple answers to complex questionssuggeststhattheyarenotyetcomfortablewithusingtheirowncreativityinfindingtheirown solutions. Yet the challenge of understanding and helping each new human being,of solvingthemysteryofhowtohelpeachpersontofindandenjoyhiscreativepotential—inartandinlife—isforme,andformanyothers,thesourceofcontinuingstimulationandpleasureintheworkofarttherapy.

Although it goeswithout saying,youcannotbeanykindof a therapist if youdonotgenuinelylikeotherpeople,andthekindofpeoplewhoendupintreatmentarenotalwayseasytolike.Soitisnecessarytobethekindofpersonwhoenjoysrelatingtothosewhomaybewaryorinhibitedashumanbeingsaswellasintheirart.Youalsoneedtobegenuine,to behaveinarealandhumanway.

IamoftensurprisedbythecommentsIconsistentlygetfromtraineesafterIconductafamilyartevaluationwithoneofthem,thatthey“neverknewitwaspossibletobesonatural withpatients.”Youcanbeauthenticandfriendly,withoutbeingeitherseductiveoreffusive,andyoucanstillmaintainagooddealoftherapeuticdistanceandneutralityinregardtoyourprivateself.

Asforyourprivateself,asnotedearlier,itisvitaltogettoknowandacceptasmuchofyour-selfaspossible,whetheryouendupexploringyourinnerworldthrougharttherapyorsomeotherformoftreatment.Suchself-knowledgeisessential,partlybecauseyoucanneverfullyempathizewithpatienthooduntilyouhaveexperiencedit,and,moreimportant,becauseyoucannotuseyourselfwellasatherapeuticinstrumentintheserviceofanotherwhenyouarerespondingunconsciouslytoyourown“unfinishedbusiness”(unresolvedconflicts).

Idonothavestrongfeelingsaboutwheninyourlifesuchanundertakingisbest,butI dothinkithelpstobeintherapywhileyouarepracticingarttherapysothatthewaysinwhichyourownconflictsaffectyourworkcanbeexamineddirectly.Iamincreasinglyconvincedthatitisonlythroughacapacityforempathyandfortrulyfollowingthepatientthatreallyartisticworkcanbedone.Isuspectthatitisnotpossibletoallowyourselfto“feelwith”anotherinanydepthunlessyouaregenuinelycomfortablewithallaspectsofyourownpsyche.

Iamalsoconvincedthatnoamountoftherightknowledgealoneissufficienttomakeapersonafineclinician.Thisknowledge,whileanessentialcondition,muststillbeappliedwith conviction in work with other human beings. The artistry involved in outstandingtherapythroughartmaydepend,inthefinalanalysis,asmuchonpersonalityasontech-nique.Noamountofscientificknowledgewillmakeforgoodarttherapyifitisnotappliedinasensitiveandartisticwaybyahumanbeingwhocanrelateeffectivelytoothersinthespecialfashionneededforsuccessfultreatment.

While all of these concerns about what you know, what you believe, and what sort ofpersonyouaremayseemperipheraltothetopic(theartofarttherapy),theyarereallythebedrock—thefoundationonwhichgoodarttherapymustrest.Idonotmeantoimplythattheyareaccomplishedinanysortofneatchronologicalsequence:thatyoulearn,believe,andbecomeinsomesequentialorder,accordingtoaprescribedplanofaction.Rather,itisneces-saryforgrowthtobecontinuousandongoinginalloftheseareasthroughoutyourlifetime.

Learningandknowingaboutbothartandtherapyshouldexpandanddeepenovertime,justasadevelopingpersonwillnaturallyexpandanddeepenhisvaluesandhimselfasahumanbeing.Nevertheless,Iamconvincedthatyoucannotbeanymoreartisticasanarttherapistthanyoucanbeasapainterifyoudonotknow the“basics,”ifyoudonottruly

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believe inhumanpotential,andifyoudonothavethepersonality andtheabilitytosustainallaspectsoftherole.

Thesearethenecessaryconditionsforartistry,whichdoesnot,despitethemythology,springfullblownfromanyonewhoisnotproperlyprepared.Asnoted,thisisachallenginglifelongtask,whichisagoodthingsincenoneofthesecanbeeasilyaccomplished,andallofthemrequireconsistentandpersistenteffort.Therewards,however,areimmense,forthemoresuccessfulyouareasanarttherapist,thegreaterthegratificationofsuchwork.

references

Atkins,S.(2002).Expressive arts therapy: Creative process in art and life.Boone,NC:Parkway.Atkins,S.,Williams,L.D.,&Suggs,M.S. (2007).Sourcebook in expressive arts therapy.Boone,

NC:Parkway.Gladding,S.T.(2005).Counseling as an art(3rded.).Washington,DC:AmericanCounselingAssociation.Graham-Pole,J.(2000).Illness and the art of creative self-expression.Oakland,CA:NewHarbinger.Herbert,G.,Deschner,J.W.,&Glazer,R.(2006).Artists-in-residence.NewYork:CreativeCenter.Horowitz,M.J.(1983).Image formation and psychotherapy.NewYork:Aronson.Knill,P.J.,Levine,E.G.,&Levine,S.K.(2005).Principles and practice of expressive arts therapy: Toward

a therapeutic aesthetics.Toronto:E*G*SPress.McNiff,S.(2009).Integrating the arts in therapy.Springfield,IL:Thomas.Milner,M.(1957).On not being able to paint.NewYork:InternationalUniversitiesPress.Milner,M.(1969).The hands of the living God.NewYork:InternationalUniversitiesPress.Pearson, M., & Wilson, H. (2009). Using expressive arts to work with mind, body and emotions.

London:Kingsley.Riccio,L.L.,&Rollins,J.(2001).ART is the HeART.Washington,DC:WVSAArts.Rogers, N. (1993). The creative connection: Expressive arts as healing. Palo Alto, CA: Science and

BehaviorBooks.Rollins,J.,&Mahan,C.(1996).From artist to artist-in-residence: Preparing artists to work in pediatric

healthcare settings.Washington,DC:Rollins.Zinker,J.(1977).Creative process in Gestalt therapy.NewYork:Brunner/Mazel.

recommended readings

Brooke,S.L.(Ed.).(2006).Creative arts therapies manual. Springfield,IL:Thomas.Case,C.,&DalleyT.(2006).The handbook of art therapy (2nded.). London:Routledge.Chaiklin,S.,&Wengrower,H.(2009).The art and science of dance/movement therapy: Life is dance.

NewYork:Routledge.Davis,W.B.,Gfeller,K.B.,&Thaut,M.H.(2008).An introduction to music therapy: Theory and practice.

Washington,DC:AmericanMusicTherapyAssociation.Johnson, D. R., & Emunah, R. (Eds.). (2009). Current approaches in drama therapy (2nd ed.).

London:Kingsley.Malchiodi,C.A.(Ed.).(2003).Handbook of art therapy.NewYork:GuilfordPress.Malchiodi,C.A.(Ed.).(2004).Expressive arts therapies. NewYork:GuilfordPress.Mazza,N.(2003).Poetry therapy: Theory and practice. NewYork:Routledge.Moon,B.L.(2007).Introduction to art therapy(2nded.).Springfield,IL:Thomas.Rubin,J.A.(Ed.).(2001).Approaches to art therapy (2nded.).NewYork:Brunner-Routledge.Wadeson,H.(2010).Art psychotherapy(2nded.). NewYork:Wiley.

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The art therapist in a Veterans Affairs hospital is focused on both the patient and the painting process in which he is engaged.

http://www.routledgementalhealth.com/the-art-of-art-therapy-9780415960946

http://www.routledgementalhealth.com/the-art-of-art-therapy-9780415960946

A well-set “stage” allows time and space for quiet contemplation and thoughtful decision making.

http://www.routledgementalhealth.com/the-art-of-art-therapy-9780415960946