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Art TherapyDiscovery and Healing Through ArtArt therapy is a form of therapy where the key is personal expression through the use of art materials. It combines traditional psychotherapeutic techniques with the creative process and its psychological impact on humans. Different art materials can spark a creative avenue in a client that the art therapist can obtain with no other theory or method. Art therapy became a distinct profession in the 1940’s and was prompted by the artwork created by patients in mental hospitals. Doctors saw intriguing images and insights come from patients who were otherwise incommunicative. At this same time, educators discovered that drawings/art was an indicator of mental, emotional and cognitive growth of children. Art therapy is not art for the sake of art…it is much more. No client in art therapy need be a great artist. In fact, most adults who are in art therapy would not consider themselves artists. However, it is through art that emotions and occurrences that are hidden or stifled might come to light. According to the American Art Therapy Association, art therapy is based on the belief that the creative process of art is both healing and life-enhancing. Art therapists use the creative process and the issues that come up during art therapy to help their clients increase insight and judgment as well as cope better with stress. Traumatic experiences and memory issues are two of the most important concerns between art therapists and their clients. Much can be learned through the creative process in terms of life affirming pleasures and how the process enhances them. The purpose of art therapy is much the same as any therapy: to improve the emotional well-being of a client through drawing, painting, sculpture, photography or any other form of visual art expression. Non-verbal symbols and metaphors are communicated within the creative process, and underlying thoughts and feelings are expressed through drawing and painting, etc.
Art therapy takes place in the same private environment as traditional therapy sessions. These sessions can be very quiet or very energy charged, but the end result is help through senses other than excessive speech. Even though it may seem unproductive to some, many people are better served by art therapy than through traditional means. Children who have experienced traumatic or exceedingly frightening events are but one example. The horror of Hurricane Katrina has been documented with a recent exhibit of art by children at the New Orleans Museum of Art: Katrina Through the Eyes of Children: Art by Displaced Children at Renaissance Village. The exhibition was comprised of 50 works - 32 drawings, 11 photographs and 5 three-dimensional pieces – that dramatized the impact of a monumental act of nature on humans, especially children. View examples of this exhibit online at www.katrinaexhibit.org. The images you see will amaze you and let you share the visions of many youngsters. Other examples of art therapy include different disciplines besides painting and drawing: clay work and sculpture of any type, writing/poetry, weaving, embroidery and other stitchery, and even gardening—"Gardening is the art that uses flowers and plants as paint, and the soil and sky as canvas."—Elizabeth Murray. Creativity of any type can be soothing and relaxing and can temporarily transport you to another level of concentration. If you have the desire to try new art experiences or to learn a new way to clear your mind and concentrate, use simple sketching or painting, writing or stitchery to enhance your life. When you do, you experience the real meaning and benefits of art as therapy, even if it is just to relax or take a breather.
The Artist’s Marketplace
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To create a special signature color or just a new shade of a tone you already use, color blending and mixing is required. Even if the tone demands only simple softening with a lighter color, mixing is part of the process. Mixing can be done on a palette, on the support surface itself or in separate containers (useful for large quantity mixing).
On-palette blending of colors is the most frequently used by artists; it’s the easiest and affords the highest degree of success. Mixing on a surface separate from the support itself allows multiple alterations and mixings to attain the precise color wanted. You don’t apply the paint until the color is exactly what you want, and this eliminates the need for color correction or mishap.
Palettes vary and can be anything from an old plate to a disposable tear-off pad or an easy-clean lidded polymer paint-holding tray. Butcher trays with their slick porcelain finish make great watercolor mixing surfaces. They clean easily and are large so you have lots of room to create multiple colors. The wooden palettes that were popular years ago have, by and large, been abandoned in favor of less absorbent, easier to clean surfaces such as Paragona Glass Palettes from AMACO, which are made of 100% tempered safety glass and are perfect for use with any paint. The smooth, pristine surface is ideal for paint mixing and color control. They won’t absorb pigments, allowing the artist to see true colors each and every time. See your retailer for the several sizes and shapes from which to choose and visit www.amaco.com/srch.php?terms=paragona.
The tool that you choose to mix colors with presents another avenue of experimentation. Most artists prefer to use a palette knife with a very flexible blade to do their mixing. The blade slashes through the paint colors and is flexed or “spatulated” to combine colors into a homogeneous color. And the knife can be used to deliver heavy applications of paint to more quickly cover large areas.
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Some artists use the very brush with which they will apply the paint for mixing. However, this mixing technique often leaves traces of both (or more) colors when the stroke is applied to the support. Rather than resulting in a totally combined new color, the essence of both tones is the result; and separate colors are often visible upon close inspection.
Plastic putty knives work very well to combine large quantities of paint both on palette surfaces and in tubs or jars and, therefore, are an indispensable tool for the art box. You can scrape fresh paint away from the support, add texture with the edge of such a tool and mix on or off a palette. Not bad for an inexpensive yet readily available hardware find!
Glazing is a little different application but can be mixed on or off a palette. For small areas of glaze color, a palette is perfect. Clear medium is pooled and then combined with small amounts of pigmented paint. The result is worked into a well mixed transparent tone for use over other tones or to use as build-up of color. Glazes are very popular in home décor and are achieved in very much the same way as on canvas: Super-smooth transparent paint is laid over a foundation tone to create an aged or weathered look.
The mention of glazing also brings up the option of combining pigments with medium to make paint more fluid for ease of application on the support—not thinned to the extent of a glaze, but still softened and more brushable. Oils and acrylics can be softened by adding medium solutions to the tube color, and watercolor can be thinned with water in much the same way. Again, the use of a palette knife or plastic knife speeds the mixing process and makes the blending very easy.
Mixing can become a signature quality of your work. It’s fun and will reward you with limitless hues. Rather than using a tube color, try blending a color with its complement, an analogous color, white or black; you’ll develop a new palette of colors in no time.
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Schedules sometimes change, so it is wise to confirm events in advance.
General Pencil Co. to be Featured on The History Channel – January 14 – General Pencil, the oldest pencil factory still making pencils in the U.S., will be featured on The History Channel’s show Modern Marvels episode about Carbon, scheduled to air on Jan. 14. Tune in to learn about the many uses of carbon, including everyday products such as the almighty pencil. See the ingenuity, creativity and history of the pencil-making process, featuring General’s favorite drawing and school pencils. Modern Marvels tells the fascinating stories of the doers, dreamers and sometimes schemers who created everyday items, technological breakthroughs and manmade wonders. Check your local listing for time. www.generalpencil.com.
Western Art Symposium in Denver – January 5 – The Petrie Institute will present a symposium titled Heart of the West: New Art/New Thinking on Jan. 5 at the Denver Art Museum. This one-day event will explore multiple perspectives on contemporary western American art. Four prominent American art scholars, curators and museum directors will lead the discussion. This program is part of WinterWest, Denver’s premier western art celebration that begins Jan. 5. Fee. Call 720-913-0025 or email iwaastaff@denverartmuseum.org. On view at the museum through April 13 is George Carlson: Heart of the West, which features more than 35 objects by this artist who is considered one of the finest sculptors of western subject matter working today.
New York Ceramics Fair – January 16-20 – This is New York’s first major show and sale of ceramics, glass and enamels featuring at least 40 prominent English, European and American galleries/dealers of museum quality antique and contemporary ceramics; and is held at The National Academy Museum and School of Fine Arts, Fifth Avenue. www.caskeylees.com/ceramics/
ART LA 2008 – January 25-27 -The New Los Angeles International Contemporary Art Fair, held at the Santa Monica Civic Auditorium, will present 60 top international and LA based galleries that represent an informed cross-section of today’s contemporary art trends and directions. www.artfairsinc.com/artla/2008/index.html
Sugarloaf Crafts Festival – January 25-27 – This juried fine art and craft festival will be held at Dulles Expo Center in Chantilly, VA, and will feature the works of 350 artists and designers. Also included will be demos and entertainment. www.sugarloafcrafts.com/festivals/chantilly/winter/
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There are many well known and well loved artists from the 1920’s and 1930’s. During this time there were tumultuous changes occurring in the field of art and many of its factions. Most assuredly, it was a very interesting and exciting time for creativity and experimentation.
American Abstraction, first introduced in America during the teens, dominated the art scene by the 1930’s. When Art Deco was born in the mid 20’s, it changed and forever influenced design over the entire world. The PWAP (Public Works of Art Project) was created during the early 30’s and was responsible for offering employment to hundreds of artists who created dynamic works that live on today. The Harlem Renaissance during this time showcased the talents within African-American communities. Overall, this window of a mere 20 years holds some of our most revolutionary and influential art history.
European abstract painting styles had become popular in the early years of the 20th century. In the 1910’s that movement progressed to America and was immediately embraced by the art community here. Controversy became a way of life for American artists. Much of American painting and sculpture since 1900 has been a series of revolts against tradition. By 1930 abstraction was the major art movement, including notable artists such as Jackson Pollock, Man Ray, and E. Ambrose Webster. In contrast was the realistic work of Norman Rockwell, whose everyday scenes of life captured a huge audience as well.
Art Deco became a popular style in all things creative. To this day, it influences style and décor. This movement represented the rapid modernization of the world. Its name was derived from the Exposition Internationale des Arts Decoratifs et Industriels Modernes held in Paris in 1925. Art Deco is primarily an elegant design style in decorative art, fashion, architecture and décor. Huge-scale designs such as the Chrysler Building and the Empire State Building are perfect examples of this enduring style.
The PWAP created in the early 1930’s was brought about by active pursuit of the Artists Union of the time. So many artists were unemployed that their voices helped create a program of work for hundreds. Many of the murals created during this explosion of creativity endure today. Even though this program lasted less than one year, nearly 15,000 works of art were completed! It evolved into the Federal Art Project of the Works Progress Administration (FAP/WPA) in 1935 and helped fund some of the best known American artists.
What is called the Harlem Renaissance was another significant development in American art. In the 1920’s and 30’s a new generation of educated and politically astute African-American men and women emerged who sponsored literary societies and art and industrial exhibitions to combat racist stereotypes. This movement included artists from across the country but was centered in Harlem and on the work of artist Aaron Douglas and photographer James Van Der Zee. It also included Zora Neale Hurston, W.E.B. DuBois, Langston Hughes, Jean Toomer, and Alain Locke.
It seems inconceivable that any other 20 year period could contain such revolutionary upheavals, creative storms and mixed ethnicities as these years. What is documented contains such richness of style and depth that it is worthy of massive investigation and study. Art was at the forefront of thought with a huge portion of the country. Perhaps the Depression made people subconsciously deal with their problems in heretofore unknown ways. One of those ways was to view creativity from new directions.
The diversity of styles and the subjects depicted in WPA murals are worth the bit of time it takes to search them on the Internet. Fifteen thousand public works in less than one year is quite remarkable!
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—The Federal Junior Duck Stamp Contest, now in its 16th year, invites K-12 students from around the U.S. to submit drawings to their state, territory or district competition. Winners from these competitions are then submitted to the Contest and one image from the 53 Best of Show entries will become the next Junior Duck Stamp. The winner will receive $5,000 and a trip to participate in the First Day of Sale ceremony.
The image must be a portrayal of a native North American duck, swan or goose. The entry may be multi-color, black and white, or a single color; it may be rendered in ink, paint, pastel, crayon, or pencil. Techniques may include scratch-board, airbrush, linoleum printing, paper collage, dry brush, crosshatch, pointillism, etc. No photography, weak pencil, or computer-generated art will be accepted.
Submission deadlines are Jan. 18 for NC, Jan. 30 for SC, March 1 for OH and March 15 for all other states and U.S. Territories. Visit www.fws.gov/juniorduck/ArtContest.htm#GeneralInformation for further information.
—The Rome Art Coterie 6th National Juried Exhibition will be held March 31-May 2 at the Rome Area Council for the Arts Gallery in Rome, GA. Artists 18 years of age or older who reside in the continental U.S. are eligible to enter. Any traditional or nontraditional two- or three-dimensional medium or style may be submitted including, but not limited to, painting, drawing, fiber art, clay, metal, stone, printmaking and mixed media; and work must be current (since 2005). Cash awards total $2,000. Juror: Dr. Linda Hightower of Kennesaw State University. Deadline: January 28. www.romeartcoterie.org
—The 4th Annual Northeast National Pastel Exhibition will be held May 10 – June 8 at the Arts Center/Old Forge, Old Forge, NY. All artists working in soft pastel are eligible and at least 80% of the final painting must be completed in soft pastel. Juror of Selection is Duane Wakeham, PSA, and Juror of Awards is Doug Dawson, PSA. Awards. Deadline: February 1. www.artscenteroldforge.org/ex_prosp/ex_prospect.htm
—AAA’s 64th Annual National Traffic Safety Poster & Public Service Announcement Contest invites students to illustrate a designated safety theme and create a catchy slogan (for posters) or dialogue (for PSA’s), while striving to design a visually memorable entry. Students enrolled in school or affiliated with a national organization are eligible. There are different themes for grades K-8 and 9-12, and entries are judged both nationally and locally. Cash Awards. Deadline: February 8. Visit www.aaany.com/safety/school_programs/story.asp?xml=poster_and_psa_contest.xml.
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Materials used with a paint brush, e.g., acrylic, watercolor, automotive paint or gouache, can also be used with the airbrush in two different methods: freehand, where you spray directly onto the work surface, and spraying through stencils. In the first method, you can airbrush any liquefied material onto any surface as long as the two are compatible. In the second method, when using self-adhering stencils, the surface must be compatible with the material sprayed as well as durable enough so as not to be affected by the removal of the stencils. In most cases airbrush artists work with a combination of these two methods, airbrushing freehand where a soft edge is required and utilizing stencils where a hard edge is desired.
Some things to be aware of depending on the material being airbrushed follow:
—Paper is the surface most used in airbrush technique. Beginning airbrushers practice on paper no matter what the end application may be. Consider that you are spraying moisture onto the surface and if the paper is too thin, it will likely buckle. Use paper that is at least 145 lb. weight or 2-ply. If working with self-adhering stencils, make sure that the paper surface is strong enough so that adhesive from the frisket does not tear it. So it’s recommended that you practice and work on paper with a durable surface such as Bristol or drawing paper. Paper with 50% rag content is ideal for practice and 100% rag content is used for finished artwork.
Airbrushers, like watercolorists, utilize the white of the paper for highlights. Therefore, the whiter and brighter the paper, the more suitable it will be for airbrush technique. Whether used freehand or in conjunction with stencils, the airbrush has such a soft spray that it mimics the textural quality of the paper surface. If you spray on a heavily textured watercolor paper, the texture is evident in the artwork. Airbrushers usually work on hot press (very smooth) or cold press (slight tooth) paper. Note that smooth paper results in a photographic look.
The same characteristics hold true for illustration board, the difference being that illustration board is rigid and comes in a variety of thicknesses (plies), so buckling or warping from moisture is not a concern. However, compatibility to self-adhering stencils should be addressed in the same manner as when working on paper. Pre-test the surface with a piece of masking tape. If the surface lifts, do not use it with frisket film.
Don’t be afraid to experiment with different textured papers. They may give you the effects that you are searching for and new ones as well. See your retailer and visit www.bordenandriley.com and www.strathmoreartist.com for your paper needs.
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New Museum Dedicated – A celebration in the Campbell Atrium of the William D. Walsh Family Library marked the dedication and official opening of the Fordham Museum of Greek, Roman and Etruscan Art on the Rose Hill Campus in Bronx, NY. Alumnus William D. Walsh and his wife Jane Walsh donated the 260-plus ancient artifacts that comprise the new collection.
Auction Sculpture Record Set – The Guennol Lioness, one of the last known masterworks from the dawn of civilization remaining in private hands, sold for a remarkable $57.2 million at Sotheby’s recently. This set a new world record for any sculpture at auction and more than tripled the pre-sale high estimate for this 5,000 year-old figure.
Prize Winner Named – The Turner Prize 2007 award of $50,000 has been given to Mark Wallinger. Established in 1984, the prize is awarded to a British artist under fifty for an outstanding exhibition or other presentation of his or her work.
NEA News – In its first major grant announcement of fiscal year 2008, the NEA will award $20.2 million to fund 908 grants to nonprofit national, regional, state and local organizations across the country through the Access to Artistic Excellence category. — In an attempt to bring the arts to all Americans, the NEA has announced grant awards totaling $1.15 million (FY 2008) through the Challenge America: Reaching Every Community program. – The Minnesota State Arts Board has been named the recipient of the 2007 National Accessibility Leadership Award/grant for their outstanding accessibility work.
Exhibition:
Washington, DC – National Gallery of Art – Edward Hopper is the first comprehensive survey of Hopper’s career to be seen in American museums outside New York in more than 25 years. This exhibition of 96 paintings and works on paper focuses on the period of the artist’s great achievements, from about 1925 to mid century. Through Jan. 21 and travels to The Art Institute of Chicago on Feb. 16.
| “Art does not reproduce the visible; rather, it makes it visible.” –Paul Klee |
Happy New Year 2008!
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The Art Institute Online is looking for graphic designers interested in learning additional skills, or in getting their bachelor's or associate's degree in graphic design. Make yourself more marketable in the graphic design industry. Click here to find out more. (http://quinst.com/clk/kittedatoukumushiigyo) |
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Copyright ARTtalk Vol. 18 No. 3 — January 2008
