HOW CREATIVITY HEALS

THE ROLE OF THE OPEN ART STUDIO

Jack M. Freedman
The New School for Public Engagement
Creative Arts and Healthcare Fieldwork
August 4th, 2015

I found I could say things with color and shapes that I couldn't say any other way things I had no words for.
Georgia O'Keefe

Abstract
The Open Art Studio serves a variety of populations. Studios are located in hospitals, schools,
senior centers, and community centers. Art therapy has been proven to help people with mental
illnesses, memory impairments, developmental delays, trauma issues, and physical disabilities.
For various reasons, people may be unable to express their feelings through words alone.
Creative expression encourages an individual to use art as a substitution or addition to their
treatment and recovery. At the counseling center for students at The New School, the Open Art
Studio is a place for students to meet other students, to relax, and to create in a non-judgmental
environment. The history of the Open Art Studio, case studies, my fieldwork, and my experience
in the mental health field are examined; my suggestions for the improvements of The New
School's Open Art Studio are included.

The Origins of Art Therapy

In October of 2014, an article in National Geographic described the earliest known example of
cave art. On the island of Sulawesi in Indonesia, a painting of a babirusa (pig-deer) and a stencil
of hands are believed to have been created 39,900 ago. More astounding, according to
archaeologist Maxime Aubert, of Griffith University in Queensland , Australia, This cave art
displayed dangerous mammal species that possibly played major roles in the belief systems of

these people. The findings raised the possibility that this art predates the exodus of modern
humans from Africa over 60,000 years ago. (2014).

In Art Versus Illness, (1945) Adrian Hill described the concept of art therapy. Hill studied at the
Royal College of Art and taught at the Hornsey School of Art and the Westminster School of Art
in the United Kingdom. His paintings combined impressionism, surrealism, and contemporary
styles. Hill was hospitalized for tuberculosis in 1938. While hospitalized, he encouraged art
projects for other patients, because he recognized the therapeutic quality of artistic expression.
Hill worked with artist Edward Adamson and they began using art therapy with British patients
under psychiatric care in mental hospitals. Hill retired in 1981. Adamson opened his own studio
so that patients could create art without comment or judgment from others. He was a proponent
of non-interventionist art therapy, where patients could use art as a means of self-expression
(Hogan, 2000).

In the United States, two psychologists, Margaret Naumburg and Edith Kramer, began the
implementation of art therapy. Naumburg's theories were based on the concept of using art in
psychoanalysis. She encouraged free-association and believed that a patient used artwork as a
form of speech. It was also important for the patient to interpret and analyze his or her
own artwork.

During the 1940s, Edith Kramer became a practitioner of art therapy and established a graduate
program at New York University (NYU). On a website titled http://www.edithkramer.com, she
wrote about her theories on the use of art therapy. She described herself as a specialist who

combined the general qualifications of being a competent artist with specialized capacities in the
fields of psychotherapy and education (1971). She believed that modern psychology should be
linked to the use of art as a therapeutic technique. Kramer believed that the art therapist
combines both the creation of art and therapeutic methods in working with the patient. To
Kramer,art therapy was a means of improving the self-esteem of the patient. It was not used to
reveal unconscious thoughts. Kramer wrote that art therapy constitutes an element of the
therapeutic milieu that compliments or supports psychotherapy but does not replace it (1971).
Her website includes a variety of her paintings, drawings, collages, mosaics, and sculptures.

The Open Art Studio

Open Art Studios have been established throughout the United States. Studios can be found
within hospitals, schools, and in the community. They serve seniors, people with physical
disabilities, medical illnesses, mental illnesses, students, and at-risk youth. Examples of open arts
studios are described below.

A studio based art therapy program was established in Cleveland, Ohio in 1967. It is located at
MetroHealth Medical Center. Since the studio's founding, more than 16,000 children, adults, and
their families have participated in the Art Studio's programs. It is the oldest art therapy program
of its kind in the country (McGraw, 2013). The art therapists see a diverse patient population,
including pediatric, geriatric, and psychiatric patients. The founders of the Art Studio were
Dr. George Streeter, Chief of Psychiatry, and Mary McGraw, ATR. Their goal was to leave
control in the hands of the participants. They implemented the ideas of Edith Kramer, because
they also recognized that traditional psychotherapy was not necessarily appropriate for all

patients. For many patients, art is the voice; it permits patients with medical and/or psychiatric
illnesses to express themselves. Art is beneficial when their feelings or fears are too painful to
verbalize (McGraw, 2013). The Art Studio has open hours every day except Sunday.

The patients and their families and friends are welcome to participate. Art skills are taught when
a patient is frustrated by working on his or her own. The therapist may assess that a new or
increased skill would improve the ability for creative self expression. When a project is
completed, the artist is left with the decision on whether or not to receive recognition. Although
the art studio is an unstructured program, non-verbal expression is central to therapeutic process.

A unique creative space is The Living Museum, located on the grounds of Creedmoor Psychiatric
Center in Queens Village, New York. The Living Museum was founded in 1983 by Bolek
Greczynsky and Dr. Janos Marton. According to an article in the New York Times , The relaxed
environment feels nothing like a locked psychiatric ward; visitors are welcome by appointment
(718-264-3490) Monday through Thursday at no cost. Some artists sell their work; others wont
part with it (Besonen, 2015).

Christine Nicholas is an art counselor at Creedmoor. An interesting project she created is a

straitjacket painted in magenta, green, and gold. She explained that by writing the words, 'be
anxious for nothing', she transformed the jacket into a garment of liberation rather than bondage.
Ms. Nicholas likes to refer to The Living Museum as a place where people re-identify
themselves from a crazy mental patient to a crazy artist (Besonen, 2015).

In 2000, a group of therapists came together to establish an art therapy program in Chicago,
Illinois. Danya Block, Ted Harris, and Sarah Laing, having met with youth service agencies,
established a program called Art & Action. Initially, they assessed the needs of middle-school
children; they went on to create programs for at-risk youth. Their open studio includes art
making, writing, and sharing, with no forced participation. Block stated, Our strategy is to
expose at-risk youth to an artistic process that can serve both as an outlet for feelings (positive
and negative), and as a means of self expression (Block, 2015). The participants were exposed
to painting, collage, and basic sculpture, and used oil pastels, tempera paint, tin foil, and masking
tape. As the Art & Action program expanded, the founders helped create a healthy community;
they paid attention to the youth-service organizations. In this way, they were responsive to
adolescents from chaotic or violent environments. In addition to art, the participants were
encouraged to write. The concepts of art creation and writing were extended beyond the studio.

Art Therapy and the Children of 9/11

Barbara Ann Levy, MFA, MPS, ATR-BC is the author of Mobilizing Community Strength: New
York Art Therapists Respond (2002). This article tells the story of five New York City art
therapists and their work after the attacks at the World Trade Center (WTC). Each worked with a
specific community of survivors and witnesses. In helping others, they were able to cope with
their own trauma. The following tells the story of one of these therapists, Marygrace Berberian,
MA, ATR-BC, MSW.

Berberian is an art therapist for an NYU school-based at therapy pilot program. In the days
following 9/11, she thought about the best ways to help children express their feelings and their

hopes. She prepared guidelines for teachers and other volunteers to develop the World Trade
Center Children's Mural Project (WTCCMP). This was an NYC art initiative in response to the
needs of children. The project culminated in a montage of 3,100 self-portraits from around
the world (Levy, 2002).

The first step in this project involved the groups of children discussing what they knew about
9/11. Next, the children named places in the city where they felt safe. One of the most important
things the children began to understand was that people of every race and nationality were
victims of the attacks. They unanimously decided that NYC should be a peaceful place; they
shared their ideas on what they could do to help rebuild NYC. Berberian explained, The
capacity to express oneself through line, color, and form is a rebirth process Creativity allows
for describing, building, and reconfiguring an injured object so mourning can begin (Levy,
2002). The WTCCMP was conducted throughout NYC and drawings from fourteen other states
were contributed. In addition, children in 22 countries sent portraits and messages of hope.
Berberian explained that These international faces offered solidarity for world peace (2002).
On March 19, 2002, the mural was unveiled across from Ground Zero. Berberian concluded her
contribution to this article with an inspiring message, My motivation was to become involved
and create positive change. After 9/11. people wanted to join with others and somehow be
involved in recovery efforts. I knew how to enable children to create art My work was a
humane response to an inhuman act (2002).

Art Therapy for Adolescent Boys with Depression

To properly understand the concept of the Open Art Studio, it is imperative to examine a case

study within a therapeutic setting. Michael Franklin, Ph.D., ATR-BC is a Professor and Director
of the Graduate Art Therapy Program of Naropa University in Boulder, Colorado. At the 2006
Annual Conference of the American Art Therapy Association, he described an art therapy
program he facilitated. The group was comprised of seven male adolescents aged 14-18. Each
had been diagnosed with clinical depression and was an inpatient in a locked psychiatric unit.
Five weekly sessions were conducted. At the start, some of the boys were lethargic and others
were withdrawn and suspicious. Franklin began the first session by drawing a locked fortress,
with barbed wire, thick walls, and intentionally phallic-like cannons (Franklin, 2010). Two of
the boys immediately asked questions about his drawing. Their distance was replaced by
animated comments and remarks. Eventually, each of the boys asked about the meaning of the
drawing's individual features. The group members quickly compared the fort to their own
prison. In the sessions to follow, the boys discussed other examples of his artwork. Empathy
was evident, as they were able to relate to the concepts of the drawings. Downcast eyes, a locked
window, and a hunched over figure were characteristics to which they could relate. Thy also
identified with a figure in clay and tried to devise ways to remove the bars on the door. In the
final session, Dr. Franklin encouraged the boys to discuss their most intimate problems. They
discussed how to relate to others, work within the rules of society, and how to cope with
emotions like sorrow and grief. After the program ended, he related two ways in which his
therapy sessions were productive. I had helped the boys recognize their capacities for empathy,
for themselves, and for each other (Franklin, 2010). Dr. Franklin believed that he had helped the
boys cope with being an inpatient with depression, as well as the pressures of adolescence.

Recovering Memories Though Art

Older adults with Alzheimer's disease and dementia have difficulty with memory recall. They
may also be facing chronic disease, sensory impairments, chronic pain, and depression. Seniors
living in the community or in a residential setting can benefit through art and creative activities
can be both fun and therapeutic. It provides an escape from daily concerns and is a way to
retrieve memories that were thought to be lost (Parrone). A variety of media is available and
include ceramics, painting and drawing, knitting, and jewelery making. In some cases,
participants discover hidden creative abilities and talents. Aneesha Parrone is a weaver and fiber
artist and works with residents of an assisted living facility who suffer from Alzheimer's disease
and dementia. Ms. Parrone and art therapist Sue Wood collaborated on an art project at the
Retreat Assisted Living Residence in Broomfield, Colorado. Their program encouraged
cooperation and socialization. The program began with the residents recalling activities of their
youth. One woman remembered fondly playing bridge and another recalled jumping rope. Bit by
bit, they remembered a jump rope chant and they began to laugh. By sharing their memories,
they were able to use the media to express their happiest feelings and memories. In addition, they
connected and accepted each other. Subsequent to this program, Sue Wood developed an ongoing
program entitled, Prisms of Memory. The emphasis is on process the process of exploring the
deep memories, sometimes hidden away in secret recesses of the mind. Access to these memories
is unlocked through the key of painting. The end product, a work of visual art, is an outgrowth of
the true art, which is that of living and remembering life lived (Parron, 2015).

The New School

The transition from adolescence to adulthood can be earth-shattering. There are greater

responsibilities and newer skills to learn upon entering college. These include time management,
academic workload, money management, and personal responsibility. Students may be
homesick, overwhelmed by large classes, and an abundance of decisions they have to make. The
most difficult issues are those which are social, including life with a roommate and exposure to
students from a variety of backgrounds. Making new friends and leaving old ones behind can
be traumatic.

The most challenging issues faced by college students are mental health conditions. Problems
such as depression, anxiety, suicidality, eating disorders, and addiction can be debilitating.
Students are often ashamed that they have these problems and are reluctant to seek help. For the
first time, they may face hazing, bigotry, sexual assault, and anxiety about life after college.
Fortunately, most colleges today have clubs, counseling services, and advisors to assist students
with these monumental stressors. Here is where art therapy and the open arts studio can play a
significant role in the student's life on campus.

Students at The New School are fortunate in that a multitude of therapeutic programs are
available to them. Some of these programs are facilitated by a therapist; some of them are
student led. They include meditation, psychotherapy, Dialectical Behavior Therapy (DBT), and
harm reduction. Eating disorders, body shaming, and sexual identity are critical to the student
population. The therapists and group leaders are skilled in working with both young adults and
older students, because they may encounter similar challenges. The drop-in Open Art Studio at
The New School is an integral part of the counseling services offered.

The Open Art Studio is available to students, faculty, and staff. The hours of operation are from
3:00-4:30PM on Fridays at 8o Fifth Avenue, 3rd Floor. Wet materials (acrylic paint, watercolor
paint, and glue.) and dry materials (crayons, markers, and pencils) are available. There is an
unstructured environment and music plays in the background. If a project is incomplete, it can be
left in the conference room and completed/picked up the following week. Some of the attendees
have the option to request assistance and guidance from the facilitator. These suggestions are
provided more as a social activity rather than therapy. This setting is a safe haven for students, as
they are not being judged or evaluated. The art created may be displayed at the discretion of
the artist.

The facilitator is a participant in the art making process and is responsible for the operation of
the studio and its supplies. As the facilitator walks around the room, he or she is available to
answer questions or explain the proper use of materials. If the student desires, he or she may ask
to speak with a facilitator in private. Whether it be an art related question or a personal problem,
the facilitator is available for recommendations or referrals.

My responsibilities as an intern included preparation of the studio, offering assistance to

participants, and shadowing the art therapist. I also used my time as an intern to read empirical
journal articles and process them through my writing and artwork. My experience in working
with psychiatric patients at South Beach Psychiatric Center (SBPC) in Staten Island, New York
helped to prepare me for my internship. I facilitated client workshops such as poetry writing,
spirituality, and public speaking. Another one of my responsibilities at SBPC was to support
clients in their transition from the hospital to the community.

ESL Students
On July 10th, 2015, a group of international students visited the counseling center. The program
began with an introduction to the counseling center by Rachel Knopf, MPH, RDN.
Kate McIntosh, LCAT, ATR-BC, described the art therapy group in depth. I briefly spoke about
my role as an intern and my background as a student in the Creative Arts & Healthcare certificate
program. The students introduced themselves, their home countries, their associations with art,
and their experiences at The New School. A question was posed by Rachel: What do you do to
relax? Both the students and the facilitators answered this open-ended question.

The students were escorted to the conference room. We suggested that the students sit with other
students with whom they were not acquainted. In front of each seat was a piece of paper with the
outline of a circle. The purpose was to design a mandala. The word 'mandala' is Sanskrit for
'circle'. It represents wholeness, and can be seen as a model for the organizational structure of
life itself a cosmic diagram that reminds us of our relationship to the infinite, the world that
extends both beyond and within our bodies and minds (Cunningham, 2010). Carl G. Jung
believed that the mandala was one of the oldest human religious symbols. Both Jung and his
patients drew mandala-like images. In The Red Book, Jung described the mandala as the
archetype of wholeness (2009 ed).

Crayons, colored pencils, and markers were available to the students. To set a mood of serenity,
each student had aromatherapy vials with either lavender, eucalyptus, sandalwood, or mint. In
the background, contemporary jazz was playing. Among the students, there was very little
conversation. They appeared to be focused on their mandalas. When their artwork was displayed,

it was apparent that many of the students had artistic talent. Their work was pristine, crisp, and
detailed; some of the students thought outside of the circle. Many of the designs were naturerelated. One student in particular, a Chinese woman, decided to turn her mandala into a
snowflake. I was intrigued by her design; I remembered a second grade class project in which I
made a snowflake using a coffee filter and scissors. Students were encouraged to explain their
artwork; Kate asked the students to talk about the similarities in each other's work. As a parting
gift, each student was invited to take vials of aromatherapy oils as they left the group. The
students were encouraged to return to the conference room for the Open Art Studio.

One student from Colombia, Guillermo, obliged and stayed behind for the Open Art Studio.
The student showed Kate and I his pastel drawings on black paper. We discussed our
backgrounds as artists. He expressed an interest in drawing portraits of Kate and myself in his
pad. Both Kate and I were impressed by his talent and pleased that he kept our portraits.

American Parkinson's Disease Association (APDA)

I have participated in several events for the APDA, of which my mother is a member. During a
fund-raiser called Paws For Parkinson's, many people in the Parkinson's community came
together with their dogs. Patients, caregivers, and members of the community are active in the
organization. Linda Ryan, RN, the organization's program director, invited me to lead an art
group for the November meeting. Several weeks before the meeting, Linda sent an
announcement to determine how many members wished to participate. About 25 people signed
up, and Linda was excited about the large turnout. The meeting was held on November 11th 2014
at 1:30PM. I was given a budget of $50, with which I purchased a variety of art supplies.

Before the meeting began, I distributed boxes with colored pencils, markers, and paper. Once
everyone was seated, Linda introduced me and spoke about my studies. I started the group by
asking everyone to design a name plate. While they were drawing, they began to laugh.
A common reaction was, I haven't done this since I was a kid. After the members were
finished, they held up their designs as a way to introduce themselves. Some of the cards were
simple and unadorned, whereas others were colorful and elaborate. Bob, one of the
participants, received congratulations on his imaginative creation.

The next activity was scribble drawing. I gave the following directions: scribble on a piece of
paper with your eyes closed, using your non-dominant hand. I explained that the length of time
scribbled was their prerogative. When they stopped scribbling, they were encouraged to find a
hidden image. If an image was found, they were instructed to use a different color to outline it.
They began to laugh again as they held up their drawings. Almost universally, the hidden images
were fish.

The final activity was to create an object using Sculpey. I explained there was no need for a kiln;
they could harden them in their ovens at home (425 F for 10 minutes). The members were
excited when they saw the multitude of colors available to them. Once again, there were squeals
of delight. It was gratifying to see how much fun they were having. It became a social activity as
they commented on each other's sculptures. As the meeting ended, I gave them pieces of
aluminum foil and sandwich bags to take home their creations.

I was pleased to see that the meeting had been a success and many of the participants thanked
me. Many expressed an interest in having another art group in the future. If I was to make an
adjustment to my facilitation, I would have prepared my introductions of the activities
beforehand to alleviate my nervousness.

The Process
One of the requirements of my fieldwork was to process my experiences through art and writing.
I found that using poetry was an effective form of self-evaluation, because metaphors are easier
for me as a form of self-expression. My primary form of response art was the creation of
mandalas. They provided me with a sense of tranquility and imagination. I enjoyed establishing
relationships with the visitors to the Open Art Studio. The climate was relaxing and lent itself to
my sense of creativity and accomplishment. Interacting with visitors was instructive, as well as
enjoyable. Observing Kate helped me learn how to balance socialization and creativity.

I would have liked to expand my knowledge of other materials. These include Modge Podge,
felt, wool, and any activity which involved sewing. On the other hand, I have become more adept
at the use of wet materials. During the fieldwork, I concentrated on painting and I feel this is a
skill I should try to improve. I have several suggestions for the art studio. Lanyard weaving,
framing, stained glass painting, balsa wood, mosaics, tie dying, and instructional books (drawing
and painting specific images) should be added. Photography would be of interest to many
visitors; a printer and different types of printable paper would be necessary. I would also suggest
that the supplies not be kept in large bins. I had some difficulty carrying those large containers,
as they were clunky and unwieldy. Part of the curriculum for CA&H should include a practicum

for the students. Specifically, interns offering their own directives under the supervision of an art
therapist would be an interactive learning experience.

Conclusion
I began my studies at The New School on June 4th, 2013. My father's death occurred one week
later. His passing has played an integral role as I pursued my studies. The opportunities to
express myself through art, drama, and poetry have made the last two years more bearable. By
studying with my professors in the CA&H certificate program, I learned the qualities I believe
are necessary to be an effective art therapist. Among these are compassion and empathy. An
understanding of a client's artistic abilities and his emotional state are equally important.

Throughout my academic career, I have never had the opportunity to take a class in drama. I
chose to take two classes in drama as part of the certificate requirements. As a poet and spoken
word artist, I felt that these classes might improve my craft. Acting in front of other people
helped me release my fears and inhibitions.

One midterm project involved the use of dramatic projection. The assignment was to use a
variety of dramatic techniques to portray adversity. Coincidentally, the day of my presentation
was on Halloween. I was dressed in my Halloween costume, which was Mr. Spock. For me, this
character was a metaphor for a way of life using only logic and dispaying no emotion. The
performance started with me embodying this character. In this monologue, I spoke about
grieving and the concept that it is an illogical activity. During the monologue, I uttered these
words: Grieving is highly illogical, sure as my blood is green... I snatched the rubber wig with

pointy ears from my head and violently threw it to the floor. I continued by saying, ...but my
blood is red! I found an effective way to release my pain though this monologue. I was gratified
by the reaction of my professor and my classmates. I am proud of the fact that several of my
classmates credited me with making the class joyful and meaningful. Drama Therapy: Methods
and Techniques helped me become less inhibited and more open about my emotions.

Becoming less introspective is not an easy process; it was a challenge. Self-nurturing is an

essential practice I need to cultivate. My tenure at The New School took place during a period of
excruciating emotional pain. That being said, studying to become an art therapist helped heal my
wounds. The mandalas on the cover are representations of the response art I created during the
fieldwork. The following pages feature a selection of my process notes in the form of sonnets.
Also included are collages which represent my time in CA&H.

Therapist Sonnet #1 The Judge by Jack M. Freedman

As I sat down, presenting my concerns
You infiltrated my time with your views
On homosexuality, I learned
Your Jewish piety comes from Fox News
Your judgments led to me walking away
As tarot reading was forbidden fruit
Environmental money comes from gays?
I had to water down the honest truth
I struggled to find parts of me to share
Not taboo subjects or all that I am
On orthodoxy, I wished that I cared
To lay it out and just not give a damn
And still, I seek to find moral support
And hope that next time, I do not fall short

Therapist Sonnet #2 The Socialite by Jack M. Freedman

Availability is next to nil
We work well, yet for very little time
For half an hour is all you can fill
Within a two week span; now that's a crime
My mindful nature does need to improve
And though I'm glad you do not condescend
I fear that 'on' is where I need to 'move'
We'll see if your huge caseload shrinks, my friend
I am afraid of where I will go next
My story is one I need not repeat
In this capacity, I have been vexed
And wonder if this curse is one I'll beat
And still, I seek to find moral support
And hope that next time, I do not fall short

Therapist Sonnet #3 The Dingbat by Jack M. Freedman

I prayed this time, there would be no mistake
In my choice of psychoanalysis
You found me normal, I thought **here's my break**
I will not feel psychic paralysis
In actuality, you were the nut
By telling me I was wasting my breath
That the best way to get out of my rut
Was giving school a quick and early death
I'd free associate within dim light
And then you told me that you'd fall asleep
So that's what happens when I'm booked at night?
Hey there, the grave you dug yourself is deep
And still, I seek to find moral support
And hope that next time, I do not fall short

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