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Art therapy viewpoints
BOOK REVIEWS
Art Therapy Vitwpoinis Elinor Ulman & Claire A. Levy, Eds. (New York: Shocken Books, 1980. 372 pages. $29.50)
The editors have gleaned from the pages of the 3u~~et~~~of Art Th~~u~~ and the Amerirarr JOUFml of Art Therapy a selection of articles that make available to the reader a vast array of information related to several aspects of art therapy. It was their intention to investigate the literature concerning theory and professional issues, practice, and investigations in art therapy. The text was divided into five sections: I. Art Therapy Theory and Professional Issues, II. Practice of Art Therapy with Adults, III. Practices of Art Therapy with Children, IV. Case Studies, V. Systematic Investigations in Art Therapy. There is no doubt that they were successful in this pursuit. Because of the lack of familiarity with the extensive, available bibliography in the field, the reviewer can not speak for the comprehensiveness of the selection. No attempt is intended to denigrate the accomplishments of the editors. They have provided a valuable service. A question of merit is raised by several articles that reveal substantive weakness due to what appears to be excessive enthusiasm for the viewpoint of the writer(s) and/or misunderstanding of the technical aspect of the drawing process. The first of these weaknesses can be listed as the tendency to ascribe visual imagery with symbolic significance that, in itself, is suspect. An overzealous attribution of symbolic significance to visual characteristics weakens the article by Smith, Macht, and Refsnes. The following discussion of “The Beatnik” (Fig. 6) appears on page 75:
. . . erotic implications . . . were obvious to the art therapists although the patient did not verbalize them. The exaggerated nose is undeniably phallic . . . open mouth readily suggests a vagina. . . . sweater might suggest a platter. . . . possible reference to the beheaded John the Baptist.
The authors of “Recovery, Repression, and An” may have had insight that warranted such interpretations, but, if so, it is denied to the reader. As presented, the observations seem suspect and might reflect the prejudice of the authors. Albeit, Margaret Naumburg’s critique (pp. 82-84) is favorable, she also raised the questions of interpretation and particularly directed attention to the identification of the sweater with John the Baptist. Although several writers stressed the importance of not looking upon the efforts of the patient as fine art and emphasized that the patient need not be “artistically” inclined, the failure to distinguish between technique and expression presented stumbling blocks over which several therapists tripped. Having taught over thirty years, the reviewer was amazed by the therapists’ disregard for normal drawing technique and the tendency to attribute symbolic meaning to elements in a drawing that any art teacher would immediately recognize as characteristic of the drawing process. An example of this misunderstanding of the drawing process is encountered in the article by Selwyn and Irene Dewdney (p. 328). Artists, who sketch in their subject with gesture lines before refining contours, frequently, completely ignore these initial, preliminary
0197-4556/81/02013S-03$02.00/O
Copyright I’ 1981 Ankho International Inc.
BOOK REVIEWS linear notations upon completion of the drawing. The artist feels no necessity or compulsion to erase these initial lines. Yet, the authors, noting their presence, interpret them as evidence of autism because it appears as if the arms were transparent, “. . . the transparency of the upper arm and the insecurity of her stance . . . typically autistic” (p. 328). A question arises as to why similar interpretations, if they were valid, were not given to the same phenomena where they occurred in the following figures: p. 327, left hand and right arm of the mother; p. 331, mother’s arm; p. 332, mother’s right arm: p. 338, both hands of the mother; and p. 342, both the child’s leg and arm. Another source of bewilderment is the readiness to attribute symbolic significance to the most vestigial graphic suggestions-a few dots to designate eyes and nose or a line to indicate a mouth. The same authors ascribe the most subtle of human emotions or attitudes to them. Even the most consummate craftsman would experience difftculty in conveying facial expressions or nuances of feeling with such vestigial features as dots and dashes, yet the authors bestow such ability upon untrained patients, “. . . the smile and the withdrawn attitude of the child , . typically autistic” (p. 328).
The book is occasionally marred by faulty proofreading. On page 31 I, the text indicates the existence of a color plate (Plate XVI) that was omitted in the printing; while on page 127 the illustration is poorly cropped. On page 126, the iIlustration is described as “. . . she was representing a situation of some precariousness. The juggler is balanced on a thin, wavering horizontal line . . .” The horizontal line does not appear in Figure 7. The reader does not discover the line until the Plate IV (color plate) is viewed. The black and white figures are frequently difficult to read and the viewer must turn to the color plates, when available, for a more effective reading. These minor faults do not reduce the value of the book. Ulman and Levy succeed in championing the position of art therapy as a valid therapeutic discipline in its own right and in presenting a well-rounded appraisal of the state of art therapy and its many applications in contemporary society. The price of the text may place it out of the reach of most students, but it should find its way into libraries that serve the needs ofart therapists. Russell D. Cangialosi, PhD Chairman, Art Department Los Angefes City College Los Angeles, California
Edith Kramer (New York: Schocken Books)
This book adds dimension to Edith Kramer’s already well known work within the field of art therapy with children. By placing her theories, based upon years of practice, into the perspective of ego psychology and psychoanalytic theory, she attempts to better define the construct under which she works. The author broadens her scope by including types of children never dealt with before in her previous works. The descriptions of the low functioning retarded and physically handicapped child are
especially important to the discussions of sublimation, pre-art materials and the varied roles of the art therapist. ~rhroughout the book many case studies are used as examples, some from prior writings, some new. Kramer does a remarkable job of describing art therapy sessions, both in behavioral and in psychoanalytic terms. In some places she reiterates with conjecture what the behaviors or actions might have meant to the children involved.
Art Therapy Vitwpoinis Elinor Ulman & Claire A. Levy, Eds. (New York: Shocken Books, 1980. 372 pages. $29.50)
The editors have gleaned from the pages of the 3u~~et~~~of Art Th~~u~~ and the Amerirarr JOUFml of Art Therapy a selection of articles that make available to the reader a vast array of information related to several aspects of art therapy. It was their intention to investigate the literature concerning theory and professional issues, practice, and investigations in art therapy. The text was divided into five sections: I. Art Therapy Theory and Professional Issues, II. Practice of Art Therapy with Adults, III. Practices of Art Therapy with Children, IV. Case Studies, V. Systematic Investigations in Art Therapy. There is no doubt that they were successful in this pursuit. Because of the lack of familiarity with the extensive, available bibliography in the field, the reviewer can not speak for the comprehensiveness of the selection. No attempt is intended to denigrate the accomplishments of the editors. They have provided a valuable service. A question of merit is raised by several articles that reveal substantive weakness due to what appears to be excessive enthusiasm for the viewpoint of the writer(s) and/or misunderstanding of the technical aspect of the drawing process. The first of these weaknesses can be listed as the tendency to ascribe visual imagery with symbolic significance that, in itself, is suspect. An overzealous attribution of symbolic significance to visual characteristics weakens the article by Smith, Macht, and Refsnes. The following discussion of “The Beatnik” (Fig. 6) appears on page 75:
. . . erotic implications . . . were obvious to the art therapists although the patient did not verbalize them. The exaggerated nose is undeniably phallic . . . open mouth readily suggests a vagina. . . . sweater might suggest a platter. . . . possible reference to the beheaded John the Baptist.
The authors of “Recovery, Repression, and An” may have had insight that warranted such interpretations, but, if so, it is denied to the reader. As presented, the observations seem suspect and might reflect the prejudice of the authors. Albeit, Margaret Naumburg’s critique (pp. 82-84) is favorable, she also raised the questions of interpretation and particularly directed attention to the identification of the sweater with John the Baptist. Although several writers stressed the importance of not looking upon the efforts of the patient as fine art and emphasized that the patient need not be “artistically” inclined, the failure to distinguish between technique and expression presented stumbling blocks over which several therapists tripped. Having taught over thirty years, the reviewer was amazed by the therapists’ disregard for normal drawing technique and the tendency to attribute symbolic meaning to elements in a drawing that any art teacher would immediately recognize as characteristic of the drawing process. An example of this misunderstanding of the drawing process is encountered in the article by Selwyn and Irene Dewdney (p. 328). Artists, who sketch in their subject with gesture lines before refining contours, frequently, completely ignore these initial, preliminary
0197-4556/81/02013S-03$02.00/O
Copyright I’ 1981 Ankho International Inc.
BOOK REVIEWS linear notations upon completion of the drawing. The artist feels no necessity or compulsion to erase these initial lines. Yet, the authors, noting their presence, interpret them as evidence of autism because it appears as if the arms were transparent, “. . . the transparency of the upper arm and the insecurity of her stance . . . typically autistic” (p. 328). A question arises as to why similar interpretations, if they were valid, were not given to the same phenomena where they occurred in the following figures: p. 327, left hand and right arm of the mother; p. 331, mother’s arm; p. 332, mother’s right arm: p. 338, both hands of the mother; and p. 342, both the child’s leg and arm. Another source of bewilderment is the readiness to attribute symbolic significance to the most vestigial graphic suggestions-a few dots to designate eyes and nose or a line to indicate a mouth. The same authors ascribe the most subtle of human emotions or attitudes to them. Even the most consummate craftsman would experience difftculty in conveying facial expressions or nuances of feeling with such vestigial features as dots and dashes, yet the authors bestow such ability upon untrained patients, “. . . the smile and the withdrawn attitude of the child , . typically autistic” (p. 328).
The book is occasionally marred by faulty proofreading. On page 31 I, the text indicates the existence of a color plate (Plate XVI) that was omitted in the printing; while on page 127 the illustration is poorly cropped. On page 126, the iIlustration is described as “. . . she was representing a situation of some precariousness. The juggler is balanced on a thin, wavering horizontal line . . .” The horizontal line does not appear in Figure 7. The reader does not discover the line until the Plate IV (color plate) is viewed. The black and white figures are frequently difficult to read and the viewer must turn to the color plates, when available, for a more effective reading. These minor faults do not reduce the value of the book. Ulman and Levy succeed in championing the position of art therapy as a valid therapeutic discipline in its own right and in presenting a well-rounded appraisal of the state of art therapy and its many applications in contemporary society. The price of the text may place it out of the reach of most students, but it should find its way into libraries that serve the needs ofart therapists. Russell D. Cangialosi, PhD Chairman, Art Department Los Angefes City College Los Angeles, California
Edith Kramer (New York: Schocken Books)
This book adds dimension to Edith Kramer’s already well known work within the field of art therapy with children. By placing her theories, based upon years of practice, into the perspective of ego psychology and psychoanalytic theory, she attempts to better define the construct under which she works. The author broadens her scope by including types of children never dealt with before in her previous works. The descriptions of the low functioning retarded and physically handicapped child are
especially important to the discussions of sublimation, pre-art materials and the varied roles of the art therapist. ~rhroughout the book many case studies are used as examples, some from prior writings, some new. Kramer does a remarkable job of describing art therapy sessions, both in behavioral and in psychoanalytic terms. In some places she reiterates with conjecture what the behaviors or actions might have meant to the children involved.