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Art Therapy and Mental Health
Here you can find some information about 1.) the benefits of art therapy for individuals seeking mental health services 2.) the complexities of using art as a therapeutic medium, and 3.) the importance of receiving art therapy services from a properly trained professional.
Just as in other mental health fields like counseling, proper training standards in art therapy ensures that competent care is provided to vulnerable groups.
I. Risks: Potential harm to the public
A Master's level mental health background paired with specific art and Art Therapy training is critical for practicing “Art Therapy.” Section A addresses this. Additionally, FATA endorses the following books for understanding more:
1. Rubin, J. (1999). Art Therapy: an introduction. Philadelphia, PA: Brunner/Mazel.
2. Malchiodi, C. (Ed.). (2002). Handbook of Art Therapy. New York: Guilford Press.
II. Cultural-Compatibility
Florida is experiencing growing diversity. Art therapy provides culturally sensitive care and this will be discussed in Section B, below.
III. Neuroscience and Recent Research
Research and theory support the use of art for mental healthcare. That research and theory will be reviewed in Section C, below.
Section A: Risks- Potential harm to the public
Ethical Issues: Confidentiality, exploitation, and transference are just a few of the many ethical dilemmas that may arise in a therapeutic session. These issues are common to virtually all mental health professionals. However, other mental health professionals are not usually aware of how these issues apply to non-verbal communication during the making, processing, and handling of artwork in therapeutic settings. Untrained professionals may not handle such issues according to rigorous ethical standards. Those without mental health training may not even be aware of the existence of ethical issues. Registered Art therapists are responsible for complying with nationally regulated ethical principles. Additionally, art therapists are required to undergo extensive supervision. Art therapists who reach nationally regulated levels of training may become registered (ATR) and board certified (ATR-BC). In contrast to untrained professionals, art therapists are credentialed professionals offering a specialized service which meets ethical standards. Untrained professionals may claim to offer a specialized service without knowing how to manage the ethics of such a role.
When a national/international standard of training for a field is in place as is the case with the ATCB (Art Therapy Credentials Board), persons making statements that indicate they have that expertise when they do not are behaving unethically. Practicing beyond one’s level of competence is a violation of virtually all mental health ethical codes, though some who are doing this may well not be aware that they are beyond their level of competence
False Expectations: A community member may be at risk when seeking care from an individual mis-using the title of “art therapy.” If someone seeks out therapeutic services they have a reasonable expectation of receiving a mental health service that is safe and provided by a trained professional. It would be rare for a member of the public to be able to evaluate the specialized knowledge of Art Therapy training. Misuse of a title may mislead the public into receiving services from an individual who has little or no training in mental healthcare! Improper use of the title with vulnerable populations greatly endangers, as well as deceives, the public.
Inadequate Training in Visual Literacy: Concepts can be conveyed through images. An art therapy Master's degree has essentially two degrees built into one: A degree in mental health treatment and a degree in visual expressivity. Leaders in the field of art therapy reference that such training enables art therapists to be visually literate. This ability is one which involves visual competencies, emerging from the ability to integrate sensory input, as well as the ability to categorically sort and interpret the content of multiple images simultaneously. Without this training, the art-making process may not facilitate therapeutic dialogue. Without this training, the art-making process may actually impede the therapeutic process.
Oversimplification of Artwork: Art therapists do not state with certainty a symbolic meaning on the part of the client. Art therapists are trained in graphic indicators and can compare presentations in artwork to research findings of similar graphic indicators. However, a misunderstanding of drawings, misreading of graphic indicators, and/or an oversimplification of symbolism can create unnecessary labels and stigmas towards vulnerable individuals (e.g. eyes mean paranoia – this individual is paranoid = Insufficient data—possibly completely wrong!) Labels which are incorrectly given may compromise care.
Misuse of Materials: Art therapists are trained in research describing emotional reactions to the use of a variety of art materials (e.g. clay may elicit regressive emotional states). Untrained professionals may unintentionally misuse art materials, create counter-productive behavioral elicitation and/or facilitate regression in clients without the ability to “contain” emotional states. Reintroducing the client into stressful environments, without proper “containment” after an emotional session, could lead to decompensation. Properly trained Art therapists take care not to create a scenario for symptoms to be unnecessarily exacerbated. Untrained professionals may not understand ways to prevent this.
Section B: Cultural-Compatibility (Alders, 2012)
There is a growing availability of research which suggests that art therapy may be a culturally- compatible and neurologically sound approach to working with diverse groups. Research suggests that many ethnically diverse groups of all ages share a collectivistic culture and prefer informal alternatives to therapy, such as community-based care and traditional folk healing approaches (Connell, Scott Roberts, & McLaughlin, 2007; Wood & Alberta, 2009). Much of the documented folk healing among Asian, African American, and Latino cultures incorporate the creation and use of art, such as in the form of images and pictorial symbolism (Graham et al., 2005). Artwork is said to naturally contain information pertaining to a sense of self, a sense of place, and a sense of community, thus possibly facilitating themes on interconnectedness and culture in therapy (Anderson & Milbrandt, 2005).
Comas-Dias (2006) described the differences in psychosocial needs in therapy:
...whereas individualistic persons may require a mode of therapy that is verbal, works through, and effects change by externalizing (moving from the unconscious to the conscious), collectivistic persons frequently require a therapeutic mode that values holism (using meditation, contemplation, imagery, and other connective states), acknowledges nonverbal and indirect communication, and affects change by internalizing (moving from the conscious to the unconscious) (Tamura and Lau, 1992). In particular, collectivistic clients require therapeutic techniques that honor and address the mind–body connection. (p. 439)
In this way, art therapy may appeal to a collectivistic mindset. Many art therapists hold the perspective that the “healing power” of art comes through the process and creation of the artwork itself (McNiff, 1992). Leading theorists in the field of art therapy describe the art-making process and products as a “mind-body bridge,” and as an indication of cognitive stimulation and progression (Hass-Cohen, 2003; Lusebrink, 1991; Lusebrink & McGuigan, 1989).
Section C: Neuroscience and Recent Research (Alders, 2012)
Exposure to an enriched environment (e.g., a reference to the promotion of physical activity, socialization, and problem solving) leads to an increase in new neurons, or neurogenesis, and a substantial improvement in cognitive, emotional and social performance (Kempermann, Gast, & Gage, 2002; Studenski et al., 2006). Physical activity (e.g., manually creating art), problem solving (e.g., deciding on color), and socialization (e.g., describing artwork made) are all naturally incorporated into art therapy sessions, creating an enriched environment that increases the likelihood of neurogenesis (Alders, 2009; K. Diamond, 2000; Guillot et al., 2009; Riley, 2004).
The increase in socialization resulting from art therapy can be explained as follows: (a) art objects aid in communication and provide a point of reference during socializing (Abraham, 2004; Malchiodi, 2006; Østergaard, 2008); (b) art therapy participants can show friends and family their artwork, increasing discussions that may in turn increase interest and motivation for continued socialization (Thoman, Sansone, & Pasupathi, 2007); and (c) social interaction engages diverse cognitive resources and distinct brain areas, and facilitates improved cognitive functioning (Glei et al., 2005; Ybarra et al., 2008).
By stimulating various regions of the brain and simultaneously enhancing mood, art therapy may provoke positive reactions within the brain (Hass-Cohen & Carr, 2008). According to Perry (2008), an internationally-recognized authority on brain development, art therapy is rehabilitative because it involves experiences that are: (a)relevant and appropriately matched to developmental needs; (b) pleasurable and therefore rewarding; (c) repetitivein creative tasks as well as rhythmic in the technical movements required, thus resonating with and stimulating neural patterns; and (d) respectful toward people, their families, and cultures through the creation of art that elicits cultural expression (Perry, 2008).
During art therapy, the use of colors, textures, and malleable materials stimulates areas of the brain located within the limbic system (Hass-Cohen & Carr, 2008), which is associated with the hippocampus and emotional regulation (Stern, 2009). Artistic expression in a therapeutic environment can potentially improve therapeutic outcomes by providing opportunities for emotional regulation and increased mental activity (Riley, 2004). Through art-making, art therapy requires an integration of higher cortical thinking, such as planning, focused attention, and problem solving, and increases the likelihood of cognitive health (Hass-Cohen & Carr, 2008). Researchers and theorists now believe that engaging mental activities such as in art therapy may stimulate the brain in a way that increases an individual’s cognitive reserve, allowing that individual to compensate for and overcome neural changes associated with mental illness (Calero & Navarro, 2007; Craik et al., 2007; Hass-Cohen & Carr, 2008).
References
Alders, A. (2009). Using creative arts therapy to enhance cognitive performance in Hispanic elderly (Unpublished master’s thesis). Nazareth College.
Alders, A. (2012). The Effect of Art Therapy on Cognitive Performance among Ethnically Diverse Older Adults. Unpublished dissertation. Florida State University.
Abraham, R. (2004). When words have lost their meaning: Alzheimer’s patients communicate through art. Westport, CT: Praeger.
Anderson, T., & Milbrandt, M. (2005). Art for life: Authentic instruction in art. Burr Ridge, IL: McGraw-Hill.
Calero, M., & Navarro, E. (2007). Cognitive plasticity as a modulating variable on the effects of memory training in elderly persons. Archives of Clinical Neuropsychology, 22(1), 63-72.
Comas-Dias, L. (2006). Latino healing: The integration of ethnic psychology into psychotherapy. Psychotherapy: Theory, Research, Practice, Training, 43(4), 436-453.
Connell, C. M., Scott Roberts, J., & McLaughlin, S. J. (2007). Public opinion about Alzheimer’s disease among Blacks, Hispanics, and Whites: Results from a national survey. Alzheimer disease and Associated Disorders, 21(3), 232-240.
Craik, F., Winocur, G., Palmer, H., Binns, M., Edwards, M., Bridges, K., & Stuss, D. (2007). Cognitive rehabilitation in the elderly: Effects on memory. Journal of the International Neuropsychological Society: JINS, 13(1), 132-142.
Diamond, K. (2000). Older brains and new connections. San Luis Obispo, CA: Davidson Publications.
Diamond, M. (2001). Response of the brain to enrichment. Retrieved fromhttps://education.jhu.edu/newhorizons/Neurosciences/articles/Response%20of%20the%20Brain%20to%20Enrichment/index.html
Glei, D. A., Landau, D. A., Goldman, N., Chuang, Y.-L., Rodriguez, G., & Weinstein, M. (2005). Participating in social activities helps preserve cognitive function: An analysis of a longitudinal, population-based study of the elderly. International Journal of Epidemiology, 34(4), 864-871.
Graham, R. E., Ahn, A. C., Davis, R. B., O’Connor, B. B., Eisenberg, D. M., & Phillips, R. S. (2005). Use of complementary and alternative medical therapies among racial and ethnic minority adults: Results from the 2002 National Health Interview Survey. Journal of the National Medical Association, 97(4), 535-545.
Guillot, A., Collet, C., Nguyen, V. A., Malouin, F., Richards, C., & Doyon, J. (2009). Brain activity during visual versus kinesthetic imagery: An fMRI study. Human Brain Mapping, 30(7), 2157-2172.
Hass-Cohen, N. (2003). Art therapy mind body approaches. Progress: Family Systems Research and Therapy, 12, 24-38.
Hass-Cohen, N., & Carr, R. (Eds.). (2008). Art therapy and clinical neuroscience. London, England: Jessica Kingsley.
Kempermann, G., Gast, D., & Gage, F. H. (2002). Neuroplasticity in old age: Sustained fivefold induction of hippocampal neurogenesis by long-term environmental enrichment. Annals of Neurology, 52(2), 135-143.
Lusebrink, V. B. (1991). A systems oriented approach to the expressive therapies – The Expressive Therapies Continuum. The Arts in Psychotherapy, 18(5), 395-403.
Lusebrink, V. B. (2004). Art therapy and the brain: An attempt to understand the underlying processes of art expression in therapy. Art Therapy: Journal of the American Art Therapy Association, 21(3), 125-135.
Malchiodi, C. (2006). The art therapy sourcebook. Lincolnwood, IL: Lowell House.
Malchiodi, C. (Ed.). (2002). Handbook of Art Therapy. New York: Guilford Press.
McNiff, S. (1992). Art as medicine. Boston, MA: Shambala.
Østergaard, S. (2008). Art and cognition. Cognitive Semiotics, 2008(3), 114-133.
Perry, B. (2008, November). The healing arts: The neuro-develop-mental impact of art therapies. Paper presented at the 39th Annual Conference of the American Art Therapy Association, Cleveland, OH.
Riley, S. (2004). The creative mind. Art Therapy, 21(4), 184-190.
Rubin, J. (1999). Art Therapy: an introduction. Philadelphia, PA: Brunner/Mazel.
Studenski, S., Carlson, M. C., Fillit, H., Greenough, W. T., Kramer, A., & Rebok, G. W. (2006). From bedside to bench: Does mental and physical activity promote cognitive vitality in late life? Science of Aging Knowledge Environment, 2006(10), 21+.
Thoman, D., Sansone, C., & Pasupathi, M. (2007). Talking about interests: Exploring the role of social interaction for regulating motivation and the interest experience. Journal of Happiness Studies, 8(3), 335-370.
Wood, A. H., & Alberta, A. J. (2009). A community-driven behavioral health approach for older adults: Lessons learned. Journal of Community Psychology, 37(5), 663-669.
Ybarra, O., Burnstein, E., Winkielman, P., Keller, M. C., Manis, M., Chan, E., & Rodriguez, J. (2008). Mental exercising through simple socializing: Social interaction promotes general cognitive functioning.Personality and Social Psychology Bulletin, 34(2), 248-259.
Here you can find some information about 1.) the benefits of art therapy for individuals seeking mental health services 2.) the complexities of using art as a therapeutic medium, and 3.) the importance of receiving art therapy services from a properly trained professional.
Just as in other mental health fields like counseling, proper training standards in art therapy ensures that competent care is provided to vulnerable groups.
I. Risks: Potential harm to the public
A Master's level mental health background paired with specific art and Art Therapy training is critical for practicing “Art Therapy.” Section A addresses this. Additionally, FATA endorses the following books for understanding more:
1. Rubin, J. (1999). Art Therapy: an introduction. Philadelphia, PA: Brunner/Mazel.
2. Malchiodi, C. (Ed.). (2002). Handbook of Art Therapy. New York: Guilford Press.
II. Cultural-Compatibility
Florida is experiencing growing diversity. Art therapy provides culturally sensitive care and this will be discussed in Section B, below.
III. Neuroscience and Recent Research
Research and theory support the use of art for mental healthcare. That research and theory will be reviewed in Section C, below.
Section A: Risks- Potential harm to the public
Ethical Issues: Confidentiality, exploitation, and transference are just a few of the many ethical dilemmas that may arise in a therapeutic session. These issues are common to virtually all mental health professionals. However, other mental health professionals are not usually aware of how these issues apply to non-verbal communication during the making, processing, and handling of artwork in therapeutic settings. Untrained professionals may not handle such issues according to rigorous ethical standards. Those without mental health training may not even be aware of the existence of ethical issues. Registered Art therapists are responsible for complying with nationally regulated ethical principles. Additionally, art therapists are required to undergo extensive supervision. Art therapists who reach nationally regulated levels of training may become registered (ATR) and board certified (ATR-BC). In contrast to untrained professionals, art therapists are credentialed professionals offering a specialized service which meets ethical standards. Untrained professionals may claim to offer a specialized service without knowing how to manage the ethics of such a role.
When a national/international standard of training for a field is in place as is the case with the ATCB (Art Therapy Credentials Board), persons making statements that indicate they have that expertise when they do not are behaving unethically. Practicing beyond one’s level of competence is a violation of virtually all mental health ethical codes, though some who are doing this may well not be aware that they are beyond their level of competence
False Expectations: A community member may be at risk when seeking care from an individual mis-using the title of “art therapy.” If someone seeks out therapeutic services they have a reasonable expectation of receiving a mental health service that is safe and provided by a trained professional. It would be rare for a member of the public to be able to evaluate the specialized knowledge of Art Therapy training. Misuse of a title may mislead the public into receiving services from an individual who has little or no training in mental healthcare! Improper use of the title with vulnerable populations greatly endangers, as well as deceives, the public.
Inadequate Training in Visual Literacy: Concepts can be conveyed through images. An art therapy Master's degree has essentially two degrees built into one: A degree in mental health treatment and a degree in visual expressivity. Leaders in the field of art therapy reference that such training enables art therapists to be visually literate. This ability is one which involves visual competencies, emerging from the ability to integrate sensory input, as well as the ability to categorically sort and interpret the content of multiple images simultaneously. Without this training, the art-making process may not facilitate therapeutic dialogue. Without this training, the art-making process may actually impede the therapeutic process.
Oversimplification of Artwork: Art therapists do not state with certainty a symbolic meaning on the part of the client. Art therapists are trained in graphic indicators and can compare presentations in artwork to research findings of similar graphic indicators. However, a misunderstanding of drawings, misreading of graphic indicators, and/or an oversimplification of symbolism can create unnecessary labels and stigmas towards vulnerable individuals (e.g. eyes mean paranoia – this individual is paranoid = Insufficient data—possibly completely wrong!) Labels which are incorrectly given may compromise care.
Misuse of Materials: Art therapists are trained in research describing emotional reactions to the use of a variety of art materials (e.g. clay may elicit regressive emotional states). Untrained professionals may unintentionally misuse art materials, create counter-productive behavioral elicitation and/or facilitate regression in clients without the ability to “contain” emotional states. Reintroducing the client into stressful environments, without proper “containment” after an emotional session, could lead to decompensation. Properly trained Art therapists take care not to create a scenario for symptoms to be unnecessarily exacerbated. Untrained professionals may not understand ways to prevent this.
Section B: Cultural-Compatibility (Alders, 2012)
There is a growing availability of research which suggests that art therapy may be a culturally- compatible and neurologically sound approach to working with diverse groups. Research suggests that many ethnically diverse groups of all ages share a collectivistic culture and prefer informal alternatives to therapy, such as community-based care and traditional folk healing approaches (Connell, Scott Roberts, & McLaughlin, 2007; Wood & Alberta, 2009). Much of the documented folk healing among Asian, African American, and Latino cultures incorporate the creation and use of art, such as in the form of images and pictorial symbolism (Graham et al., 2005). Artwork is said to naturally contain information pertaining to a sense of self, a sense of place, and a sense of community, thus possibly facilitating themes on interconnectedness and culture in therapy (Anderson & Milbrandt, 2005).
Comas-Dias (2006) described the differences in psychosocial needs in therapy:
...whereas individualistic persons may require a mode of therapy that is verbal, works through, and effects change by externalizing (moving from the unconscious to the conscious), collectivistic persons frequently require a therapeutic mode that values holism (using meditation, contemplation, imagery, and other connective states), acknowledges nonverbal and indirect communication, and affects change by internalizing (moving from the conscious to the unconscious) (Tamura and Lau, 1992). In particular, collectivistic clients require therapeutic techniques that honor and address the mind–body connection. (p. 439)
In this way, art therapy may appeal to a collectivistic mindset. Many art therapists hold the perspective that the “healing power” of art comes through the process and creation of the artwork itself (McNiff, 1992). Leading theorists in the field of art therapy describe the art-making process and products as a “mind-body bridge,” and as an indication of cognitive stimulation and progression (Hass-Cohen, 2003; Lusebrink, 1991; Lusebrink & McGuigan, 1989).
Section C: Neuroscience and Recent Research (Alders, 2012)
Exposure to an enriched environment (e.g., a reference to the promotion of physical activity, socialization, and problem solving) leads to an increase in new neurons, or neurogenesis, and a substantial improvement in cognitive, emotional and social performance (Kempermann, Gast, & Gage, 2002; Studenski et al., 2006). Physical activity (e.g., manually creating art), problem solving (e.g., deciding on color), and socialization (e.g., describing artwork made) are all naturally incorporated into art therapy sessions, creating an enriched environment that increases the likelihood of neurogenesis (Alders, 2009; K. Diamond, 2000; Guillot et al., 2009; Riley, 2004).
The increase in socialization resulting from art therapy can be explained as follows: (a) art objects aid in communication and provide a point of reference during socializing (Abraham, 2004; Malchiodi, 2006; Østergaard, 2008); (b) art therapy participants can show friends and family their artwork, increasing discussions that may in turn increase interest and motivation for continued socialization (Thoman, Sansone, & Pasupathi, 2007); and (c) social interaction engages diverse cognitive resources and distinct brain areas, and facilitates improved cognitive functioning (Glei et al., 2005; Ybarra et al., 2008).
By stimulating various regions of the brain and simultaneously enhancing mood, art therapy may provoke positive reactions within the brain (Hass-Cohen & Carr, 2008). According to Perry (2008), an internationally-recognized authority on brain development, art therapy is rehabilitative because it involves experiences that are: (a)relevant and appropriately matched to developmental needs; (b) pleasurable and therefore rewarding; (c) repetitivein creative tasks as well as rhythmic in the technical movements required, thus resonating with and stimulating neural patterns; and (d) respectful toward people, their families, and cultures through the creation of art that elicits cultural expression (Perry, 2008).
During art therapy, the use of colors, textures, and malleable materials stimulates areas of the brain located within the limbic system (Hass-Cohen & Carr, 2008), which is associated with the hippocampus and emotional regulation (Stern, 2009). Artistic expression in a therapeutic environment can potentially improve therapeutic outcomes by providing opportunities for emotional regulation and increased mental activity (Riley, 2004). Through art-making, art therapy requires an integration of higher cortical thinking, such as planning, focused attention, and problem solving, and increases the likelihood of cognitive health (Hass-Cohen & Carr, 2008). Researchers and theorists now believe that engaging mental activities such as in art therapy may stimulate the brain in a way that increases an individual’s cognitive reserve, allowing that individual to compensate for and overcome neural changes associated with mental illness (Calero & Navarro, 2007; Craik et al., 2007; Hass-Cohen & Carr, 2008).
References
Alders, A. (2009). Using creative arts therapy to enhance cognitive performance in Hispanic elderly (Unpublished master’s thesis). Nazareth College.
Alders, A. (2012). The Effect of Art Therapy on Cognitive Performance among Ethnically Diverse Older Adults. Unpublished dissertation. Florida State University.
Abraham, R. (2004). When words have lost their meaning: Alzheimer’s patients communicate through art. Westport, CT: Praeger.
Anderson, T., & Milbrandt, M. (2005). Art for life: Authentic instruction in art. Burr Ridge, IL: McGraw-Hill.
Calero, M., & Navarro, E. (2007). Cognitive plasticity as a modulating variable on the effects of memory training in elderly persons. Archives of Clinical Neuropsychology, 22(1), 63-72.
Comas-Dias, L. (2006). Latino healing: The integration of ethnic psychology into psychotherapy. Psychotherapy: Theory, Research, Practice, Training, 43(4), 436-453.
Connell, C. M., Scott Roberts, J., & McLaughlin, S. J. (2007). Public opinion about Alzheimer’s disease among Blacks, Hispanics, and Whites: Results from a national survey. Alzheimer disease and Associated Disorders, 21(3), 232-240.
Craik, F., Winocur, G., Palmer, H., Binns, M., Edwards, M., Bridges, K., & Stuss, D. (2007). Cognitive rehabilitation in the elderly: Effects on memory. Journal of the International Neuropsychological Society: JINS, 13(1), 132-142.
Diamond, K. (2000). Older brains and new connections. San Luis Obispo, CA: Davidson Publications.
Diamond, M. (2001). Response of the brain to enrichment. Retrieved fromhttps://education.jhu.edu/newhorizons/Neurosciences/articles/Response%20of%20the%20Brain%20to%20Enrichment/index.html
Glei, D. A., Landau, D. A., Goldman, N., Chuang, Y.-L., Rodriguez, G., & Weinstein, M. (2005). Participating in social activities helps preserve cognitive function: An analysis of a longitudinal, population-based study of the elderly. International Journal of Epidemiology, 34(4), 864-871.
Graham, R. E., Ahn, A. C., Davis, R. B., O’Connor, B. B., Eisenberg, D. M., & Phillips, R. S. (2005). Use of complementary and alternative medical therapies among racial and ethnic minority adults: Results from the 2002 National Health Interview Survey. Journal of the National Medical Association, 97(4), 535-545.
Guillot, A., Collet, C., Nguyen, V. A., Malouin, F., Richards, C., & Doyon, J. (2009). Brain activity during visual versus kinesthetic imagery: An fMRI study. Human Brain Mapping, 30(7), 2157-2172.
Hass-Cohen, N. (2003). Art therapy mind body approaches. Progress: Family Systems Research and Therapy, 12, 24-38.
Hass-Cohen, N., & Carr, R. (Eds.). (2008). Art therapy and clinical neuroscience. London, England: Jessica Kingsley.
Kempermann, G., Gast, D., & Gage, F. H. (2002). Neuroplasticity in old age: Sustained fivefold induction of hippocampal neurogenesis by long-term environmental enrichment. Annals of Neurology, 52(2), 135-143.
Lusebrink, V. B. (1991). A systems oriented approach to the expressive therapies – The Expressive Therapies Continuum. The Arts in Psychotherapy, 18(5), 395-403.
Lusebrink, V. B. (2004). Art therapy and the brain: An attempt to understand the underlying processes of art expression in therapy. Art Therapy: Journal of the American Art Therapy Association, 21(3), 125-135.
Malchiodi, C. (2006). The art therapy sourcebook. Lincolnwood, IL: Lowell House.
Malchiodi, C. (Ed.). (2002). Handbook of Art Therapy. New York: Guilford Press.
McNiff, S. (1992). Art as medicine. Boston, MA: Shambala.
Østergaard, S. (2008). Art and cognition. Cognitive Semiotics, 2008(3), 114-133.
Perry, B. (2008, November). The healing arts: The neuro-develop-mental impact of art therapies. Paper presented at the 39th Annual Conference of the American Art Therapy Association, Cleveland, OH.
Riley, S. (2004). The creative mind. Art Therapy, 21(4), 184-190.
Rubin, J. (1999). Art Therapy: an introduction. Philadelphia, PA: Brunner/Mazel.
Studenski, S., Carlson, M. C., Fillit, H., Greenough, W. T., Kramer, A., & Rebok, G. W. (2006). From bedside to bench: Does mental and physical activity promote cognitive vitality in late life? Science of Aging Knowledge Environment, 2006(10), 21+.
Thoman, D., Sansone, C., & Pasupathi, M. (2007). Talking about interests: Exploring the role of social interaction for regulating motivation and the interest experience. Journal of Happiness Studies, 8(3), 335-370.
Wood, A. H., & Alberta, A. J. (2009). A community-driven behavioral health approach for older adults: Lessons learned. Journal of Community Psychology, 37(5), 663-669.
Ybarra, O., Burnstein, E., Winkielman, P., Keller, M. C., Manis, M., Chan, E., & Rodriguez, J. (2008). Mental exercising through simple socializing: Social interaction promotes general cognitive functioning.Personality and Social Psychology Bulletin, 34(2), 248-259.
(C) Florida Art Therapy Association 2012
If you have any problems with this site, please contact floridaarttherapy@gmail.com
If you have any problems with this site, please contact floridaarttherapy@gmail.com
