Art Therapy Online <p id="aboutbody">Art Therapy Online (ATOL) is an international, peer-reviewed, open access and index linked journal that addresses theory, practice and research in relation to art therapy as it is known and understood around the world.&nbsp;The journal was founded in 2009 by a consortium of independent art therapists seeking to build international alliances and areas of discussion in the field. The journal is hosted by the Library at Goldsmiths, University of London.</p> en-US Art Therapy Online 2044-7221 <a href="" rel="license"><img style="border-width: 0;" src="" alt="Creative Commons Licence" /></a><br />ATOL articles are licensed under a <a href="" rel="license">Creative Commons Attribution-NonCommercial 2.0 UK: England &amp; Wales License</a>. Editorial <p>What stands out in the articles in this issue, for us, is the depth of thinking.  Thinking is sorely needed at a time when neo-liberalist agendas push the art therapy profession further and further into a realm which favours simplistic methods and narrow goals, where the subversive, anarchic aspects of art, and the freedom involved in bringing ‘whatever’ into open-ended therapeutic relationships, is seen as a luxury of the past, even perhaps, as transgressive.</p><p> </p><p>There is a split between theory and practice involved here and we need to start thinking of theory making itself as a practice and to recognise that all that we say and do is inseparable from it, and is political. This understanding is behind the papers published in this issue.</p> Sally Skaife Tsun-wei Lily Hsu ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Chardin's Lesson <p>In this essay I show how looking at two paintings by Jean-Simeon Chardin (1699-1779) in the National Gallery encouraged me to revisit the experience of providing art therapy for people with learning difficulties. In reflecting on my experiences, both of the paintings and of providing art therapy, I began to develop my thinking in relation to emotion and self-expression.  My reading of art therapy literature, philosophy (Hegel 1977 and Butler 1987 &amp; 1997), semiotics (Jakobson 1960) and neuroscience (Damasio 1999), then gave me the confidence to make a definitive statement in relation to ‘self-expression’.  In presenting my arguments to readers I hope I will have encouraged art therapists to give attention to the cultural and social situation which facilitates the use of art materials to provide transformative experiences and support the development of relationship and self-awareness.</p><p> </p><p><strong>Key words:</strong> Chardin, Art Therapy, Learning difficulties, emotion and feeling, self-expression. </p><div> </div> Robin Tipple ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Shifting Frames: Reflections on filmmaking and the unconscious in the art practice of an art therapist <p>This article looks at a series of nine video films the author made over a six-year period. The context in which they were produced is explained but while the context is important the author sees the films primarily as a coherent body of work within his art practice. Consideration is given to how the art practice of this art therapist might be framed. The aim of the article is to think about the ways in which meaning is made in the films. I make use of a critical visual methodology (Rose, 2001) and draw upon film theory to consider the impact of unconscious processes in the construction of meaning.</p><p> </p><p><strong>Keywords: </strong>digital media, the unconscious, art practice, visual methodology, film theory, psychoanalysis, art therapist.</p> Christopher Brown ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Can Exhibiting Art Works from Therapy be Considered a Therapeutic Process? <p>This article considers issues relating to the exhibiting of art work that has been made within art therapy. It looks at the marginalisation of exhibiting in the development of the profession in Britain and its wider use outside of the UK. It reviews the arguments which support it whilst considering contentious issues, such as patient permission and the exchange of money, within the context of neo-liberalism and austerity. Drawing from experiences of facilitating a therapeutic art studio for refugees and asylum seekers, the paper goes on to propose an approach which takes into account the criticisms made of exhibiting patient art work and utilises a psychodynamic approach to the exhibition as a therapeutic process.</p><p> </p><p><strong>Keywords: </strong>asylum seekers, refugees, exhibitions, social art therapy, neo-liberalism, austerity.</p> Jon Martyn ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Processing Emotions and Memorising Coursework Through Memory Drawing (Icelandic Version) <p>Gerður var samanburður á því hversu vel 134 þátttakendur í megindlegri rannsókn mundu teiknuð og skrifuð orð. Níu vikum eftir að þátttakendurnir lögðu orðin á minnið mundu þeir að jafnaði fimmfalt fleiri teiknuð orð en skrifuð. Enginn munur var á því hversu mörg orð þátttakendurnir mundu þegar þau voru rifjuð upp strax eftir að þau voru teiknuð eða skrifuð. Einnig var framkvæmd eigindleg tilviksrannsókn sem sýndi hvernig minnisteikning getur auðveldað nám. Minnisteikningin og meðferðarferlið gaf vísbendingar um að viðkvæmar tilfinningar gætu komið upp á yfirborðið í teikniferlinu og að mögulegt væri að vinna úr þeim í gegnum slíka teikningu. Kenningar og aðferðir listmeðferðar reyndust mikilvægar við að skilja og útskýra hvernig minnisteikning hefur áhrif á úrvinnslu tilfinninga og hjálpar fólki að muna námsefni. Einnig reyndist mikilvægt að hafa umgjörð listmeðferðar til hliðsjónar þegar siðferðisleg mörk fyrir minnisteikningaraðferðina voru ígrunduð með það að markmiði að skapa öruggt rými fyrir nemendur og skjólstæðinga sem búa til minnisteikningar í meðferð eða námi.</p><p><strong> </strong></p><p><strong>Lykilhugtök</strong></p><p>Minni, teikning, námslistmeðferð, áföll, bóknám.</p> Unnur Óttarsdóttir ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Writing My Experience of the ‘Writing Art Therapy’ Conference <p>It seems appropriate that having been a participant of the conference ‘Writing Art Therapy’, I should then attempt this contribution, to actually make a piece of writing of my own, about my experience of the day.</p> Diana Velada ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Exhibition Review. Studio Upstairs – 30th Anniversary Exhibition <p>Thirty years! That’s quite an achievement for a small organisation dependant upon a variety of funding streams, which are often precarious, that continues to occupy a central position in providing an alternative approach to the support of individuals with mental health issues – a phrase that gives rise to some tension within the organisation – and indeed, the exhibition itself.</p> Christopher Brown ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Exhibition Review. A Personal History of Art Therapy in Less than 100 Objects <p>There are few words publicising the exhibition but enough to raise interest in <em>‘A Personal History of Art Therapy in Less than 100 Objects.’</em>  The image of a notebook, its spine strained by its contents, is secured from prying eyes by a single band of rubber. The contrast of the natural tan of rubber and the dark book cover, enhances the mundane. </p> Naomi Perry ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Book Review. Art Therapy in Private Practice:Theory, Practice and Research in Changing Contexts. Edited by James D. West This book is a rich compendium of sixteen writers’ thoughts, feelings, and insights into addressing art therapy in private practice in the UK as well as the writers’ experiences of private practice therapeutic work in situ and a brief view of academic research. The book is divided into five sections:  Contexts and Collaboration; Working with Children, Families and the Child in the Adult; Training and Transmission; Governance and Supervision; and Research. The themes provide a broad stroke of considerations within the category of private practice of art therapy. Arnell Etherington ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Book Review. Forensic Arts Therapies: Anthology of Practice and Research. Edited by Kate Rothwell <p>Intrigued by the title, <em>Forensic Arts Therapies: Anthology of Practice and Research</em>, impressed with the formation of the Forensic Arts Therapies Advisory Group (FATAG), and inspired by the aspirations of this group of dedicated arts therapists, I readily immersed myself into this edited text. There are contributions by art therapists, dance movement therapists, drama therapists and music therapists. Cross-discipline collaboration, showcasing how these modalities can successfully work together and how these can promote therapeutic work with complex forensic populations, are included and serve to further model best practices. Given the range of perspectives, contexts and ways of working, as positioned by each of the arts therapist contributor, this book is an informed culmination of practical, insightful and useful information, and is seamlessly sewn together by its editor, Kate Rothwell.</p> Ronald P.M.H. Lay ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Book Review. Therapies for Complex Trauma: Helping Children and Families in Foster Care, Kinship Care or Adoption. Edited by Anthea Hendry & Joy Hasler <p>This book offers an overview of the research into complex trauma and the valuable role of creative therapies in supporting recovery for children. While it is intended for those working in foster care, kinship care or adoption, it is also useful for those working in other fields of trauma where children remain with parents. It will be of immense benefit for new creative therapists but can be thought provoking for those who have been working in the field for a considerable period of time.   </p> Sally Goldstraw ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1 Book Review. Learning Along the Way: Further Reflections on Psychoanalysis and Psychotherapy. by Patrick Casement Unless I am mistaken this is to be Patrick Casement’s final book and if I have got this wrong, then his book will help me think about what I might learn from my mistake.  Well, who might not make a slip faced with these, the final words of a psychoanalyst who has influenced generations of not only psychoanalysts but also psychotherapists, social workers, counsellors and arts therapists? In this sense the book could be read as a testament in which Casement reflects upon his life’s work and the essential questions and values that have driven his passionate commitment to psychoanalysis over the past fifty years. Kevin Jones ##submission.copyrightStatement## 2019-01-31 2019-01-31 10 1