Introduction
Since the inception of the profession, art therapists have debated the basic tenets of how art therapy works and pondered on the therapeutic value of art processes. As stated in the introduction of this handbook, two perspectives formed the basis of art therapy in the mid-twentieth century. Through the decades, other theoretical orientations have advanced the knowledge base of the profession. Deeper analysis and broader experiences have even led to revisions of the two original viewpoints. The steady progression from our historical roots to the numerous current theoretical models practiced today reveals professionals who value intellectual curiosity and who rarely settle for easy answers. The field simultaneously fragments and becomes stronger through examinations of these various theoretical foci. This section presents a sample of the historical and theoretical frameworks upon which our profession has been built.
A historical overview is essential for a reader to put the theories examined in this section in context. M. Junge provides a foundation for examining art therapy theory through her analysis of the history of art therapy. Wilson also finds history to be vital to the practice of art therapy, but on a micro level. In her chapter titled Psychoanalytic Study of Artists and Their Art: Its Relevance for Art Therapists, Wilson posits that uncovering a client’s personal history informs her work. Through what she terms psychobiography, psychoanalytic understanding of a person and his or her art is vital to the practice of art therapy.
Rubin’s chapter, Psychoanalytic Art Therapy, explores the foundational psychodynamic perspective and its incarnations as the field advanced through the twentieth and into the twenty-first century. In Archetypal Art Therapy, Abbenante and Wix re-introduce archetypal thinkers Hillman, Watkins, and McConeghy, and explore how archetypes can be used in art therapy. These authors rely on the structure and content of the image to inform practice. Archetypal practice embodies the notion that “… the image is core to archetypal art therapy’s commitment to art’s primacy in art therapy.”
Ciornai’s chapter, Gestalt Art Therapy: A Path to Consciousness Expansion, provides the philosophical, theoretical, and methodological foundation of the Gestalt model. Drawing upon authors such as Arnheim, Rhyne, and Gombrich, Ciornai focuses on the primary goal of Gestalt work: “consciousness expansion through the use of creative and artistic resources.”
Lusebrink’s chapter, Expressive Therapies Continuum, outlines an interactionist model of art therapy that informs the therapist’s understanding of the interactions between the artist, the art medium and its process, and the product. Lusebrink revisits this relationship and re-examines the ETC model in this chapter.
Next, Rosal explores cognitive behavioral theoretical perspectives through her chapter Cognitive Behavioral Art Therapy Revisited. She discusses early cognitive behavioral art therapy (CBAT) thinkers and examines how this theory is used in practice today. King provides information about how brain science is impacting the practice of art therapy in her chapter titled Art Therapy: A Brain-based Profession. In the chapter, King argues:
In Positive Art Therapy, Isis argues that art and art therapy, when used correctly, can contribute to life experiences and to well-being through mindfulness and art-making. In his chapter Essence, Art, and Therapy: A Transpersonal View, Franklin reminds the reader that “transpersonal” refers to “moving through or beyond the personal.” His chapter explores the intersection where spirituality, creativity, and psychology meet to help facilitate a person’s well-being.
The last two chapters espouse diverse practices and perspectives to inform the practitioner. Moon argues in her contribution, Open Studio Approach to Art Therapy, that when allowing free and open expression in a studio environment, the focus is on health rather than pathology, is less hierarchical, and more dynamic. Moon emphasizes both the art-making process and the product.
Lastly, in the chapter titled An Eclectic Approach to Art Therapy—Revisited, Wadeson revisits the chapter she wrote for Rubin’s 2001 volume Approaches to Art Therapy. Wadeson expands on her philosophy that any number of theories can be applied by an effective clinician. She encourages clinicians to encompass and to be open to all theoretical perspectives. She concentrates on how the eclectic approach contributes to contemporary issues such as trauma-based treatment, community mental health, and working from a multicultural perspective.
Together, these chapters form a foundation, a scaffold upon which all the following sections are built. Art therapists are guided by these important theories. The practice of art therapy would not be as robust without these rich and varied perspectives.
