Art as Therapy: Collected Papers by Edith Kramer

By Edith Kramer

Edith Kramer is without doubt one of the pioneers within the box of paintings treatment, recognized and revered during the global. This selection of papers displays her life of paintings during this box, exhibiting how her strategies and perform have constructed through the years. She considers a large spectrum of concerns, overlaying paintings, paintings treatment, society, ethology and scientific perform and putting artwork remedy in its social and ancient context. Drawing on her very significant own event as an paintings therapist, Kramer illustrates her conviction that paintings making is significant to perform and cautions opposed to making phrases fundamental and paintings secondary in paintings therapy.Art as remedy bargains an extraordinary perception into the private improvement of 1 of the world's prime paintings therapists and the advance of artwork treatment as a career. it'll make attention-grabbing interpreting for someone drawn to artwork treatment.

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Actually, spontaneous art expression requires that one imagine and depict what is uppermost in one’s mind, and this demands both the suspension of habitual defense and a high degree of moral courage and self-discipline. Untrammeled scribbling and messing are as unlike spontaneous, expressive use of art materials (and unlikely to lead to it) as aimless chatter is unlike free association in psychoanalytic treatment. Second, there is the erroneous belief that art therapy is concerned almost exclusively with spontaneous art expression – that is, with the use of art media that evokes the raw material of art but inevitably stops short of art as I have defined it.

Art becomes lifeless and empty when it serves an outdated, fossilized power system. In such historical situations art becomes isolated from its official social functions and is reduced to serving the individual. We can see such developments in the flourishing of Roman portraiture during a period when the official formal art consisted of lifeless imitations of Greek sculpture, or towards the end of the nineteenth century when the term ‘l’art pour l’art’ (‘art for art’s sake’) was coined to express the artist’s isolation from society.

If, however, Raymond had painted a sadistic picture in response to the incident, this would have had different emotional meaning. Raymond’s painting would have expressed his own strength and comeback, not illusory strength borrowed from the therapist, and might have been more valuable for Raymond. Raymond’s story illustrates the futility of an attempt to channel aggression by consciously diverting it into symbolic action. Such an escape will lead to regression and remains therapeutically valueless or harmful.

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