Psychology and Mental Health in Contemporary Art

A special issue of Arts (ISSN 2076-0752).

Deadline for manuscript submissions: closed (9 August 2019) | Viewed by 22882

Special Issue Editor


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Guest Editor
Associate Professor, School of Art, Montana State University, Bozeman, MT 59717, USA
Interests: modern and contemporary art; criticism; the history of science; environmental aesthetics; sexuality studies

Special Issue Information

Dear Colleagues,

In 1968, Rudolf Arnheim was hired by Harvard University as a Professor of the Psychology of Art, the only position of its kind in American universities. While he was the only person to acquire the official title of "Art psychologist", his hiring represented the institutionalization of a trend in mid-century art pedagogy—one that included E.H. Gombrich, Siegfried Gideon, Anton Ehrenzweig, and Morse Peckham—conflating the teaching of art with the teaching of perception, resulting in a form of aesthetic theory confirmable by experimental psychology. Gestalt psychology and American behaviorism thus joined psychoanalysis as both art historical methods and generative theories of artistic production. They had the power to explain art's organization as well as to stand in for its content.

More recently, artists have taken psychology not as a theory for art but as a readymade cultural form that is subject to artistic cooptation. In 2011, the artist Pedro Reyes created Sanatorium, a participatory artwork that adopted the conventions of various group therapeutic practices. These were, however, executed by non-professionals on an art audience as part of a DIY medical center. Reyes described Sanatorium asa democratization of therapy, a "psychological first aid... It taps into the excess capacity that we have to help others." Reyes's anti-professionalism, and his repeated warnings to the viewer that this was not a licensed form of therapy, did not stop audience members from experiencing therapeutic effects. Sanatorium thus applied participatory trends within the scientific community—citizen science or civilian emergency response training, for example—to mental health, the maintenance of which was presented as a collective social responsibility.

With this Special Issue, Arts creates a space for art to speak back to psychology. We seek examples of artists and art works that collaborate with, challenge, or appropriate the tactics of psychology for their own ends. How, for example, does contemporary art make demands of science? How does art critique psychology's methods of diagnosis and treatment, its terminology, and its categorizations? How do the disciplines of art and psychology affect the ways we conceptualize perception, subjectivity, representation, identity, and aesthetic experience? How does art respond to the recent turn toward "wellness"? How have artists anticipated psycho-social needs that mental health professionals cannot yet see and therefore cannot yet address?

Dr. Melissa Ragain
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • psychology
  • aesthetics
  • postwar art
  • history of science
  • history of medicine
  • mental health
  • wellness

Published Papers (5 papers)

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Research

13 pages, 3976 KiB  
Article
Metaphor to Métier: Kerry Tribe’s “Aphasia Poetry Club” and the Discourse of Disability in Contemporary Art
by Leslie Cozzi
Arts 2020, 9(2), 49; https://doi.org/10.3390/arts9020049 - 16 Apr 2020
Viewed by 2669
Abstract
“Metaphor to Métier: Kerry Tribe’s Aphasia Poetry Club and the Discourse of Disability in Contemporary Art” explores a 2015 video work by Los Angeles-based artist Kerry Tribe. Tribe’s “The Aphasia Poetry Club” embodies a shift in contemporary artistic discourse around concepts of physical [...] Read more.
“Metaphor to Métier: Kerry Tribe’s Aphasia Poetry Club and the Discourse of Disability in Contemporary Art” explores a 2015 video work by Los Angeles-based artist Kerry Tribe. Tribe’s “The Aphasia Poetry Club” embodies a shift in contemporary artistic discourse around concepts of physical and cognitive disability. Created by a neurotypical artist, the work uses the medium of the moving image to interpret the experience of aphasia, a neurocognitive language disorder frequently associated with traumatic brain injury. Three distinct visual idioms capture the particular neurological profiles and linguistic patterns of Tribe’s chosen participants. Tribe’s representation of people living with aphasia disrupts ableist conceits about the human capacity for memory and language. Rather than stigmatizing individual impairments, the work is indicative of a new aesthetic arising from disability experience. The article argues that disability no longer functions in the contemporary art world as a political or spiritual metaphor, but rather has become a site of formal invention and conceptual research. Full article
(This article belongs to the Special Issue Psychology and Mental Health in Contemporary Art)
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20 pages, 5653 KiB  
Article
Neglect and the Kaleidoscopic Mind: Psychology and Mental Health in Contemporary Art
by Marcos Lutyens and Leonardo Christov-Moore
Arts 2020, 9(2), 47; https://doi.org/10.3390/arts9020047 - 8 Apr 2020
Viewed by 5019
Abstract
This paper seeks to explore the broad question of whether and how art can be applied to medical therapeutic practices. As part of this research, the paper outlines an ongoing project, exemplifying this combined approach, which seeks to improve function in stroke patients. [...] Read more.
This paper seeks to explore the broad question of whether and how art can be applied to medical therapeutic practices. As part of this research, the paper outlines an ongoing project, exemplifying this combined approach, which seeks to improve function in stroke patients. We reviewed previous collaborations between art and psychology dating back to the 1960s, employing methods ranging from simple, analog, haptic interfaces to the contemporary potential of machine learning to improve brain function. We then outline an ongoing project employing machine learning and multisensory stimulation to improve function in stroke patients, which are being run in collaboration with Klinik Lippoldsberg, Germany. We discuss the possibility that these same approaches may also be applied to healthy people as an open-ended inquiry into consciousness and mental optimization. It is hoped that these approaches will be beneficial to the medical community, but also equally broaden the reach and context of contemporary art, which is so often marginalized within institutions that are not readily accessible to or in communication with other disciplines. Full article
(This article belongs to the Special Issue Psychology and Mental Health in Contemporary Art)
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10 pages, 396 KiB  
Article
Condition Verified: On Photography, Trans Visibility, and Legacies of the Clinic
by Chase Joynt and Emmett Harsin Drager
Arts 2019, 8(4), 150; https://doi.org/10.3390/arts8040150 - 13 Nov 2019
Cited by 2 | Viewed by 4461
Abstract
We approach this paper with a shared investment in historical and contemporary representations of trans and gender non-conforming people, and our individual research in the archives of early US Gender Clinics. Together, we consider what is at stake—or what might be possible—when we [...] Read more.
We approach this paper with a shared investment in historical and contemporary representations of trans and gender non-conforming people, and our individual research in the archives of early US Gender Clinics. Together, we consider what is at stake—or what might be possible—when we connect legacies of photography used as diagnostic tools in gender clinics with snapshots of early, community-based gatherings, and the presence of trans people in contemporary art. From the archives of Robert J. Stoller and photos of Casa Susanna, to the collaborative photography of Zackary Drucker and Amos Mac, and the biometric data art-theory experiments of Zach Blas, we engage a series of image-based projects, which animate underlying questions and socio-political debates about the politics of visuality, and visibility’s impact on trans and gender non-conforming people. Moreover, we argue that rhetorical strategies of proof—from conditions verified in clinics to shared existence through photography—are tethered to, and thus trapped by, the logics and discipline of legibility and re-institutionalization. Full article
(This article belongs to the Special Issue Psychology and Mental Health in Contemporary Art)
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12 pages, 237 KiB  
Article
Ghosts in the Closet: Catastrophizing and Spectral Disability in Anne Charlotte Robertson’s Apologies
by Taryn Marie Ely
Arts 2019, 8(4), 142; https://doi.org/10.3390/arts8040142 - 24 Oct 2019
Viewed by 2771
Abstract
Anne Charlotte Robertson, who died in 2012, was a Super 8 experimental filmmaker whose primarily diaristic films record her experience with a diagnosis of manic depression and the corresponding nervous breakdowns. This article specifically addresses Robertson’s film Apologies (1983–1990), which features 17 min [...] Read more.
Anne Charlotte Robertson, who died in 2012, was a Super 8 experimental filmmaker whose primarily diaristic films record her experience with a diagnosis of manic depression and the corresponding nervous breakdowns. This article specifically addresses Robertson’s film Apologies (1983–1990), which features 17 min of the filmmaker apologizing to the camera for everything from drinking non-organic coffee to returning her camera a day late to her eventual nervous breakdown in the final scene of the film. Beginning with the psychological concept of catastrophizing, this paper shows how Robertson’s film engages with larger contemporaneous philosophical conceptions of disaster, or apocalypse, and its corresponding temporality. Drawing upon Jacques Derrida and Maurice Blanchot, mental disability is shown to be more thoroughly understood through shifting and multiple temporalities, termed as ‘spectral disability’ within this paper. Apologies not only reveals the personally specific details of Robertson’s experience and identity, but also responds to a larger history of representing madness in photography and film. Robertson’s engagement with the moving image is not only related to philosophy and history, but predates similar techniques devised in psychology as well. Ultimately, through disability theorist Rosemarie Garland-Thomson’s concept of misfitting, this paper explores how Apologies exposes the creative possibilities of mental disability. Full article
(This article belongs to the Special Issue Psychology and Mental Health in Contemporary Art)
14 pages, 2586 KiB  
Article
Ectoplastic Art Therapy as a Genre of Contemporary Art
by Peter Tzanev
Arts 2019, 8(4), 134; https://doi.org/10.3390/arts8040134 - 15 Oct 2019
Viewed by 5779
Abstract
Art therapy is the successor of “psychological Modernism”, which during the late 19th and early 20th centuries included medical psychology as well as theories and practices related to more speculative practices of hypnosis, somnambulism, interpretation of dreams, automatic writing and spiritualism. Art therapy [...] Read more.
Art therapy is the successor of “psychological Modernism”, which during the late 19th and early 20th centuries included medical psychology as well as theories and practices related to more speculative practices of hypnosis, somnambulism, interpretation of dreams, automatic writing and spiritualism. Art therapy emerged in the second half of the 20th century as a new psychological genre and, the author argues, a new kind of art that offered the opportunity for psychological “salvation” in a “psychological society”. This article explores an experimental project called “Ectoplastic Art Therapy” begun in 2002 by the author as a form of therapy and as a form of contemporary art. This therapy has been performed in various institutional settings, such as therapeutic centers, museums and galleries, as well as educational seminars and courses. Focusing on the usual marginalization that accompanies conventional art therapy within the established framework of the contemporary art system, this article examines the situations in which an art therapist could present his practice as a contemporary artist. The author prompts questions concerning the possible kinds of self-presentation that can be found in art therapy as a form of contemporary art. Full article
(This article belongs to the Special Issue Psychology and Mental Health in Contemporary Art)
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