ArtStreet: Joining Community through Art

Timm‐Bottos, Janis

doi:10.1080/07421656.1995.10759157

Cited by 23 publications

(7 citation statements)

References 1 publication

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“…Although serviceable and surprisingly adaptable, it is still a paradigm linked to the medical concepts of identifying and treating pathology. Though the notion of the healing studio has deep roots in the art therapy literature (Adamson, 1984), increasing numbers of authors have ventured beyond this template by taking positions more conducive to community practice (Allen, 1995;Franklin, 1996;McGraw, 1995;Timm-Bottos, 1995). A well-known example of this trend is the long-running Open Studio Project (Block, Harris, & Laing, 2005).…”

Section: Literature Reviewmentioning

confidence: 95%

Community-Based Art Studios in Europe and the United States: A Comparative Study

Vick¹,

Sexton-Radek

2008

Art Therapy

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This survey research compares the structure and practices of 7 community studio art programs for artists with disabilities in Europe to 8 studio art therapy programs in the United States. Art therapy and disability arts literature was reviewed to establish a theoretical context for this project. A survey research method was used, with statistical and narrative analysis to interpret the data. In general, more similarities than differences were found between the two samples. The theoretical and philosophical implications of these comparisons are discussed with respect to expanding models of art therapy practice.

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Section: Literature Reviewmentioning

confidence: 95%

Community-Based Art Studios in Europe and the United States: A Comparative Study

Vick¹,

Sexton-Radek

2008

Art Therapy

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“…Experiencing creativity in its many vernacular forms (gardening, cooking, performance, music, mindfulness, and movement) paired with conversation and critical reflection, promote emotional and cognitive transformational learning (Dirkx 2001;Mezirow 2000) and provide opportunities for seeing multiple perspectives. The range of ways of knowing used in the storefront classroom include art as a way of knowing (Allen 1995(Allen , 2005, awareness through movement (Feldenkrais 1981;Timm-Bottos 2001), women's ways of knowing (Belenky et al 1986), aboriginal ways of knowing (Brendtro et al 2002), and street artists' ways of knowing (Casanova 1996;Timm-Bottos 2005, 2011. Each ''way of knowing'' provides the storefront classroom with concrete methods for developing multiple ways of seeing, thereby reducing the possibility of replicating patterns of social inequity and oppression.…”

Section: Community-engaged Service Learningmentioning

confidence: 97%

Learning in Third Spaces: Community Art Studio as Storefront University Classroom

Timm‐Bottos

Reilly

2014

American J of Comm Psychol

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Third spaces are in-between places where teacher-student scripts intersect, creating the potential for authentic interaction and a shift in what counts as knowledge. This paper describes a unique community-university initiative: a third space storefront classroom for postsecondary students in professional education programs, which also functions as a community art studio for the surrounding neighborhood. This approach to professional education requires an innovative combination of theory, methods, and materials as enacted by the professionals involved and performed by the students. This storefront classroom utilizes collaborative and inclusive instructional practices that promote human and community development. It facilitates the use of innovative instructional strategies including art making and participatory dialogue to create a liminal learning space that reconfigures professional education. In researching the effectiveness of this storefront classroom, we share the voices of students who have participated in this third space as part of their coursework to underscore these principles and practices.

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“…I strove to form alliances with and advocate on behalf of the young people to open opportunities and expand participation. For the young people, shared goals included increasing leadership, offering paid opportunities, (Moon & Shuman, 2013;Timm-Bottos, 1995), enabling social support, and providing resources (Ottemiller & Awais, 2016). Aims for all participants were to reduce stigma (Ottemiller & Awais, 2016) and widen educational discourse (Hamrick & Byma, 2017;Talwar et al, 2004).…”

Section: Project Valuesmentioning

confidence: 99%

Breaking Bars: Community-Based Art Therapy Mural Project

DelliCarpini

2020

Art Therapy

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This article details a community-based art therapy mural project with young people involved in New York City's justice system. To address the racial and economic oppression they confront, the project aimed to increase social bonds and create social power shifts within a collective community. Examples from two projects, Good Art: Bad City and Welcome to Our World, demonstrate ways to mitigate power differentials, facilitate community conversations, provide therapeutic benefits, and institute advocacy efforts.

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ArtStreet: Joining Community through Art

Cited by 23 publications

References 1 publication

Community-Based Art Studios in Europe and the United States: A Comparative Study

Community-Based Art Studios in Europe and the United States: A Comparative Study

Learning in Third Spaces: Community Art Studio as Storefront University Classroom

Breaking Bars: Community-Based Art Therapy Mural Project

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