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Department of Health. 2014. “Mental Health of Young People in Australia”. Department of Health. Accessed May 25, http://www.health.gov.au/internet/main/publishing.nsf/content/mental-pubs-m-young.

Dugan, Lauren. 2013. “Effective Event Hashtags” Adweek. Accessed May 18,

http://www.adweek.com/digital/effective-event-hashtags.

Headspace. 2017. Headspace: National Youth Mental Health Foundation. Accessed May 18,

https://www.headspace.org.au.

Kershaw, Mel. 2016. “Top 5 tips for organising a not-for-profit event”. Eventbrite. Accessed May 18,

https://www.eventbrite.com.au/blog/top-5-tips-organising-not-profit-event-ds00.

Reach Out. 2017. Reach Out. Accessed May 23,

http://au.reachout.com.

Study.Com. 2017. “Communications Director: Job Description, Duties and Requirements”. Study.Com. Accessed May 27, http://study.com/articles/Communications_Director_Job_Description_Duties_and_Requirements.html

Triple J. 2017. Australian Broadcasting Corporation. Accessed May 21,

http://www.abc.net.au/triplej.

Whova. 2017. “How to Create a Winning Social Media Campaign for your Event” Accessed May 17,

https://whova.com/blog/create-winning-social-media-campaign-for-event.

Youthbeyondblue. 2017. Beyond Blue. Accessed May 27,

https://www.youthbeyondblue.com.

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Discipline: Professional Writing and Publishing.

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In order to make the best out of this event, each teammate will have to perform their best. I personally as a manager, I would need to gather as much information and experience from people who have been to or done an event like these as a manager. I would also be using the internet a lot to ask questions and find the answers I need. I would also need to communicate with my teammates, organizers, and celebrities coming to the event, making sure everyone is up to date with new changes and everything is running smooth.

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The gift bag idea I proposed was accepted by all the group members and many things could be added in it as suggested by my team members.

Here are some photos of how I thought the gift bag might look like.

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How to Plan a Community Festival & How to Organize a Community Festival

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How to Plan a Community Festival & How to Organize a Community Festival

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How to Plan a Community Festival : How to Organize a Community Festival

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Learn how to set up and organize a small community festival in this instructional free video on event planning. Expert: jimg Bio: Jim Goettler has extensive experience with organizations requiring a wide variety of management and interpersonal skills including special event coordination, volunteer management, fiscal oversight, g Filmmaker: Daron Stetner

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International Journal of Event and Festival Management : EmeraldInsight. (2017). Emeraldinsight.com. Retrieved 27 May 2017, from http://www.emeraldinsight.com/journal/ijefm#

expertvillage. (2017). How to Plan a Community Festival : How to Organize a Community Festival. YouTube. Retrieved 27 May 2017, from https://www.youtube.com/watch?v=DWJ4yhJPTH8

(2017). S-media-cache-ak0.pinimg.com. Retrieved 27 May 2017, from https://s-media-cache-ak0.pinimg.com/736x/6b/02/56/6b0256f1ce2714a57786493e1ed2b537.jpg

(2017). S-media-cache-ak0.pinimg.com. Retrieved 27 May 2017, from https://s-media-cache-ak0.pinimg.com/736x/09/a6/c4/09a6c42fb528c6d00f4f576c139301b9.jpg

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International Journal of Event and Festival Management

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International Journal of Event and Festival Management

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This is one of the articles I read in order to gain information and knowledge about my job at the event. This article helped me make a lot of decisions and what to do, expect and how to handle sticky situations.

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The date on your computer is in the past. If your computer's clock shows a date before 1 Jan 1970, the browser will automatically forget the cookie. To fix this, set the correct time and date on your computer.

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My role in our event is being a manager. As a manager I will be managing the whole event, communicating with others to make sure everything runs smoothly without any trouble. Also ensuring everyone's safety at the event. As a manager i need to make sure everything happening in the event runs in time and need to handle situations professionally when things go wrong. I will also keep in touch with other organisations who are coming from outside to support the event.

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Discipline: Internet Communication

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In this article I am going to introduce to you the editorial team. I will explain who is who and what are they responsible for. I will also talk about how you, the art director, should work with them and how to deal with everyday problems that you will be having when working with such a big team.
The key to success of every magazine is the working relationship between its key employees, and those are editor in chief and art director. However your relationship with your team of designers is also vital because your organizational and presentation skills are important because you and your team have to deliver the final product, that has to look good, sometimes under tight deadlines and tight budgets.

About the relationship of editor in chief and art director I will talk in one of my next articles because this topic is really important and deserves its own place on this blog.

Depending on the size of the team and the budget that is set for the publication, the individual roles may vary.

First let's start with the most important title in the publishing business. The Editor in Chief.

Editor In Chief

He or she is the key figure in every publication. Editor in chief has to be a person with great vision, because his vision and decisions are crucial for the success of the publication. Editor in chief has to be a person with many skills. First of all it has to be a great journalist. After that he has to be a great leader, because his team has to follow him on a tough and uncertain path. In today's market when magazines are closing down on a daily basis editor in chief's responsibility is even greater.

Editor in chief has to be in constant contact with an art director or creative director or design director, whatever title main designer in the publication has. As I mentioned their collaboration is vital. They have to work together to envision how the publication is going to look and feel. What tone and style will it present to its readers.

Editor in chief also works closely with other key figures in the team. He has to be in constant touch with production manager, chief copy editor, picture editor, department editors (such as; beauty editor, fashion editor, lifestyle editor...). These key figures in the editorial team have to work together so that the process of publication production runs smooth and with no delays.

They can and should have editorial meetings at least once a week if it's monthly publication and sometimes more than once a week if it's weekly publication.

Each person in this team knows its responsibilities and has its own role in publication creation.

Editor in chief is the one that has to oversee them. Sometimes it is much work so editor in chief has a deputy or assistant. The role of the editor in chief is the most important one and crucial for the success of the publication. The other person whose role is also crucial is an art director.

Art director / creative director / art editor / design director

As you can see key creative person in the publications team can have many titles, but however you call it, its line of work is the same, although the title of art director is the most common one. Art director is responsible for organization and commission of all the art work that will be included in the publication. He has to deal with its own team of designers, he has to outsource photographers, commission images with picture editor, outsource illustrations if needed, basically he is responsible for all the creative aspects of the job.

His instructions to its designers, photographers and illustrators are vital. I have talked about art director - photographer cooperation and this is how he should deal with all of them.

He has to give clear instructions to its design team. Some designer oversees every aspect of the design process and some give more freedom to their team. It all depends who is on the team. Art director generally has one deputy and he will work most of the time with him.

Art director is responsible how the magazine is going to look like. The success of the publication also depends on the design. I have seen so many times how good journalism and good publications were ruined by poor design.

Designers

Their role is to design the publication under art director's supervision and according to its instructions. Designers work closely with art director and their level of involvement and autonomy in designing material is determined by several factors.

The key factor is how much freedom will their art director give them, because some art directors like to oversee every detail of the publication design while others are happy to delegate work and check it once the pages are laid out. Senior designers have more freedom than the junior designers.

The number of pages and the time frame of publication determines the number of designers. When the time frame is short the designers will have more responsibilities and more freedom in their work.

Picture editor

Usually responsible for the commissioning of the imagery, negotiating prices for the images from the stock sites, commissioning photographers, works closely with art director and ensures that the quality of the photographic material throughout the publication is on high level.

Copy editor

This kind of editor is responsible for acquiring text articles from the outsourced writers, also is responsible for the quality of those texts. Copy editor is writing all the display copy like headlines and kickers.

Proofreaders

Their role is to check all the text materials for correct grammar and spelling. Proofreaders also cut excess copy. They work closely with a copy editor.

Production manager

This is the person that oversees the physical compilation of all the materials by setting a production schedule and makes sure that everyone sticks to it. He is responsible for the communication with the printing-house, he is setting the deadlines for the commission of the text copy, imagery, design, editing deadlines and so on.

Department editors

Each publication has different departments, such as if you are working in fashion magazine then editorial team will have fashion editor and beauty editor. These persons are responsible for their departments (sections) of the publication.

They are responsible for acquiring and writing text copy, acquiring product images for their departments and they work closely with editor in chief, art director and production manager.

These are the key positions in every publication. There are other positions but they are determined by the size of the publication, for example daily newspapers have a much bigger team than the bimonthly magazine, but even the smallest teams will have a majority of the positions explained in this article.

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In this article I am going to introduce to you the editorial team. I will explain who is who and what are they responsible for. I will also talk about how you, the art director, should work with them and how to deal with everyday problems that you will be having when working with such a big...

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Magazine editors plan, assign and review articles.

Polka Dot Images/Polka Dot/Getty Images

A magazine editor does more than correct the spelling and grammar in articles, acting as an integral part of the editorial department even before a story is assigned. Magazine editors have different titles and responsibilities, depending on how large a staff a magazine has and how the editorial department is organized. Understanding the duties of magazine editors will help you prepare yourself for a career in magazine publishing.

Editor-in-Chief/Executive Editor

The editor-in-chief is the person who works with the business, marketing and sales departments to set the editorial direction of the magazine. He works with the business executives to create an editorial vision, or brand, that creates an audience attractive to advertisers, if the magazine relies primarily on advertising for revenue. An editor-in-chief is responsible for creating attractive audiences, more so than quality content. To do this, he must deliver content that attracts a specific demographic - especially if the magazine derives significant income from subscriptions - but the end result must be delivering the right circulation. The editor-in-chief then communicates the business goals of the organization to the other editors and writers, helping to plan editorial calendars.

Editor

The editor is often the top editorial person who directly supervisors the other editors and writers. This person works to develop each issue's editorial, working with the other editors to finalize specific stories, angles and sources. The editor may or may not write articles, but reviews all articles for content before they are published. The editor often has subject expertise and contacts that allow her to shape an article's direction with the writer, down to recommending sources of information, such as industry research, organizations and sources.

Managing Editor

The managing editor manages the workflow of a magazine, creating a list of each magazine's feature, column and department stories and other editorial. The managing editor assigns articles and gives deadlines, word counts and pay rates. The managing editor also often traffics all artwork, locating it, securing it, setting budgets and working to make sure advertising materials arrive on time. The managing editor contacts all editors, writers and advertising staff before material is due to ensure they are on schedule. If she finds out that an article, artwork or an ad won't arrive on time, she will make arrangements to fill the void.

Senior/Assistant/Editorial Assistants

Large magazines have senior and assistant editors and editorial assistants. A senior editor often has an area of expertise and writes stories or works with writers in a specific area. For example, a senior editor at a golf magazine might cover equipment, the pro tour or golf vacation destinations. A senior editor might also be an editor with broad knowledge who can "float" among the magazine's different sections. An assistant editor works with the main editor, or an editorial department head, working to write articles or edit articles when they arrive from freelance contributors. Editorial assistants are often a step up from interns, providing support to editors, performing research, proofreading copy, fact-checking completed stories and writing short articles.

Writing and Editing

Some editors write stories for the magazine, taking assignments from the editor-in-chief, editor or managing editor. They may be responsible for pitching article ideas to senior editors. Most editors proofread and edit stories. Proofreading entails looking for objective errors, such as typos and grammatical errors. Story and line editing consists of improving the copy by rewriting sentences to make them flow better, organizing content to make the piece more logical, removing information that's not necessary, contacting the writer to ask for more information or editing to make sure an article fits in the allotted space.

About the Author

Sam Ashe-Edmunds has been writing and lecturing for decades. He has worked in the corporate and nonprofit arenas as a C-Suite executive, serving on several nonprofit boards. He is an internationally traveled sport science writer and lecturer. He has been published in print publications such as Entrepreneur, Tennis, SI for Kids, Chicago Tribune, Sacramento Bee, and on websites such Smart-Healthy-Living.net, SmartyCents and Youthletic. Edmunds has a bachelor's degree in journalism.

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A magazine editor does more than correct the spelling and grammar in articles, acting as an integral part of the editorial department even before a story is assigned. Magazine editors have different titles and responsibilities, depending on how large a staff a magazine has and how the editorial department is organized.

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Arts Ad Mental Health Exhibition.
http://nswmentalhealthcommission.com.au/sites/default/files/publication-documents/Submission%20-%20Art%20and%20mental%20health%20-%2022%20Jan%202016.pdf.

Foundation For Art And Healing.
https://www.youtube.com/watch?v=NVXK3p42aHU#action=share.

Grants Support Youth Engagement Projects.
https://www.mediastatements.wa.gov.au/Pages/Barnett/2017/01/Grants-support-youth-engagement-projects.aspx.

Healthy Minds Network.
https://www.loddonhealthyminds.com.au/tag/art-competition.

The Mindful Movement. Guided Meditation for New Beginnings And Habit Change.
https://www.youtube.com/watch?v=1VgMbYujjS8&list=PL_Nmead8bS_jHslo4Qay2a0QWnHtS94at&index=3

US National Library Of Medicine National Institutes Of Health.
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2736519/

We've Got Your Back.
http://www.lwb.org.au/about-us/news-and-events/art-without-barriers/

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Not sure how to format on Padlet, but here's my list.

About mental illness. 2017. Children of Parents with a Mental Illness. Accessed May 20,
http://www.copmi.net.au/kids-young-people/about-mental-illness.

Act Belong Commit. 2017. Act Belong Commit. Mentally Healthy WA. Accessed May 20,
http://www.actbelongcommit.org.au.

Beyondblue. 2017. Beyondblue. Beyond Blue Ltd. Accessed May 20,
https://www.beyondblue.org.au/.

Department of Health | Mental Health Programs. 2015. The Department of Health. http://www.health.gov.au/internet/main/publishing.nsf/Content/mental-progs.

Headspace National Youth Mental Health Foundation Ltd. 2017. Headspace. Government of Australia. Accessed May 20,
https://www.headspace.org.au/.

Kids Helpline. 2017. Kids Helpline. Yourtown. Accessed May 20,
https://kidshelpline.com.au/.

KidsMatter. 2017. KidsMatter. Government of Australia, Beyond Blue, The Australian Psychological Society, The Principals Australia Institute, Early Childhood Australia, and The Government of Australia. Accessed May 20,
http://www.kidsmatter.edu.au.

Lifeline Australia. 2016. Lifeline Australia. Lifeline Australia. https://www.lifeline.org.au/.

Smiling Mind. 2017. Mindfulness Meditation. Smiling Mind. Accessed May 20,
https://smilingmind.com.au/.

WhatWorks4U.org. 2017. WhatWorks4U.org. The Population Mental Health Group. Accessed May 20,
http://whatworks4u.org/.

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#wheresyourheadat?
A good event needs a great hashtag for social media.
It can be used to promote the event and to document it as it goes. It's great for evaluating the reach of the event online. Need to be on all forms of printed and online communication. Needs to be unique, memorable, intelligible and short.
http://www.adweek.com/digital/effective-event-hashtags/

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The 'Contemplate' zone will offer additional information and services for young Aboriginal and Torres Strait Islander people and those who identify as LGBT, as they are considered at high risk of mental health issues. (Beyond Blue 2017)

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Gov mental health programs (http://www.health.gov.au/internet/main/publishing.nsf/Content/mental-progs)

headspace (https://www.headspace.org.au/)

beyondblue (https://www.beyondblue.org.au)

Kids Matter (http://www.kidsmatter.edu.au/)

Kids Helpline (https://kidshelpline.com.au/)

Act Belong Commit (http://www.actbelongcommit.org.au/)

Lifeline (https://www.lifeline.org.au/)

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The social media strategy needs to be incorporated into the Communications plan. There would need to be a national strategy and one for each location. Graphics would be provided by Thea.
https://whova.com/blog/create-winning-social-media-campaign-for-event/

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Being able to communicate with all people and understand how each person's needs can differ based on their background. I will be open to learning from new perspectives without judgement, and offer my opinion if wanted.

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For people interested in further reading in the 'Contemplate' zone.

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Develop a comprehensive media pack in collaboration with Thea.
http://nonprofitpr.org/developing-a-nonprofit-press-kit/

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Early on in the planning process start to contact several celebrity ambassadors via their agents.
Suggestions from the planning group included Joel Creasy, Ruby Rose, Mathew Mitcham, Hannah Gadsby, Tom Ballard, Mathew Colwell, Dave Leaupepe, Tash Sultana, Michael Walters, Zoe Marshall, DJ Tigerlily

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Involving other organisations on the day.
https://www.youthbeyondblue.com/
http://au.reachout.com/
https://www.headspace.org.au/
http://www.abc.net.au/triplej/

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Communication is the key! Keeping lines of communications open with key stakeholders throughout the planning process.
Working closely with Jibril.

https://www.eventbrite.com.au/blog/top-5-tips-organising-not-profit-event-ds00/

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I will have the opportunity to work with Sophie and Michelle in this aspect of the guide. Advertising material will comprise of
- Event sponsor promotion, including Information about mental health support services and initiatives.
- Promotion of health and wellbeing related businesses and organisations, e.g. gyms, social clubs, health food companies.
- Promotion of event merchandise available for purchase at the festival.

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This section of the guide will give me the chance to collaborate with zone Project Managers, Carol and Corey; Communications Director, Michelle; and Event Manager, Jibril to produce the following:
- Detailed event schedule;
- Map of venue (including all amenities, first aid, security, parking etc);
- Vouchers for redemption at participating vendors.

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Adobe. 2017. “Adobe InDesign CC.” Adobe Systems Software Ireland Ltd. Accessed May 17 , http://www.adobe.com/au/products/indesign.html.

Ashe-Edmunds, Sam. 2017. “A Magazine Editor’s Responsibilities.” Chron. Accessed May 23, http://work.chron.com/magazine-editors-responsibilities-7655.html.

Atkinson, Carol. 2017. “[Lost In My Head by Shinnay Atkinson 2015]”. Padlet. Accessed May 22, https://media.padletcdn.com/v13/image/a_exif,c_limit,dpr_2.0,h_521,w_1093/https%3A%2F%2Fpadletuploads.blob.core.windows.net%2Fprod%2F195032451%2Fb7a01001e15a2cea7f27db6d40ea110e%2FIMG_3102.jpg.

Atkinson, Carol. 2017. “[Reflection by Shinnay Atkinson 2014]”. Padlet. Accessed May 22, https://media.padletcdn.com/v13/image/a_exif,c_limit,dpr_2.0,h_521,w_1093/https%3A%2F%2Fpadletuploads.blob.core.windows.net%2Fprod%2F195032451%2F4cf19ead12996c543eb5e6448777fcb6%2FIMG_3101.jpg.

Beyond Blue Ltd. 2016. "Personal Stories." Beyond Blue Ltd. Accessed May 17, https://www.beyondblue.org.au/connect-with-others/personal-stories.

Blurb. 2017. “Choose a Format.” Blurb. Accessed May 17, http://au.blurb.com/formats.

Claire, “Speaking and Writing About Mental Illness,” Mind (blog), June 30, 2015, https://www.mind.org.uk/information-support/your-stories/speaking-and-writing-about-mental-illness/.

Fringe World. 2016. Fringe World 2016 Festival Guide. Issuu. Accessed May 25, https://issuu.com/artrage/docs/fringe_world_2016_festival_guide.

Garrett, Thea. 2016. “Thea”. Personal Photograph Collection. C:\Users\Thea\Pictures\.

Headspace National Youth Mental Health Foundation. 2017. "Young People: Real Stories." Australian Government Department of Health. Accessed May 17, https://www.headspace.org.au/young-people/?category=5.

Mind. 2017. “Your Stories.” Mind. Accessed May 25, https://www.mind.org.uk/information-support/your-stories/.

Nikola. 2013. “Meet the Editorial Team.” Magazine Designing, March 26. http://www.magazinedesigning.com/meet-the-editorial-team/.

Snapshot of Mental Health and Suicide Prevention Statistics for LGBI People. 2016. National LGBTI Health Alliance. http://lgbtihealth.org.au/wp-content/uploads/2016/07/SNAPSHOT-Mental-Health-and-Suicide-Prevention-Outcomes-for-LGBTI-people-and-communities.pdf.

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A not-for-profit organisation that provides a mindfulness meditation app.

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Our leading workplace program is used by companies like IBM, Australian Government & the AFL. It enables staff to develop skills to manage their mind more effectively using the tool of mindfulness and in doing so, support stress management², develop focus³, and increase connections⁴ within life at work and at home.
About our Workplace Program

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Our leading workplace program is used by companies like IBM, Australian Government & the AFL. It enables staff to develop skills to manage their mind more effectively using the tool of mindfulness and in doing so, support stress management², develop focus³, and increase connections⁴ within life at work and at home.

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I will be collaborating with Sophie - she will provide all the mental health facts that the zone shares.

I will be working with Carol to showcase some of the artwork done in the 'Create' zone.

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Effective communication will be key for the successful production of the event guide. The guide will play an important role in presenting the festival's position as wholly supportive of youth mental health and wellbeing and its goals of raising awareness and funds for the cause, and content will be designed to communicate to a specific audience; largely young people at risk of or living with mental illness, as well as their supporters. Mental illness does not discriminate; and it is evident that certain groups of young people are at a higher risk of being affected by mental health issues, such as those that identify as belonging to a minority culture. For example, youths identifying as LGBTI are five times more likely to attempt suicide than the general population (National LGBTI Health Alliance 2016, 4). It is therefore vital that the guide is presented as diverse and inclusive to accurately represent the audience it is targeting. I will also need to engage good communication practices for the extensive collaboration I will participate in with my colleagues in the editorial team and the CAP10A team. In line with the ethics of Professional Writing and Publishing, I will need to ensure that the language used in the guide and within the working environment is inclusive and respectful.

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The articles connected to this post gave a basic overview of an editor's role. It made me realise that creating the event guide would be involve a team effort. I anticipate the editorial team to comprise of:
- Executive Editor
- Art Director and Designers
- Contributing Editor
- Production Manager
As it is only a small publication with a small editorial staff, there would be some overlap of roles, for example, I would be acting as a contributing editor as well as executive editor.

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I feel that Corey and I could work together as our particular 'Create' and 'Contemplate' zones have many similarities as far as therapy for mental health issues on a more holistic approach.  As I have attended many workshops and weekend healing retreats held by qualified speakers and teachers. I believe my sound knowledge would be of some benefit to Corey's zone.

Example For Corey: The Mindful Movement - Guided Meditation For New Beginnings And Habit Change
https://www.youtube.com/watch?v=1VgMbYujjS8&list=PL_Nmead8bS_jHslo4Qay2a0QWnHtS94at&index=3

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Figure 2: "Lost In My Head by Shinnay Atkinson 2015" (Atkinson 2017).
This piece is proposed for the cover artwork.

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Figure 3: “Reflection by Shinnay Atkinson 2014" (Atkinson 2017).
This piece is proposed for the cover artwork of the guide.

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Here is an example of how I envision the art competition and workshop to be formatted

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Displaying items by tag: art competition

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This year the Network aims to challenge entrants to consider art work that represents colours as a reflection of good mental health. The 2015 Art Competition will be held during Mental Health Week in October, and has two categories, a school section (ages 14-18) and an open section (ages 18 and over).

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This group event I hope would ideally put a spotlight on mental health and wellbeing and initiate organisations that are passionate about raising awareness and give support to young people with ongoing mental health concerns .  Both at the ground level in communities and nationally via social media. I will collaborate with Michelle our Events Coordinator in regards to the social media aspect, as this is her area of expertise

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Aimed at educating children and young people who are affected by mental health issues (not necessarily themselves, could be a family member).

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These short videos can help you to understand your parent's mental illness and how it affects their behavior. What mental illness is, about different types of mental illnesses ('diagnoses'), whether your parent will get better, and how to look after yourself too.

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A website dedicated to young people for sharing information or treatments on what has helped them with their mental health

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Example entry form for the art competition and display of exhibition.  I will be looking at collaborating with Thea and get her input into the design aspect of this entry form, as she has the sound knowledge as Editor for the event.

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Importance Of Art For Healing And Wellbeing In Mental Health

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Importance Of Art For Healing And Wellbeing In Mental Health

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This project is of great importance to me, as I am passionate in wanting to help others, especially our younger generation in coping with and owning these dark emotions. If there is one standout thing my art and discipline has taught me and opened my eyes to, is how  the power of art can help a person cope and heal when they struggle with expressing themselves through verbal communication.  You do not need to be an artists to create and express yourself.  Within all of us lives an artists as long as we are allowed to tell our stories through our emotions by art in all its modalities.  I will use my discipline to help people create and bring out emotions and expressions of their inner self through this Community Art Project.

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One in four young Australians aged 16-24 years had amental disorder in 2007, according to figures released today by the Australian Bureau of Statistics. Anxiety disorders were the most common, affecting 15% of young people, with Post Traumatic Stress Disorder the most commonly experienced Anxiety disorder (8%).

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'Mental Health' is prevalent amongst our youth.  Art has shown to be a great contributor to help cope.  As in these three  examples  by  Shinnay Atkinson, who relates to depression and anxiety through her own personal battle.

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Content Idea: Nourish, Create, Contemplate, Participate.

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Content Idea: Nourish, Create, Contemplate, Participate.

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Featured sections for all festival zones, including highlighted events, activities and presentations. The event guide will provide the opportunity to collaborate with team members Corey and Sophie (Contemplate), and Carol (Create), to focus on presenting area specific information and creative material, such as images of art to be exhibited at the festival and works proposed for the cover artwork of the guide, for example, these pieces by emerging youth artist Shinnay Atkinson (pictured below).

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The 'Where's Your Head At?' Event Guide 

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The 'Where's Your Head At?' Event Guide 

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- A comprehensive guide to all festival events, workshops and amenities.
- It will provide information about the festival's objectives: to raise awareness of youth mental health issues, promote good health and wellbeing, and raise funds for the cause.
- It will acknowledge all supporting charities and organisations involved, including traditional owners of the land that the festivals are held on.
- The guide will seek to give a voice to young people who have been impacted by mental health issues, by featuring contributions from emergent writers and artists.
- It will serve as a piece of memorabilia of the festival.

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I have considered using Adobe Creative Cloud software to produce the event guide, as it has a range of user friendly applications for desktop publishing and editing; in particular, Adobe InDesign will be useful for design and layout. I propose that the guide is produced using Blurb, a self publishing company that features an Adobe InDesign plug-in. Blurb gives the option to publish in high quality print and digital editions, and the event guide will be published in both formats. As the festival is going on a nation wide run, different editions of the event guide will be released for each state. I will need to collaborate with festival co-ordinators to deduce distribution numbers, based on expected attendance. I intend to make the guide available a month in advance of the event by digital download, as a lift-out in local newspapers and for collection from places that young people frequent. This will not only help to promote the event, it will allow attendees to plan their visit and maximise their festival experience.

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Your stories | Mind, the mental health charity - help for mental health problems

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Blogs and stories can show that people with mental health problems are cared about, understood and listened to. We can use it to challenge the status quo and change attitudes.

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Get guided search headspace information about mental health, general health, alcohol and other drugs and work and study issues.

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Sharing your story can be an opportunity to download your thoughts and feelings and help others by providing hope and encouragement.

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Example of an Event Guide - Fringe Festival 2016

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Example of an Event Guide - Fringe Festival 2016

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This festival brochure gave me some insight into what to include in an event guide.

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FRINGE WORLD Festival returns to Perth Western Australia from 22 January to 21 February 2016.

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Create and publish a book, magazine or ebook with Blurb's self-publishing platform. Sell & distribute globally with print on demand or offset printing

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US National Library Of Medicine National Institutes Of Health

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US National Library Of Medicine National Institutes Of Health

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Interesting article from Dr Terry Rustin. He speaks of how incorporating art and psychotherapy together has helped patients cope better with their overall wellbeing when having to face mental health issues.

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Language: English | German

Abstract

Objective: Artwork and psychiatric disorders are often linked. Accomplished artists with psychiatric disorders express themselves and their emotional distress through their works, and art therapists use the visual arts to help clients understand their problems and cope with them. There have been a number of psychiatric patients with no previous art training who produced artwork that many consider museum-worthy (Art Brut, or Outsider Art.) For the past two years, I have used artwork in another way: to better understand my clients and their psychiatric disorders.

Methods: Presented here are paintings I have made about the mental illness experience of some of my clients, all well known to me through their therapy. It is a form of visual psychodrama, in which I reverse roles with the client through the paintings. My goal has been to experience the stresses felt by my clients so that I can understand them better.

Results: The paintings have served as a point of embarkation for therapy sessions, as a means of clarifying a client's experience, and as a way to show clients that their therapist is attending to what they say. Countertransference undoubtedly plays a role in my choice of clients and their portrayals, but the intent is to help me better understand the clients' experiences.

Included here are images of some of these paintings with a short psychiatric history of the client about whom they were made. Accompanying each one are responses from the clients upon viewing "their" paintings, and a discussion of the client's psychiatric disorder.

Conclusions: Making these paintings has helped me understand better the feelings of isolation, rejection, loss, and alienation that many of my clients experience every day. In turn, they tell me that viewing the paintings is an intense experience for them as well. As an outsider artist, I must leave it to the viewer to determine whether or not these paintings qualify as "art."

Keywords: art, Art Brut, Outsider Art, psychotherapy, painting, mental illness

Abstract

Ziel: Bildende Kunst und psychische Erkrankungen sind häufig miteinander verknüpft. Erfahrene Künstler mit psychischen Erkrankungen äußern oft sich selbst und ihre emotionale Notlage durch ihre Werke, und Kunsttherapeuten verwenden die bildende Kunst, um Patienten zu helfen, ihre Probleme zu verstehen und mit ihnen besser umzugehen. Es gab eine Reihe von psychiatrischen Patienten ohne vorherige Ausbildung, die Kunst produzierten, die man als museumswürdig betrachten kann (Art Brut, Außenseiter-Kunst). In den letzten zwei Jahren habe ich die Kunst in einer anderen Art und Weise verwendet: nämlich, um meine Patienten und ihre psychischen Erkrankungen besser zu verstehen.

Methoden: Die hier vorgestellten Gemälde habe ich über die Erfahrungen mit der psychischen Krankheit einiger meiner Patienten gemalt, die ich aus ihren Therapien gut kenne. Ich sehe das als eine Form des visuellen Psychodramas, indem ich durch die Bilder meine Rolle mit den Patienten tausche. Mein Ziel ist es, meine Patienten dadurch besser verstehen zu können.

Ergebnisse: Die Bilder dienten als Ausgangspunkt für die Therapie, als ein Mittel zur Klärung des Erlebens des Patienten und als ein Weg, Patienten zu zeigen, dass ihre Therapeuten an dem, was sie sagen, auch wirklich Anteil nehmen. Gegenübertragung spielt eine wichtige Rolle bei meiner Wahl der Patienten und ihrer Beschreibungen, aber die wichtigste Absicht ist es, mir zu helfen, sie besser zu verstehen.

Dargestellt sind einige dieser Bilder mit einer kurzen Geschichte der psychiatrischen Patienten. Daneben sind dann jeweils die Reaktionen der Patienten auf "ihre" Bilder, und eine Diskussion über die psychische Störung der jeweiligen Patienten.

Schlussfolgerungen: Das Malen dieser Bilder hat mir geholfen, die Gefühle der Isolation, der Ablehnung, des Verlust und der Entfremdung, die viele meiner Patienten jeden Tag erleben, besser zu verstehen. Dazu kommt noch, sagen mir viele der Patienten, dass das Betrachten der Bilder eine intensive Erfahrung für sie ist. Als Außenseiter-Künstler muss ich es dem Betrachter überlassen, ob diese Bilder als "Kunst" angesehen werden.

Introduction

The thoughts, beliefs, values, and emotions of artists are inescapably represented in their work - and on some occasions, intentionally depicted. Three of the more familiar connections between art and the functions of the mind are the ways in which artists express their own thoughts, feelings, and mental distress in their paintings; the use of art to help individuals with mental disorders; and the occasional emergence of a person with mental illness, untrained as an artist, who proves to have a unique artistic vision.

Several notable artists with psychiatric disorders have expressed their thoughts and moods in their artwork. Mark Rothko, Edvard Munch, and Bernard Buffet stated that their artwork reflected their depressed mood. Art historians and writers have interpreted the paintings of some artists (including Paul Cézanne, Vincent van Gogh, and Jackson Pollock) as showing evidence of a psychiatric disorder [ 1].

Psychotherapy clients are often at a loss to describe how they feel. The discipline of art therapy is devoted to helping individuals express themselves without the need for language or logic; their lack of artistic skill or training is no barrier to self-expression [ 2].

A few individuals with mental disorders have produced works that have gained the attention of artists, art dealers, art historians, collectors, and curators. Jean Dubuffet called their work "Art Brut," ("rough art," or "coarse art") [ 3]. Roger Cardinal later defined a category he called "Outsider Art," which included Art Brut and also the work of folk artists, primitive artists, and untrained artists without mental illness who were indifferent to the prevailing culture. Outsider artists, as defined by Cardinal, are not influenced by the art establishment, and are free of the restraining conventions of traditional art [ 4].

I have found another intersection of art and the mind: artwork produced by the psychotherapist with the emotional experience of the client as the subject. For the last two years, I have been making paintings depicting the depression, mania, psychosis, and compulsions of my clients. The paintings have become part of the bond between us, and are integrated into our psychotherapy. My initial purpose was to enter into the clients' world of mental illness to help me understand it better. The paintings have done that, and more - they have helped the clients by making tangible their intangible experiences.

This paper explores the intersection of art and the functions of the mind, and concludes with a discussion of the paintings I have made.

Artists with mental illness

In 1792, Francisco Goya (1746-1828) fell desperately ill with a fever and mental confusion; he may have had encephalitis. Upon physical recovery, he still suffered with episodes of hallucinosis, depressed mood, and emotional outbursts. Goya then set about depicting mental illness and those who suffer with it in a series of etchings ("Los Proverbios" or "Los Disparates," 1815 through 1824, Link 1). He never exhibited these etchings, and they were not published until 40 years after his death.

Paul Cézanne (1839-1906), who had repeated bouts of depression, revealed his depressed mood in a number of canvases. These include:

Vincent van Gogh (1853-1890), had episodes of depression, episodes of expansive and frenetic mood, and episodes of hallucinations; he died by his own hand. His physicians blamed absinthe and a seizure disorder for his mental illness; he has been posthumously diagnosed with a variety of disorders, including bipolar disorder [ 5]. His mood swings, his recurring obsession with death, and his psychotic perceptions can be seen in many of his works.

Paintings and drawings describing his psychiatric hospitalizations include:

"Stone steps in the garden of St. Paul's Hospital at Saint-Rémy" ( Link 11)

"Vestibule of St. Paul's Hospital at Saint-Rémy" ( Link 12)

"Window of Vincent's studio in St. Paul's Hospital at Saint-Rémy" ( Link 13)

Evidence for depressed mood and obsession with death is found in the following works:

Evidence for hallucinations and delusions can be seen in these paintings:

Evidence for mania and mixed mania is seen in:

Several Post-Impressionists are known for expressing their mood disorders in their work. The best known single work is "The Scream" by the Norwegian Edvard Munch (1863-1944), of which there are a number of versions ( Link 27). "The Scream" shows a desperate man, shrieking in his despair. Many of Munch's other paintings also express the depressed and hopeless mood that tormented him throughout his life, his obsession with death, and his overwhelming fears. These include:

The frenzied images of Jackson Pollock (1912-1956) appear to reflect his inner turmoil. Alcohol dependent and never able to stay sober for long, constantly depressed and frequently suicidal, he died in a one-car crash. A film of him painting shows him working at a hectic pace; he appears to be expressing his internal chaos on the canvas before him ( Link 38). Examples include:

Bernard Buffet (1928-1999) suffered with depression, and often depicted himself in a depressed state in his paintings, including "Self portrait in the bathroom" ( Link 44); "Self portrait #4 1981" ( Link 45); and "La mort (Death)" ( Link 46; Link 47).

Bryan Charnley (1949-1991) lived with schizophrenia; his medication controlled most of his symptoms but limited his creativity. He deliberately stopped and started medication in order to fully experience his illness and to record it in his paintings ( Link 48). As with van Gogh, Charnley's self-portraits show his progression through psychosis ( Link 49), and like van Gogh, he died by his own hand.

Cézanne, Buffet, and Rothko suffered with depression, van Gogh with depression and mood swings, Munch and Pollock with depression and alcohol dependence, Charnley with schizophrenia. This raises the question of whether or not artists are more likely to be mentally ill than other people.

Artists, psychologists, and sociologists have weighed in on this topic for more than 200 years, without a resolution. Benjamin Rush (1745-1813), the "Father of American Psychiatry", thought a connection between mental illness and artistic creativity was likely [ 6]. The Italian criminologist and psychiatrist Cesare Lombroso (1836-1909), theorized that artistic genius was also a form of mental illness, publishing these ideas in his book "Genio e Follia" (Genius and Madness), in 1894 [ 7]. Arnold Ludwig has reported that highly creative individuals are twice as likely to have significant psychopathology as noncreative ones [ 8], although a connection with alcohol dependence was not apparent [ 9]. Ludwig has asserted that being mentally ill contributes to the creativity of the artist [ 10]. Kay Jamison has written extensively that the core elements of the "artistic temperament" as identical with the core elements of bipolar disorder [ 1].

There is even disagreement over the advisability of treating creative individuals with mental illness. Rothenberg asserted that individual with bipolar disorder are more creative than others, and advised caution in the use of treatments that could inhibit their creativity [ 13].

Artists depicting mental illness in their work

Charles Louis Lucien Muller (1815-1892) documented one of the seminal events in psychiatry, Philippe Pinel ordering the chains of the mentally ill inmates at the Bicêtre Asylum in Paris removed ( Link 51). A few years later, Pinel did the same for the inmates of La Salpêtrière, shown in an equally well-known painting by Tony Robert-Fleury (1838-1912) ( Link 52).

Jean-Etienne Dominique Esquirol (1772-1840), who succeeded Philippe Pinel at La Salpêtrière, illustrated his 1838 text Traité des maladies mentales considérées sous le rapport médical, hygiénique et médico-légal ( A treatise on mental disorders with consideration of their medical, health and forensic aspects) with dramatic etchings of mentally ill patients by the artist Ambroise Tardieu (1818-1879) ( Link 53, Link 54).

Charles Bell (1774-1842), born in Scotland, used his skill as an anatomist and an artist to make some of the finest surgical atlases of the day; he described the VII th cranial nerve palsy that carries his name. Bell sympathized with the condition of mentally ill patients, and made a number of etchings showing the degrading conditions in which they were kept in England ( Link 55).

Suicide has been depicted in many paintings, usually with a historical or literary perspective. The Biblical story of the suicide of Saul, who killed himself rather than suffer humiliation, was painted by Pieter Breughel the Elder (1525-1569) ( Link 58; Link 59). Botticelli (1445-1510) depicted the legend of Lucretia, who killed herself after having been raped by the king's son ( Link 60). Titian, Rembrandt, Veronese, and Raphael have also made paintings showing Lucretia's rape, her suicide, or the overthrow of the king that followed. Cleopatra's suicide using an asp has been painted by Giovanni Francesco Barbieri (1591-1666) ( Link 61), and by Jean André Rixens, Guido Reni, and Reginald Arthur. The suicides of Romeo and Juliet in Shakespeare's play have been painted by Joseph Wright (1734-1797) ( Link 62), and by Frederic Leighton and Johann Heinrich Füssli. The suicide of Socrates was the subject of a great painting by Jacques-Louis David (1748-1825), painted during the French Revolution, that acclaimed Socrates' choice of death with honor ( Link 63) - one of the themes of the Revolution. Edouard Manet (1832-1883) painted an unusual picture of a man in evening dress who has just shot himself in the abdomen and fallen onto his bed ( Link 64). Manet may have been despondent over the suicide of a friend and fellow painter [ 15].

Ric Hall and Ron Schmitt collaborate in pastels and have many works that reflect serious mental illness, including major depressive disorder ("Depression", 2001; Link 65); delusions ("Inner demons", 2002; Link 66), alcohol dependence and depression ("Awaiting Tomorrow", 2002; Link 66), opioid dependence ("Fascination with the Pill", 2003; Link 67), and imminent death ("When Sickness And Health Are Too Much", 2007; Link 68).

Art therapy

The first documentation of art as therapy was in the mid-19 th century, in Scotland [ 16], when asylum inmates were given art materials and encouraged to draw and paint. Since then, art therapy has evolved into a professional discipline with study at the Masters level leading to certification.

Art therapy is used with hospitalized patients with severe and persistent mental illness, inpatients with depression and anxiety disorders, and outpatients with any emotional disorder. Some addiction recovery programs use art therapy, as do programs for autistic children, incarcerated prisoners, and multi-lingual programs where verbal exchange between clients is limited ( Link 69).

Art brut and Outsider Art

The concept that the paintings, drawings, and constructions of individuals under treatment for mental illness might have artistic merit dates from the late 19 th century. Cesare Lombroso (cited above for his controversial theories on creativity and mental illness) collected the artwork of patients at the mental hospital he directed, and published a treatise on his collection, L'Arte Nei Pazzi ( The Art of the Insane), in 1880. Emil Kraepelin (1856-1926), one of the fathers of biological psychiatry, began a collection of drawings and paintings done by psychotic patients at the hospital of the University of Heidelberg, Germany, beginning around the turn of the 20 th century. When Hans Prinzhorn (1886-1933) became the superintendent of the hospital, he expanded the collection, and in 1922 he published an account of it, Bildnerei der Geisteskranken ( Artistry of the Mentally Ill) [ 20]; the collection eventually contained 5000 items. At about the same time, in Switzerland, Walter Morgenthaler published Ein Geisteskranker als Künstler ( A Psychiatric Patient as Artist), describing the drawings of one of his patients, Adolf Wölfli.

Jean Dubuffet (1901-1985), a talented but inconsistent painter ( Link 72) and sculptor ( Link 73), became intrigued with the concept of art produced by individuals with mental illness. After the end of World War II, Dubuffet sought out these untrained, socially marginalized, and emotionally troubled artists and began collecting and showing their work. Critics maintained that the works produced by these psychiatric patients were not art at all, but only technical productions; Dubuffet argued that the artwork spoke for itself, and was as fully "Art" as any work produced by trained artists, and especially notable because it was unaffected by the traditions of Western art, the influence of society, or any commercial interest. He named this genre "Art Brut," and organized the first public exhibition of it, "L'Art Brut Préféré aux Arts Culturels/Raw Art is Preferred to Cultural Art," in Paris in 1949 ( Link 74) [ 3]. (The collection is now housed in its own museum in Lausanne, Switzerland ( Link 75)).

Dubuffet's museum defines Art Brut as follows:

Les auteurs d'Art Brut sont des marginaux réfractaires au dressage éducatif et au conditionnement culturel, retranchés dans une position d'esprit rebelle à toute norme et à toute valeur collective. Ils ne veulent rien recevoir de la culture et ils ne veulent rien lui donner. Ils n'aspirent pas à communiquer, en tout cas pas selon les procédures marchandes et publicitaires propres au système de diffusion de l'art [ 21].

The creators of Art Brut are marginalized individuals who are resistant to the normative educational and cultural structure, who maintain an independent attitude in spite of societal norms and values. They want nothing from mainstream culture and have no interest in engaging in it. They do not wish to discuss their works, seek no publicity, and want nothing to do with the commercial aspects of art. (translation: TR)

In 1970, Roger Cardinal described as "Outsider Art" a category of artistic expression that included the work of individuals untrained in art, whose creations were spontaneous expressions of their thoughts, feelings, and beliefs - but who were not necessarily mental patients [ 4]. Outsider Art included Art Brut, folk art, primitive art, and other artwork outside of the cultural establishment. His book was viewed with skepticism by many, as in this book review by John Milner published in the art journal Leonardo: "If the author points out a land where original marvels await discovery, then he may have achieved a great deal. But he does not begin to show us how to go there or how to leave behind the culture that we know" [ 22].

Brut artists with mental illness include Adolf Wölfli, Martin Ramirez, Henry Darger, and Madge Gill.

Adolf Wölfli (1864-1930) ( Link 76), spent his entire adult life in psychiatric institutions in Switzerland, diagnosed with paranoid schizophrenia. He produced some 25,000 sketches, drawings, collages, and other images exploring his delusions and fantasies, and sometimes gave them to visitors in exchange for cigarettes or small amounts of money. In his narrative, Wölfli re-created an imaginary autobiography beginning at birth and continuing far into the future [ 23].

Martin Ramirez (1895-1963) ( Link 77), spent most of his life in a psychiatric hospital in California, and was also diagnosed with schizophrenia; he used any available scrap of paper and any available implement that would make a mark for his pictures of trains, animals, and Madonnas [ 24].

Henry Darger (1892-1973) ( Link 78) received psychiatric treatment only briefly. He lived an isolated life, without friends or family, venturing out of his apartment only to go to work. After his death, his landlord opened his apartment, and discovered a massive quantity of drawings, paintings, songs, epistles, and a novel of more than 15,000 pages, which Darger had never shown to anyone [ 25].

Madge Gill (1882-1961) ( Link 79) was never treated as a psychiatric patient, but her behavior suggests both a thought disorder and a mood disorder, and in her later years, alcohol dependence. She made complex pen-and-ink drawings of herself and her daughter in ornate gowns, in response to guidance from a spirit she called "Myrninerest," ranging in size from post cards to 30 feet long (drawn on a piece of fabric.) She rarely sold any of them, maintaining that they belonged not to her, but to her spirit guide. After her death, thousands of them were found in her home, stacked in cupboards, and piled under the bed.

The work of Wölfli, Ramirez, Darger, and Gill have been the subject of many scholarly books and papers, and numerous exhibits have focused on them [ 26], [ 27]. A Foundation at the Museum of Fine Arts in Bern, Switzerland is devoted to Wölfli's work ( Link 80). The Milwaukee Museum of Art recently mounted an exhibition of Ramirez work ( Link 81), and the American Folk Museum has established the Henry Darger Study Center ( Link 82). Nearly all of Madge Gill's drawings are owned by the Borough of Newham, London, but are not being displayed; a few are in the Art Brut museum in Lausanne.

A good example of an Outsider artist with no apparent mental illness is the French postman, Ferdinand Cheval (1836-1924). He picked up a stone on his postal route one day and brought it home. Each day he picked up more stones, and, intrigued by them, he began building a structure with them. Over the next 33 years, this became a passion (or an obsession); eventually, he brought along a wheelbarrow to carry his stones home. The flamboyant castle he created by cementing the stones together is now a French national landmark ( Link 83).

In 1976, at the age of 60, Howard Finster (1916-2001) ( Link 84), an ordained minister, received a vision commanding him to produce sacred art. He was not a mental patient; he had worked as a minister, engaged in his community, and raised a family. He had no training in art, and had never painted in his life. He said he received a a command to complete 5000 paintings glorifying the Word of God. He responded with over 16,000 works (and once completed 67 paintings in a single day). Most of these works are now on display at the museum he established for them in Summerville, Georgia ( Link 85). Although he accepted commissions (he painted album covers for the rock groups REM and Talking Heads), he remained focused on his spiritual calling - all his paintings are filled with religious images and Bible verses. He considered his commissioned album covers as part of his mission, since every person who purchased the band's album would also be exposed to his spiritual message.

Gaston Chaissac (1910-1964) ( Link 86), had a few drawing lessons in his youth, but was otherwise untrained; however, he was exposed to the work of contemporary artwork through several artists that he met, who encouraged him. He never received psychiatric treatment, although he had episodes of depression, and lived on the outskirts of society most of his life. His work clearly reflects the influence of Picasso, Kandinsky, Paul Klee, and Georges Braque, yet, he sought no professional recognition and painted strictly for himself.

The work of Franco Magnani (1934- ), the "memory artist," can also be considered Outsider Art. Magnani left his home village of Portito, Italy, when just a boy; he worked as a cook and a baker, eventually settling in San Francisco. Although he had no artistic training, he started painting scenes recalled from boyhood, which are remarkably accurate ( Link 87).

Grandma Moses (Anna Mary Robertson Moses, 1860-1961) ( Link 88), began painting in her 70s, without art instruction, and became famous for her scenes of rural life. She was called a "folk artist" in her time, indicating the coarse, plain style of her work; she can also be considered an Outsider artist.

James Ure, an untrained artist who lives with schizoaffective disorder, tells the story of his illness in paintings ("The colorful outside represents the dance of mania and the black, purple, center represents the 'black hole' of depression," Link 91), and sells prints over the internet. Ure is an example of an Outsider artist who wants to be noticed - most avoid public attention. The advent of internet publishing has made it much easier for Outsider artists to interact with the world, if they want to ( Link 92).

Greg Bottoms has written a fascinating book describing his search for Outsider artists in the American South. He describes Outsider Art in this way: "It is more often fuelled by passion, troubled psychology, extreme ideology, faith, despair, and the desperate need to be heard and seen that comes with cultural marginalization and mental unease ([ 29], p. 2)." Bottoms quotes David Fecho on Outsider artists: "All these folks lead very peripheral lives in terms of the normative social structures. They are driven by something outside of commercial success or acceptance.... They don't really care about the long-term viability of their art. Perfection of craft and vocation are not at all what drives then. What they care about is getting up every day and engaging with the materials and speaking through these materials about their lives what they mean in a grander scheme ([ 29], p. 7)."

Typically, Outsider artists paint for themselves, but not for fame or fortune. The Taiwanese artist, Hung Tung (1920-1987) ( Link 93), is an example of this; when the public became interested in buying his paintings, he retreated back to isolation and died in poverty, rather than sell his work. "At one time derided and believed insane for his obsession with painting, Hung was eventually heralded as a master," writes Victoria Y. Lu in the book, "Vernacular Visionaries." "Hung's death caused the market value of his surviving works to skyrocket and elevated his reputation as one of the most important artists of twentieth century Taiwan ([ 30], p. 93)." Similarly, when a wealthy art collector offered to buy all of Gaston Chaissac's paintings (he was penniless at the time), Chaissac turned him down, stating that he preferred his independence to wealth, and would rather have his paintings than money.

Most authors no longer find value in distinguishing between Brut artists and Outsider artists, generally preferring the latter, more inclusive term as more useful [ 36]. A more important distinction is that between Outsider Art and mainstream or establishment art. The differences lie primarily in the economics of art and the definition of mental illness in the culture of the artist - not with the art itself. The psychoanalyst Ernst Kris believed that the "artworks" of psychiatric patients were mere mechanical productions, characterized by crowded and repetitive images, psychotic symbols, delusional visions, and primitive technique [ 37]. It is true that Adolf Wölfli crammed his pictures with figures ("horror vacuui"), but so did Pieter Breughel ( Link 95) and Hieronymus Bosch ( Link 96). Hung Tung painted imaginary scenes, but so did Watteau ( Link 97) and Raphael ( Link 98). Howard Finster painted in response to a call from God, but so did Michaelangelo ( Link 99) and the anonymous monks who illuminated the Book of Hours ( Link 100). The works of John the Painter and James Ure may seem more like the work of preschool children than artists, but so do Matisse's cutouts ( Link 101) and the scribblings of Cy Twombly ( Link 102). In the light of these comparisons, Kris's criticisms appear to be based more on prevailing culture than on artistic merit.

The art of Vincent van Gogh forces us to reconsider how we categorize artists. Van Gogh spent many months in a psychiatric hospital, most likely with bipolar disorder and alcoholism, where he made many paintings with the encouragement of his brother Theo and the staff; perhaps this was an early form of art therapy, a mentally ill patient trying to find himself. He never sold a painting for more than a few sous, but this did not deter him from painting; he completed 900 paintings and 1100 drawings in just over 10 years, most of them in the last two years of his life, and he died a suicide; perhaps he should be considered a Brut artist. His artistic style differed from that of his contemporaries and was considered amateurish and clumsy by art dealers; however, many well-known artists, including Cézanne, Gauguin, and Manet, admired his work, so perhaps he should be considered an Outsider artist. Today, any of his paintings would sell for tens of millions of dollars, and he is considered a "master." In fact, van Gogh has been accorded the two ultimate accolades of an artist - art forgers have selected van Gogh as worthy of imitation ( Link 103), and his paintings have been stolen from prominent museums ( Link 104).

My paintings (all client names are pseudonyms)

The paintings I have made follow the tradition of Outsider Art. I have no formal art training nor have I attempted to sell any paintings. As with the Outsider artists discussed in this paper, my paintings are made for personal reasons - in my case, to understand more fully the emotional experiences of my clients. Some paintings depict a specific event in a client's life: a suicide attempt, a sexual assault, a physical beating, a moment in a therapy session. Some tell a more general story: the insidious creep of traumatic memories into consciousness, the feeling of panic with nowhere to run, the depths of depression, the hectic turmoil of mania. Some seek to evoke an abiding or overwhelming feeling: the uncontrollable mood swings of bipolar disorder, the intensity of depression, the joy of recovery from addiction.

These paintings are a form of role reversal in which the canvas is a stage and the image is a projection of what I feel in the role of the client. As I make the paintings, I place myself in the client's ego state and represent what I feel on the canvas. As a psychodrama therapist, I utilize role reversal techniques with clients in therapy every day; the paintings are a sort of graphical role reversal, which help me see the world from the point of view of the client. The technique of role reversal was introduced by J.L. Moreno, the creator of psychodrama therapy, which he described in this way:

...A meeting of twoEye to eyeFace to faceAnd when you are nearI will tear out your eyesAnd place them instead of mineAnd you will tear out my eyesAnd place them instead of yoursThen I will look at youWith your eyesAnd you will look at meWith mine... [ 38]

I show the paintings to clients as part of their therapy sessions, and then keep the paintings in the office, where the clients can see them again (or not), as they wish. I also show the paintings to other clients, and tell the story behind the paintings (without, of course, revealing the identity of the client about whom they were made.)

Clients have various responses to the images. In general, they express gratitude at having a painting made about them; they know that many hours are required to complete a painting, and they take it as an honor. With the first few paintings, the clients responded immediately with compliments; these statements were made out of politeness, and interfered with therapy. Since then, I show clients their painting for the first time during a session, and I ask them not to say anything at all right away. Their first comments now are about the experience and not about the "art". A common first statement is, "Yeah, that's what it's like," or "I know that feeling," or "You made this about me?" or "That's exactly what I feel like, but how could you know?" This gives us an opportunity to discuss the issues further in that session - and the next one, and the next.

When I first show a painting to a client, I check for accuracy, asking if I have interpreted and shown their story correctly; occasionally, clients want something added or changed. Since this process is about insight and understanding, not art, we discuss the best way to represent how they feel. For example, Talia felt that a bubble surrounding her ought to be added to the painting showing her isolating herself from the chaotic world in which she lives. Edith asked that a .22 caliber bullet be added to the rope, shards of glass, and blades attached to her painting, to more clearly represent her suicide attempts.

I often ask clients to bring their spouse or a family member with them when I first show them their painting, both for support and to build empathy. Significant others often lack a clear understanding of what it is like to have a mental disorder - naturally, they focus on how the mental disorder has affected them. I will ask the client, "Tell your husband what the experience shown here is all about." Using the painting as an external validation of their internal distress has helped some clients discuss their psychiatric disorders with their spouses and family members.

Clients often ask to "visit" their painting again at the end of a session, or bring their spouse or a family member to see it. I email a JPG of the picture to the client as well. They often ask to see the paintings made for other clients; they tend to make non-committal responses to paintings depicting issues not familiar to them ("uh-huh") and spend more time on those they understand; at times, they have strong reactions to stories that are much like their own. Hannah, who was sexually abused as a child, drew back on seeing and hearing about Benjy's painting ("How long would I have to spend in jail for molesting a child?"). At the subsequent visit four weeks later, she had no recollection of having seen the painting. Some clients react so strongly to their painting that they would rather not see it again. Karen said, "It's burned into my mind; I don't have to see it again." Larry said, "I want to burn that painting." On three occasions, I have had a client express a great deal of interest in a particular painting with a topic that is similar to their own story. Later, I introduced the two clients to each other client, and asked them to share the meanings of their paintings with each other. This has led to several supportive friendships between clients with similar stories.

Many of the images are frightening or depressing; after all, they express what I hear in therapy sessions, and clients do not often come to a therapist to talk about their joy and runs of good luck. Some pictures show dramatic moments, such as the moment when Larry, as a baby, was violently shaken by his abusive father. Some depict pervasive feelings, such as Carol's grief over the death of her children.

I do not imagine that I am the first therapist to use artwork in this way, but after an extensive literature search, I have been unable to find any papers discussing this use of artwork, in the medical literature, in the psychotherapy literature, or in popular literature. Surely, there have been many psychotherapists and psychiatrists who were also skilled painters, and there have certainly been many budding young artists who decided to become therapists or psychiatrists instead of professional artists - but I have been unable to find accounts of them painting with the purposes described here. The closest I have found are the paintings made by Jack Kevorkian (1928- ), the Michigan physician who advocates voluntary euthanasia; and the computer-generated art by the psychologist Don Tatro (1934-2004), drawn from his years as evaluating clients, victims, and perpetrators.

Kevorkian, who has never considered himself an artist, made a series of 18 paintings two decades ago, depicting the distress of some of his "patients." These paintings were reportedly lost in shipment and have never reappeared. Kevorkian subsequently painted another eight paintings; the originals are not on display, but reproductions of six of them are available for purchase, and can be seen at Link 105. They are quite striking, and are strongly influenced by the surrealists. One of his paintings was featured as the cover art for an album by the rock group Paegan Terrorism Tactics ( Link 106).

Tatro did not consider himself an artist, either; he was a forensic psychologist with a gift for graphic art. He created a series of computer-generated images, on view at Link 107, that describe mental illness, but without reference to particular clients. In Tatro's words: "Each is meant to depict one of the main mental disorders or, in their lesser manifestations, personality types. I have attached a little explanatory text to each image, briefly describing the kind of problem being depicted and how the image is intended to symbolize it" [ 31].

The following are images of a few of my paintings, each accompanied by a short clinical history and a DSM-IV diagnosis; I have completed 45 as of this writing. More can be found at Link 108.

Conclusion

I began painting two years ago with no purpose in mind other than to understand more completely the emotional experiences of my clients. Prior to that time, it had never occurred to me to put paint to canvas. Having had no training in painting or sculpture, I did not consider what I was doing as creating "art"; rather, I was seeking to represent an experience or a feeling. Only later did I begin to wonder what it was that I had created.

I began the study that led to this paper in 2007, and only then did I become aware of Outsider artists. These individuals create art for themselves, not for fame or profit or because their society compels them to. What their work lacks in polish and technique, it makes up for by being genuine and heartfelt. Outsider Art represents an unvarnished, direct representation of the thoughts, feelings, beliefs and experiences of the artist.

On looking around my office at the forty or so paintings displayed there, a client asked how many I had sold. The thought of selling these paintings made me feel uncomfortable, even insulted. I explained to the client that the paintings are part of my relationship with my clients, and to sell one would feel like a violation of the bond between us.

My paintings, therefore, follow in the tradition of Outsider Art such as the work of Howard Finster, Hung Tung, Madge Gill, and Francois Cheval - work created without commercial intent, for personal reasons, using readily available materials, and without professional training. And that, I am proud to say, makes me an Outsider artist.

The insights I have gained into my client's conditions by representing them on canvas has been invaluable to me as a therapist. I encourage other therapists to become Outsider artists and make a similar exploration. You do not need art lessons or any particular degree of skill; if you don't know how to paint "the right way," there will be nothing to block your creativity or undermine your authenticity. Outsider artists blaze their own trail, and since no one has ever taken their exact path, the journey will be unique.

Notes

Acknowledgements

The author is grateful to Mr. Peter Frey of Vienna and New York City, who translated the abstract into German.

Grant support

This paper was written without grant support.

Conflicts of interest

None declared.

Copyright

International copyright to the images of the author's paintings, contained herein, is retained by the author.

References

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Using artwork to understand the experience of mental illness: Mainstream artists and Outsider artists

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Language: English | German Objective: Artwork and psychiatric disorders are often linked. Accomplished artists with psychiatric disorders express themselves and their emotional distress through their works, and art therapists use the visual arts to help clients understand their problems and cope with them.

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Many who suffer with mental health concerns, find they are able to manage their emotions through art.  It allows them to connect on a spiritual level and in so doing are able to begin the process of healing.

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Art Without Barriers - Exhibition Event " Life Without Barriers

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This week our Art Without Barriers program has an exhibition event in the Perth Area. It is being held at 535 Carrington Street, Hamilton Hill from 10am-2pm from the 6th until the 11th November 2015. It is a great opportunity to showcase the amazing work and talent of the artists.

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This short youtube video narrated by doctors expressing the importance of art therapy and those people coping with mental health shows how art has helped them express their feelings through various art modalities.  This illness does not discriminate but brings people and their communities together.  Art has been known to be used as a holistic form of healing for centuries, long before medicine and therefore is seen as medicine to those living with this silent alien within.

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A great video by The Foundation For Art & Healing (artandhealing.org). Created by Awakened Films (awakenedfilms.com). If you like this video please support them.

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It will be my job as Art Curator for the event to put together a space for an art competition relating to self expression, as well as an art exhibition by emerging artist.  Along with this, I will be holding an art workshop highlighting self expression by youths to display their artworks which will showcase their feelings and emotions through the art they have created.  The bringing together of the aesthetics of art and wellbeing.

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Discipline: Fine Arts and Visual Culture

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http://www.health.gov.au/internet/main/publishing.nsf/content/mental-pubs-m-young

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Figure 2: Shinnay Atkinson,
Mirror Image. 2015, Oil on Canvas, Perth, WA.

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Figure 1: Shinnay Atkinson, Lost In My Head. 2015, Ink on Paper, Perth, WA.

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Figure 3: Shinnay Atkinson, Reflection. 2014 Acrylic on Paper, B Perth, WA.

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Planner/Supervisor of the 'Contemplate' zone
I will be the planner and supervisor of the ‘Contemplate’ zone. This position will see me providing people with information about mental health and mental health services. The ‘Contemplate’ zone offers people a place to chill, meditate, or partake in mindfulness workshops. I will be managing the zone and will answer any questions people may have regarding mental health, mental health services, and the zone.

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Content Idea: An Opportunity for Young Writers and Artists to Contribute

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Content Idea: An Opportunity for Young Writers and Artists to Contribute

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One of the aims of the festival is to reduce the stigma that surrounds living with mental illness. To encourage this the 'Where's Your Head At?' Event Guide will seek contributions from a diverse group of young people expressing their personal experience with mental health. To do this I will collaborate with the projects Director of Communications, Michelle, to reach out to young people via schools and social media. The guide will include written accounts as well as creative expressions such as poetry and artwork. Written accounts will help spread awareness about the many factors and impacts of mental illness, help to lessen the stigma and shame associated with it, and hopefully encourage others to speak out and seek help. Sharing one's story and engaging in creative expression can be therapeutic for a range of mental conditions, for example, anxiety and depression. It can also be an empowering experience; Claire, a young woman who has lived with anorexia nervosa and depression, asserts that sharing her experience has helped others with their own mental health issues (2015, para. 6) and writes that, "Speaking out in the media about mental health and writing about mental health has given me a sense of worth and achievement,'' (2015, para. 10). Below are some links to examples of personal experiences written by people affected by mental illness.

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Buy Adobe InDesign CC | Download desktop publishing software free trial

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Create and publish printed books, brochures, digital magazines, iPad apps and interactive online documents with Adobe InDesign CC. Join today.

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My role in the project will be to act as the Executive Editor of the 'Where's Your Head At?' event guide; a short magazine style publication. Working within the Communications Department of the project, I plan to co-ordinate a small editorial team to plan, create and publish the guide. I will be responsible for the overall editing of material, as well as contributing written content. This is relative to my discipline as it gives me the opportunity to use my writing, researching and editing skills to help produce a comprehensive guide to the event, communicating with our target audience (namely young people, but also anyone impacted by youth mental health issues) with an ethical and professional voice. This project will rely on collaboration between editorial staff and with the CAP10A team members; particularly, regarding creation of content for the guide and communications with sponsors, charities, organisations and participants involved with the festival. Much of the content will reflect what is published on the festival's website, so there will be extensive collaboration between the event guide editorial team and the event's Communications division.

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The Where's Your Head At? festival is a one day youth focused event held nationally (capital cities and large regional areas) on the awareness of mental health and wellbeing. It is being organised by the Act, Belong, Commit organisation.
The event will feature demonstrations, information stalls, healthy food trucks and local bands/entertainment. There will be involvement with organisations such as Headspace, Lifeline and other community health groups and charities.
'Feel good' businesses such as massage and yoga groups will also be invited to attend. There will be a photography/art event open to people under 25 which will be showcased at the event. The photography/art will have a theme of "What Good Mental Health means to me". Several celebrity ambassadors will be in attendance at various events. The event hashtag will be #wheresyourheadat

On the day there will be different zones.
'Nourish' the space for healthy food and beverages trucks;
'Create' a space for the Arts competition and host some other activities/workshops to encourage self expression;
'Contemplate' a space for meditation and mindfulness workshops, education and support services;
'Motivate/Participate' for sporting demonstrations/workshops and showcasing community activities available to young people.

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Collaborating with Thea with the event guide.

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Director of Communications (thinking big)
Developing a strategic communications plan with a focus on youth and mental health. To oversee a national communications strategy for the event with several individual event strategies feeding into the national one.
http://study.com/articles/Communications_Director_Job_Description_Duties_and_Requirements.html

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Discipline: Internet Communications

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Discipline: Sociology

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Government Funding And Support in Breaking The Stigma

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Government Funding And Support in Breaking The Stigma

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These two links (Art and Mental Health, Grants-Support-Youth Engagement Program)  are an example of how State Governments can and do promote the importance to mental health and wellbeing.

I plan on collaborating with local and state governments to engage in our project not only for funding into art programmes but also to help promote them by sponsoring art exhibitions done by young artists. Thirdly I hope to negotiate with these governing bodies for art scholarships as a prize for the winning art competition.

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Figure 1: Thea  (Garrett 2016).