Progressive Practices: The Basics

We’ve added a new section on the site for pieces of writing concerning the methodology of progressive art studios. We hope these will be a valuable resource to those involved in this work, as well as anyone interested in this emerging model for artist development. This piece, which discusses the basic, essential components of a progressive art studio, is the first of many. As always, your feedback is appreciated. 

installation view of Judith Scott - Bound and Unbound, a recent exhibition at the Brooklyn Art Museum

“...there was an extraordinary amount of very strong and wonderful work coming out of these three studios…These centers, all three of which had been founded by the same couple, Florence and Elias Katz in the 1970s and 80s based on the same principles…I started to become intrigued by the question of why was there so much wonderful work coming out of these three art centers and was there something they had in common, some kind of methodology that was bringing forth such wonderful art…the methodology which was proposed by Florence and Elias Katz...which had to do with giving adult artists with developmental disabilities an opportunity to work in communal studios at hours which reflected the common work hours, five days a week 9-5, that these centers be connected to the art world, that there be a gallery connected to the studio, that there be not teachers but facilitators who would assist the artists in making their work, and that there would be a sales element.
        It’s interesting that the first of these centers was created at
exactly the same moment of Roger Cardinal’s famous Outsider Art definition of
outsider artists being cut off from the world and these centers were radically
connected to the world...”

- Lawrence Rinder, Director of the Berkeley Art Museum and Pacific Film Archive, discussing the exhibition Create, which he co-curated with White Columns’ Matthew Higgs in 2011. You can view the full panel discussion “Insider Art: Recent Curatorial Approaches to Self-Taught Art” here 

The Create exhibition in 2011 was inspired by the observation that the three Bay Area Katz-founded progressive art studios (Creative Growth, Creativity Explored, and NIAD) have been consistently creating high quality works and using a similar methodology, but without having much contact with each other (or studios elsewhere in the country) since their establishment. Our own research has found that this phenomenon isn’t limited to the Bay Area; studios have emerged across the country since deinstitutionalization began in the 70s - programs where incredible, valid art is created and whose methods include the same basic points. Although many progressive art studios have referred to the Bay Area programs as a development model, most were created prior to any knowledge of them. 

The spontaneous, isolated development of progressive art studios throughout the world indicates something important and unique about what these programs are and what they mean. The insight to be gained is that a model of acceptance rather than assimilation is viable and incredibly valuable, if the culture is forward-thinking enough to accept it. 

Whereas an assimilation methodology depends on developing a way of working with a person experiencing developmental disabilities that successfully produces the prescribed result (using contrived means to alter a way of being or behavior, to fit given expectations), the acceptance methodology begins with a perceived potential and conforms expectations to meet that potential with an open-ended concept of success. The acceptance model appears spontaneously because the potential identified, the creative person, exists universally. Conversely, the desired outcomes of assimilation methods depend on esoteric “best practices” informed by idealized or archaic concepts of behavior, professionalism, or generally appropriate ways of being.

Marlon Mullen, an exhibition currently on view at Atlanta Contemporary

As Lawrence Rinder points out, for the acceptance methodology of a progressive art studio to emerge and excel, it must simply operate on a handful of fundamental principles:

A radical connection to the world

Rinder references a radical connection, in direct contrast with Roger Cardinal’s definition of Outsider Art which is dependent on artists creating in isolation. A progressive art studio is also radically connected to the world in contrast with traditional services for people with developmental disabilities. 

Offering integrated services has long been an ambition of service providers for this population. This is not only because of the proven efficacy of integration, as demonstrated by examples of integrated schools, but also for the sake of cultivating a more inclusive community. In adult life, (post-school) the concept of integration and inclusion is far more complex; everyday life can not be simply “mainstreamed” the way that a school is. Progressive art studios provide opportunities for powerful forms of integration and inclusion that aren’t possible in any other form of support. Successful fine artists such as Judith Scott, Dan Miller, and Marlon Mullen (all of whom have been supported by progressive art studios) are the first examples of people receiving supported employment services who are internationally competitive and influential in their field.

This radical connection depends on the involvement of those at every level of the program who are personally invested in the practice of art-making. The work of facilitators and management must be informed by their knowledge of and personal investment in art (in the context of contemporary international and local culture, as well as art history). Employing fine artists as facilitators and studio managers also allows a connection to develop on a more fundamental level, in the peer relationships between artists in the studio (abstract of being on the providing or receiving end of services). This, in conjunction with the exhibition of artwork, offers unprecedented visibility and presence in the community, culminating in the best possible conditions for the development of genuine professional and personal relationships with other artists who are not paid supports.  

Nicole Appel, Animal Eyes and Russian Boxes, colored pencil on paper, 19″ x 24″, 2014, Pure Vision Arts, NYC

Investment of time

Artists having access to the studio and utilizing it for periods similar to regular work hours is extremely important. This point is a matter of principle and a good vehicle for advocacy of the progressive art studio model as a whole. 

Often, those involved in making decisions by committee with or on behalf of a person with a developmental disability (including parents, case workers, service coordinators, counselors, and other members of the “support team” who are not artists) will oppose large investments of time in the art studio. This occurs for the same reasons that parents oppose children pursuing artistic careers, schools persistently cut art programs, or illustrators, designers, etc. must argue the details of invoices with clients. Creative work as a valuable professional discipline is stigmatized as frivolous throughout american culture, and pushing for higher investments of time is the front line on which these studios combat this stigma. Although it takes place in a congregated and specialized setting, the progressive art studio is much like a job coaching service for those pursuing serious careers as fine artists.

Schedules should range from 6-8 hours per day and 2-5 days per week depending on how developed the artist is, what other employment services or opportunities they’re engaged in, and how much time they want or need to spend working on art. Generally speaking, artists should be permitted to commit as much time as they want to art-making and should be encouraged to commit as much time as they’re able. 

Project Onward's studio space in Chicago

An open studio

The studio must be a space belonging to the artists that’s conducive to creative work, where artists gather to maintain studio practices (not unlike a group of like-minded individuals in any workplace). The concept of the artists owning the space is crucial; providing opportunities for people experiencing developmental disabilities to create art is far more common than actual studios are, and this idea is one of the key distinctions of an approach that’s truly progressive.

There’s an obvious, superficial transition that can be made from a traditional day habilitation program to a shared art studio space. Both are fairly open workspaces where individuals exert themselves productively; several existing studios were once day hab programs or still operate under the pretense of being so in the eyes of Medicaid. However, even if a day hab program shifts its focus completely to art-making and physically becomes an art studio, it’s not a progressive art studio until it achieves a complete conceptual shift of paradigm. The space must be one in which the artists are free to invent and strive to meet expectations of their own devising, not a space where they’re guided to meet the expectations of staff. Any intensive one-on-one, step-by-step directions, or didactic practices must be eliminated. The goal of a progressive art studio is not to provide therapy, education, or any influence of assimilation - it’s to validate an artist’s experience and foster the capacity to share that experience on their own terms. 

It’s not necessarily the case, however, that a progressive art studio completely lacks an educational element. For studios that don’t have a limited admission with portfolio review, there’s a large group of new artists working in the studio who benefit from significant initial guidance in order to discover art-making and learn to value it. Also, the studio may need to set boundaries regarding the use of shared materials and it’s important all people using the space conduct themselves in a professional manner respectful of a communal work environment. This should be achieved with guidance and assistance as needed. Ultimately, though, the core goal must always be total creative independence. 

installation view at DAC Gallery in LA

A gallery and sales element

The gallery and sales element of the progressive art studio provides at least two essential functions. Firstly, as discussed above, exhibitions of artwork are a powerful form of integration into the community that’s not available by any other means. Even in cases where the artists don’t share a physical work space with other artists who aren’t paid supports, their presence and visibility in the community through a gallery show fosters connections with other artists and the general public on the artist’s terms.

Secondly, the handling and display of the work in a fine art exhibition space allows the studio to set an important example in the community for valuing the ideas and experiences of those living with developmental disabilities. By handling and installing the work professionally and making a meaningful investment of space and time in the gallery, the program makes a profound statement about the value of the artist, their ideas, and voice. 

Conversely, handling the work in a manner divergent from accepted standards of a professional artist, ie. overcrowded salon style shows, improperly installed or framed work, or uncritical exhibition of unsuccessful/unresolved works, makes the opposite statement about the work and artists, effectively presenting the work as other and lesser. Allen Terrell, Director of the ECF art centers and affiliated DAC gallery (one of the most professional gallery spaces directly affiliated with a progressive art studio) is driven by a simple principle: don't do anything with the artists’ work that you wouldn't do with your own. 

Visionaries and Voices

Established 2003, Cincinnati Ohio

visionariesandvoices.com

The Visionaries and Voices Northside Studio Building in Cincinnati, featuring a mural of local legend Raymond Thundersky

Ohio has a high concentration of quality progressive art studios compared to other states - 12 in 11 different cities across the state. During our research trip, we were able to visit both Visionaries and Voices (V+V) studio locations in Cincinnati. V+V embodies all of the essential qualities of a progressive art studio, providing two fine art open studio spaces that are utilized by more than 140 Cincinnati-based artists experiencing developmental disabilities. The studios are staffed by trained artists who provide non-intrusive guidance and facilitation, and the Northside location includes a professional exhibition space. 

We spoke with Tri-County Studio Coordinator, Megan Miller and the Northside Studio Coordinator Theo Bogen during our visits; both are dedicated to and passionate about the mission of V+V and committed to facilitating the studio process based on what each artist is compelled to make.

an artist's work space in the studio

V+V stands out because of its professional, egalitarian culture. The relationship of the staff to the artists in progressive art studios is often simplified in terms of teaching or facilitating. In practice, the latter is defined by hands-off assistance, allowing the artist to create freely, and the former is a more codependent or antiquated approach defined by teaching or instructing in a didactic sense. V+V not only demonstrates the more progressive approach, but also in a deeper way, shows that this bifurcation is just a piece of a more complex continuum. Artists at V+V work with not only a sense of ownership of their own practice and work, but also with ownership of the entire enterprise, the studio itself. They move freely throughout it, develop personalized workspaces with ongoing projects and materials, and enjoy a peer relationship with the assisting staff.  

This culture may be explained by their unique history. The studio began as a work space for the late Raymond Thundersky (now a local legend), and slowly transitioned into a non-profit program over the years. The workspace was organized by a couple of social workers for Thundersky and a few other artists. The identity of the studio as a workspace provided wholey to a group of artists, as opposed to an art program functioning as a service provider, persists in the culture today, much to their benefit. Most prospective artists hear about the V+V by word of mouth and have an informal artist interview to determine if they’re a good fit for the studio. Ultimately, their admission is dependent primarily on whether they’re interested in working productively as an artist. To be productive, though, is not considered to be synonymous with being prolific, as many artists may be productively and creatively engaged without necessarily producing commercially viable or permanent works. 

V+V's exhibition space

The V+V gallery usually hosts five exhibitions a year, and organizes exceptional group shows. They typically curate thoughtful exhibitions featuring 2 or 3 of their artists in a manner driven by those artists’ ideas. Sometimes artists function as curators as well. Furthermore, exhibition opportunities for artists’ work are sought out at galleries, museums, universities, and other venues on both a local and national level. In addition, a Teaching Artist Program (TAP) is offered as an option for artists that instead have an interest in pursuing visual art careers in teaching, speaking, and other leadership roles. TAP “supports those goals, while offering the community the opportunity to learn about art from a unique perspective. V+V artists who complete TAP courses bring lesson plans to classrooms, community centers, and partnering organizations all over greater Cincinnati. Each artist develops their own lesson plans customized to benefit students of all ages and abilities.”

a portion of the inventory stored at the Northside Studio.

Spindleworks

Established 1978, Brunswick, Maine

Spindleworks, a fantastic and accomplished progressive art studio in Brunswick, Maine, was not one that we were able to visit in the course of our research trip last year. Spindleworks is unique from most other studios in that it offers woodworking and has a rich history of Fiber Arts such as wool spinning and weaving. Below is our conversation with Spindleworks' program supervisor, Brian Braley.

Disparate Minds: How did Spindleworks get started initially and how has it developed/progressed in the time you've been there? What are your current goals? What are your long-term goals?

Brian Braley: “We’re trying to prove that people with this unique handicap have a unique vision because of this handicap, a vision that can be presented artistically in a way that is valuable to everyone.” - Nan Ross 1978

Spindleworks was started in the late 1970's by Nan Ross, a weaver and writer from Brunswick. At the advent of deinstitutionalization in Maine it became quite clear that individuals with intellectual disabilities needed a positive alternative that would allow for self-expression, and creativity. At a time when adults with intellectual disabilities were hidden away, and denied rights, Nan believed that creative expression could serve as a method to give voice to their unique perspectives. The initial 6 artists learned to spin and dye wool, and eventually began to work in various fiber media such as rug hooking. Although there is still a strong fiber presence at Spindleworks, we now offer programming in painting, woodworking, sculpture, weaving, embroidery, music, photography, printmaking, video, and theater.

The creative voice of Spindleworks’ artists has also grown over the years and has proven to be an unstoppable force; the artists have developed a reputation of producing high quality work through numerous exhibits including the Portland Museum of Art, Space Gallery, Bowdoin College, and the University of Maine. Spindleworks hosts a variety of exhibitions throughout the year including juried community shows, themed exhibits, theater productions, installations, and collaborations. One of these collaborative projects is the annual All Species Parade which was created in partnership with Arts Are Elementary (a program that incorporates visiting artists into school curriculum). The parade engages community involvement through the creation of costuming and floats in celebration of the diversity of the planet’s species.  Through the parade and annual exhibit Spindleworks has raised thousands of dollars for a local animal shelter.

We continue to seek the creative and professional growth of the artists we serve.  This is achieved through professional development curriculum that includes portfolio prep, resume writing, business card creation, public speaking, and self advocacy.  Being a professional artist is and should be a career choice for adults with disabilities; many of our artists make more money creating art than they did while holding other jobs in the community. These financial benefits are very important for the artists as the employment options are generally limited in the rural setting in which we reside. Program artists receive 75% of the proceeds from the sale of their art and the remaining 25% goes back to fuel our supply budget. Our long and short term goals are sustainability. We are not currently seeking extensive growth, but want to focus our efforts on generating consistent funds to ensure that we can continue to maintain a safe and beneficial environment for the artists in our community to fulfill their independence.

DM: About how many total artists with disabilities do you support in your studio? Also, how often do they attend and how much time is spent in the studio per day?

BB: We currently support 49 artists from the surrounding Mid-coast and Central Maine area. On a typical day we have as many as 30 artists in attendance. Artists participate in anywhere from 1-5 days a week depending on their desire and approved funding. Our program is a 5 hour day from 9-2 M-Thursday and 9-1 on Fridays. In 2011 Spindleworks started a sister program Spinoff Studios located in Gardiner, Maine which currently supports 18 artists. Spinoff has a morning and an afternoon shift totaling 4 hours each.

DM: How do artists served by Spindleworks find out about and become involved in the art program?

BB: We are well known in the community due to various collaborative efforts with local businesses, galleries, events, and other nonprofits. Additionally, we frequently get referrals from case managers, community members, volunteers, and friends. The artists themselves are our best spokespeople; many of our artists have created their own business cards and use them to talk about their art and our program. We accept only artists with intellectual disabilities that have a strong creative desire. There is a several week assessment period to help determine ongoing interest and potential fit for the program.

DM: What is your philosophy with regards to artist facilitation?

BB: Spindleworks staff serve as mentors rather than teachers. We believe that program participants have an inherent ability to create art and our role is to provide the right tools and environment to promote creative growth. The key to good mentoring is observing what someone can or cannot do on their own and knowing when to offer help. By modeling professional creative practice we encourage independent thought and action, rather than attempting to dictate the creative process. We ask difficult questions which forces the artists to make their own choices, and we don’t hesitate to push the artists to reach their potential. Sometimes it takes that little push to get someone to open their peripheral vision and try new things. We are eternally patient with whatever pace ensues, and unwilling to allow anyone give in to their own doubts. We understand that despite our best efforts that we will often fail and it is through that failure that we are able to use our problem-solving abilities to overcome obstacles. Spindleworks is a non-competitive and non-judgmental environment. We encourage mutual support and maintain a peer helper chart so that program artists can share their skills with others. This has allowed artists to develop self-esteem in their abilities and has led to several artists teaching workshops with skills that they have gained from experience.     

weaving by artist Lloyd Whitcomb

DM: How do you anticipate recent cuts in state funding to impact Spindleworks and do you feel there's a successful way of counteracting this?

BB: The State of Maine is implementing a system known as the Support Intensity Scale which places a number and a value on an individual.  We fundamentally disagree with this methodology as it doesn’t measure people based on their potential. Essentially the harder we work toward someone’s creative growth, the less we would get paid for the service. We estimate that the changes would reduce our funding by 35%. It forces Spindleworks and other similar programs to do more with less. Although the impacts of these changes are not yet fully realized, we have focused much of our energies on developing an action plan to adapt. These strategies may include changing our program structure, growing our revenue stream to include additional grant and in-kind donations, and reduced operating costs through additional efficiency. In the face of these changes, we refuse to sacrifice the quality and safety of our program. We continue to advocate through our government officials the value and need for continued full funding of these important services. Unfortunately, there have been recent efforts in state government to remove the public voice from the equation so that the Department of Health and Human Services can make changes without public forum.

Artist Earl Black at the loom, All images courtesy of Spindleworks