Art of Psychiatry Society

Pam and Me (c) The Estate of Bryan Charnley

Upcoming Art of Psychiatry speaker meeting on Thursday 20 August

“Bryan Charnley: The Art of Schizophrenia”

Date: 20 August 2015

Time: 1800

Venue: Robin Murray A Institute of Psychiatry, Psychology and Neuroscience
Please join us for what will be a fascinating AoP meeting with our speaker Kirsten Tambling

Bryan Charnley (1949-1991) was a British artist whose work sought to convey the experience of living with schizophrenia, a condition with which was first diagnosed at art college. After several years of painting photo-realistic depictions of the world around him, in the mid-1980s Charnley turned his attention to self-portraiture and what he called ‘bondaged heads’ – fractured ‘portraits’ that drew inspiration from William Kurelek’s The Maze. Charnley’s work formed the basis for Bryan Charnley: the Art of Schizophrenia, the inaugural exhibition at Bethlem Museum of the Mind. This talk, by the exhibition’s curator, will explore Charnley’s approach to painting as it developed throughout his career, and will focus on the idea of coming (as Charnley put it) ‘face to face with schizophrenia’, by examining the recurring motifs of faces and (self-)portraiture in Charnley’s work.
About Kirsten Tambling:

Kirsten Tambling was guest curator of the exhibition Bryan Charnley: The Art of Schizophrenia at Bethlem Museum of the Mind (16 February – 22 May 2015) and has previously worked in the curatorial departments of the Royal Collection, the National Gallery and Dr Johnson’s House. She has an MPhil in eighteenth-century studies from the University of Cambridge and an MA in Curating from the Courtauld Institute of Art. Her PhD, beginning this September, will focus on the intersections between William Hogarth and Jean-Antoine Watteau. She tweets at @otherplications.
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This is an open meeting – all are welcome – including service users, SLaM employees, psychiatry trainees, and members of the public.
Directions of how to reach the Institute of Psychiatry, Psychology and Neuroscience (IoPPN) are found here: http://www.kcl.ac.uk/ioppn/about/findus/index.aspx
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About us:  Creative artists and psychiatrists share an interest in human behaviour and motivation but approach this subject in different, but equally valid, ways. The Art of Psychiatry society holds speaker meetings and events where this spared space is explored.

Contact us:

theartofpsychiatry@gmail.com

@artofpsychiatry

www.artofpsychiatry.co.uk

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Other events of interest:

“Art and the Other” curated by Juliette Brown, Alana Jelinek and Michaela Ross

Art and the Other brings together art works and objects that raise questions about our relationship to others and otherness. The Bethlem Gallery artists chosen give voice to human and non-human actors who are often relegated to the margins, confronting us with an otherness that can never be fully captured but nonetheless demands our attention.

Exhibition runs 15 July – 8th August Wednesday – Friday 10am – 5pm at the Bethlem Gallery

http://bethlemgallery.com/event/art-and-the-other/

Free entrance – all welcome

Screening of film The Arbor (2010) followed by Q&A with director Clio Barnard.

Tuesday 17th February 2015 at 6pm in The Wolfson Lecture Theatre, Institute of Psychiatry Psychology and Neuroscience

Please join us for a film screening and Q&A of The Arbor (2010) on Tuesday 17th February 2015 at 6pm in The Wolfson Lecture Theatre, IoPPN.

Speaker meeting: Dr James Whitehead “Creativity and madness – debunking the myth?”

Tuesday 8th April 2014 6pm Institute of Psychiatry Robin Murray lecture theatre A

The idea that creativity is linked to mental illness has long been ‘one of the characteristic notions of our culture’, as the American literary critic Lionel Trilling wrote in 1945. It has informed, among many other things, popular representations and stereotypes of artistic or literary ‘genius’, whether as personality or as practice, a range of polemics about modern art, decadence, and the avant-garde, the formation of the idea of outsider art, and psychoanalytic readings of culture.

But when, how, and why did this idea become so popular and widespread? In this talk Dr Whitehead will discuss the ways in which it was popularized or stereotyped in the nineteenth century, with particular reference to the image of the ‘mad poet’, and examine the extent to which we might think of it as a romantic (or Romantic) myth.

James Whitehead is currently Wellcome Research Fellow in the English department at King’s College London, attached to the interdisciplinary Centre for the Humanities and Health. His first book examines nineteenth-century writing (including poetry, journalism, criticism, biographical writing, medical and psychiatric literature) which linked poetry and poets to madness. It is under review for publication with Oxford University Press as Madness and the Romantic Poet. Whitehead’s current research project moves from literary mythologies surrounding madness to the realities (and unrealities) of its experience, and examines the history of autobiographical writing about mental illness

We look forward to seeing you there!

This is an open meeting and all are welcome.  As usual there will be snacks and wine

The Man Whose Mind Exploded documentary film by Toby Amies

Review by Greg Neate

With a handheld camera and sometimes haphazard footage, this part gonzo documentary, part affectionate tribute sees first-time director, Toby Amies, investigate the final years of a determinedly individualistic yet vulnerable man, living alone on a Brighton council estate.

While Drako Oho Zarhazar’s colourful past contains enough source material for its own feature length film, it’s his cognitive impairment and declining health that draws the detective filmmaker into acting beyond being his champion. Breathlessness and neglected leg sores seduce Amies into becoming a carer for his friend, in as much as friendship’s possible with someone whose amnesia means he can’t recall who this frequent, camera-toting visitor is.

That’s not to say that ‘Drak’ lacks for an identity, as is evident from his tattooed and pierced physique that fills the screen. For this septuagenarian, “the world is my stage, so appearance is very important”; a personal assertion that would be widely endorsed by all who ever shared a bus journey with this Daliesque moustachioed, caped and croc wearing pensioner.

Still even his appearance only hints at what’s inside his cluttered, one bedroom flat where self-penned notes, old letters and eye-catching, male pornography dangle on countless strings creating a hectic, projected installation of his mind. With these hanging threads, Drak remains connected to his past, whilst Amies tries to see through them to understand how his film’s ‘star’ can live independently amongst increasing disorder but without apparent doubt.

“Trust. Absolute. Unconditional.” declares Drak, a motto which is permanently inked on his arm and which he adopted whilst recovering from his second life-threatening brain injury. It’s one of many repeated phrases and recollections that prevent him from becoming a stranger to his past, despite insisting that he lives “completely in the now”.

Interviews with his sister and nephew demonstrate that the former dancer and interior designer can relate meaningfully with those from his pre-injury past. His sister observes that despite being changed in character after his last coma, the ‘damaged’ Drak is more likeable, if still as irresponsible and hedonistic in spirit as ever.

As interesting as The Man Whose Mind Exploded makes as a case study, the film goes further by revealing the relationship between the two men, which tests each other’s tolerance. The ever stubborn subject faces down further do-gooder interference, the observer struggles with how far to intervene whilst faced with sheer bloody mindedness. This demonstration of exasperated but respectful caring for an individual’s autonomy and well-being is an unexpected outcome and it’s likely that no one would have been more surprised than this lifelong pleasure seeker.

However, with regards to whether either party is being exploited, the honours are often hilariously shared. “Do you think its fair for me to film stuff” asks Amies “when I know you’ve got brain damage?” “Yes” Drak replies instantly while plucking at his own nipples pleasurably, “because I enjoy being used!”

On the nearby pebbled, naturist beach, their mutual trust is most movingly displayed when filmmaker leaves his camera to appear cheekily in frame and assist his elder, disrobed friend with rising to his feet.

The Man Whose Mind Exploded is being screened at the British Film Institute, London as part of BFI Flare, the London LGBT Film Festival. Tickets are now on sale.  Mar 26 6:20 PM, Mar 29 6:40 PM, Mar 30 8:40 PM

Film website

Link to trailer

Link to facebook page

By Nicole Leistikow

Discussion of Rachel Cooper’s Psychiatry and Philosophy of Science made for a cozy chat on a wintry December 5th evening, accompanied by pasta and pinot noir. Cooper’s straightforward prose and promptly terminated sentences came as a relief after the group had grappled with Thomas Szasz a few months before. It didn’t hurt that she takes on Szasz with refreshing clarity: “Szasz claims that mental illness is a myth, but he is wrong about this.” She goes on to explain that when the best explanation for a behavior is “sub-personal,” meaning biological and physiological in origin, then that behavior can be thought of as a symptom of a mental illness rather than a purposeful action. She was rather preaching to the choir in this setting, as all around the table, from attending to intern, had spent recent time on the inpatient wards and had difficulty viewing acute exacerbations of psychosis as anything intentional.

On the topic of psychosis, the discussion leader tried to interest the group in the question of whether psychiatrists should take LSD to better understand this phenomenon from the inside, an actual 1956 experiment that Cooper describes, but the chocolate truffles must have been too satisfying, because no one would make the argument that further chemical stimulation was needed. This did spur conversation on the role of empathy in treatment, and whether doctors who are simple prescribers need any warmth at all to do their job. The point was made that whether writing scripts for anti-psychotics or anti-hypertensives, physician’s acting with empathy can impact patient buy-in and adherence.

From there, the question turned to dualism and reductionism, and whether practitioners of the latter are less empathic, as people. Cooper seems to be trying to make peace between the various factions, concluding that “dualism is compatible with all neuroscientific findings” and that most reductionists can still agree that mental states are something more than brain states. The Churchlands’ views on eliminative materialism were discussed and a 2007 New Yorker was produced along with a delightful imagined conversation of Paul and Patricia Churchland after a long day of work attributing their mental states purely to neurotransmitter flux. The evening ended early with the call of toddlers for some and “tea” for others, as the group sallied forth into the snowy chill to take up their various domestic and social responsibilities, encouraged by the conclusion that if psychiatry is not purely a science, it is a practical discipline with enough rigor to be analyzed and made clearer by the likes of Rachel Cooper.

Art of Psychiatry speaker meeting as part of the Edward Adamson Festival

Dr Victoria Tischler on “Art in the asylum”

Tuesday 18 February 6pm Institute of Psychiatry Seminar room 1

Victoria Tischler is Associate Professor in Behavioural Sciences, School of Medicine at the University of Nottingham and curator of the recent exhibition “Art in the Asylum”. She joins us to talk about the exhibition which examined the evolution of artistic activity in British psychiatric institutions from the early 1800s to the 1970s and the reception of asylum art into mainstream artistic circles. This time period saw the shift from invasive treatments of mental disorders to more humane regimes in which creativity played a significant role.

This event is part of the Edward Adamson Festival, which is celebrating the life and work of Edward Adamson (1911-1996).  Adamson was a visionary pioneer of art as therapy and the founder of the Adamson Collection. The festival programme is available at www.slam.nhs.uk/adamson

This is a public meeting and all are welcome.  Wine and snacks provided.

Links:

Link to short film about exhibition: https://vimeo.com/80921476
Interview with Victoria on the AoP blog: http://www.artofpsychiatry.co.uk/interview-with-curator-art-in-the-asylum/
Art at the Institute: http://www.institutemh.org.uk/x-about-us-x/art-at-the-institute

email: theartofpsychiatry@gmail.com
web: www.artofpsychiatry.co.uk
twitter: @artofpsychiatry

Information on finding the Institute of Psychiatry:

Details about the IoP are found on this page

Address:
Institute of Psychiatry,
King’s College London
16 De Crespigny Park
London SE5 8AF

The Denmark Hill Station serves Overground and national rail trains.  The nearest underground station is Elephant and Castle or Oval.

Seminar Room on is next to the main door when entering the De Crespigny Park entrance.

Beckett participatory workshop – ‘Helpless Compassion’: From Samuel Beckett’s ‘Not I’ to the Francis Report

Seminar Room 1 Institute of Psychiatry Tuesday 14 January 2014 start 6pm (end approx 7.30pm)

**Please note that we can only accommodate a maximum of 25 participants at this workshop.  Please sign up by emailing theartofpsychiatry@gmail.com***

Workshop facilitator: Jonathan Heron (IATL Teaching Fellow, University of Warwick / Artistic Director, Fail Better Productions.)
Discussion chair: Dr Elizabeth Barry (Associate Professor in English University of Warwick)

Please join us to participate in a workshop on Samuel Beckett’s Not I (1973) which will explore Beckett’s play in performance and reflect on the insights it provides into concepts of mental disorder, and doctor-patient interactions.

This workshop evolved from collaboration between scholars and clinicians during the Beckett and Brain Science project (Arts and Humanities Research Council, 2012).  It demonstrates activities adapted from the performing arts and has been used in medical education for consultant psychiatrists and multi-professional teams (Health Education Kent, Surrey and Sussex, 2013).

Following the workshop, Jonathan Heron will be interviewed by the AHRC Project Investigator, Dr Elizabeth Barry about their collaborative work in the Medical Humanities.

More information about previous workshops and the Beckett and Brain science project can be found at:
http://medicalhumanities.wordpress.com/2012/09/19/on-beckett-and-brain-science-breath-voice-and-embodied-learning/
http://www2.warwick.ac.uk/fac/arts/english/research/currentprojects/beckettandthebrain/
http://www.theguardian.com/culture/2012/nov/24/science-art-two-cultures

Art in the Asylum: creativity and the evolution of psychiatry is an upcoming exhibition at the Djanogly Art Gallery Lakeside Arts Centre Nottingham.  It runs Saturday 7 September – Sunday 3 November.

The exhibition is curated by Dr Victoria Tischler and Dr Esra Plumer.  Victoria Tischler has kindly agreed to be interviewed by AoP.

What is the inspiration behind the Art in the asylum exhibition?

I’ve been fascinated by art produced in psychiatric contexts since I was an undergrad working on a locked long-stay ward in Sydney, Australia. It was a strange place, an old- style asylum with a covered walkway from the river to the hospital. This was where they had originally transported the patients from boats which came up the river.  The ward  on which I was placed  was surrounded by a moat which no longer contained water but the patients still used to pace around the periphery.  There was no art therapy as such but as I was interested in art I would sit with people and encourage them to draw and paint to pass the time. Most were institutionalised, some were mute, others said very little and yet, rather than pace around, they would sit contentedly for lengthy periods creating the most cryptic and beautiful artwork with little guidance or instruction. I was struck by the intricate nature of the work, and how it expressed complex ideas, especially when people found it difficult to communicate verbally.

I’ve always been interested in art history and especially loved the work of the Surrealists and I learnt how art from the asylum had influenced their work, people like http://en.wikipedia.org/wiki/Mary_Barneswho was an avid collector of patient art.

My current job includes a role as an arts lead in the Institute of Mental Health and I believe art has a powerful role to play in raising awareness of mental health issues.

Joseph Askew (date unknown) Stylized figure. Courtesy Dumfries Archive Centre

Can you name a few of the exhibition’s highlights?

Dr W.A.F. Browne‘s collection of patient art is the oldest of its kind and has never been seen before outside Scotland. Browne was medical superintendent at the Crichton Royal Institution in Dumfries from 1838-1857. His approach was radical in that he recommended that patients painted and drew as part of their treatment. He even employed an art instructor at the hospital in 1846.

Work from the Adamson collection, recently moved from the South London and Maudsley Trust to the Wellcome Library contains a vast array of pieces collected by Edward Adamson, the ‘grandfather of art therapy’ who was employed at the Netherne Hospital in Surrey in 1946.  The stone flints, collected by a patient in the grounds of the Hospital and then painstakingly hand painted are exceptional objects, especially one which strongly resembles a skull.

The work created by Mary Barnes at R.D. Laing’s therapeutic community Kingsley Hall in London in the 1960s is fascinating as she painted with her fingers, often depicting Laing and Dr Joe Berke (her responsible clinician) and ‘IT’, a spitting, writhing representation of her anger and fury. Berke is coming to speak at an event at the Broadway cinema in Nottingham on the 23rd October where we’re showing Luke Fowler‘s Turner shortlisted film about Laing ‘All divided selves’.

Also we’ve some exceptional work by many of the most famous outsider artists associated with influential continental psychiatrists such as the beautiful and complex work of Adolf Wölfli whose work was promoted by Dr Walter Morgenthaler from the Waldau clinic in Switzerland.

Mary Bishop (1959) Cri de coeur. Courtesy of Adamson collection trust

How did patient art come to be accepted outside of psychiatric institutions?

Several historical exhibitions displayed patient artwork alongside mainstream artists such as the British surrealists. This encouraged interest and acceptance of the work outside institutions. Also artists such as Jean Dubuffet avidly collected patient art work which increased interest and acceptance of the work in mainstream art circles.

Johann Hauser-Königin Elisabeth [Queen Elizabeth] ca.1969 Collection de l’Art Brut, Lausanne.© Privatstiftung-Künstler aus Gugging. Photo: Claude Bornand

Is the creation so art in mental health institutions as influential today as in the past?

Sadly the answer is probably not. With services being so stretched art is often seen as an add-on rather than integral to treatment. Yet, art has enormous therapeutic potential which I have witnessed first hand. It can be a route to recovery for both trained and untrained artists with some saying it helps create a new and positive identity away from the stigma associated with mental illness. The opportunity to exhibit and sell art can be hugely empowering for those with mental health problems. I have been involved with facilitating art-making in special hospital settings and for those individuals it is a powerful way to express their emotions and to communicate with others. There remains much interest  in art created by people with mental health problems outside institutions which is a topic we explore in the exhibition and which we’ll be talking about at several of the events running alongside the exhibition.

William Bartholomew (1861) Cake Month. Courtesy Dumfries Archive Centre