1995
DOI: 10.1080/07421656.1995.10759155
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The Intern Studio: A Pilot Study

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Cited by 12 publications
(2 citation statements)
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“…It has been suggested that students need “to remain active in their own artistic media in order to preserve their authenticity as art therapists” (Moon, 2003, p.53). In‐training engagement in the creative process may “help students remember and center their artist‐selves as a prerequisite for kindling the therapeutic art experience in others” (Wix, 1995, p. 178). Thus overall, the centrality of making art in art therapy students before and during training are specific to this discipline, and may have contributed to the increase in creative identity and CSE in the art therapy students as compared to the other CATs.…”
Section: Discussionmentioning
confidence: 99%
“…It has been suggested that students need “to remain active in their own artistic media in order to preserve their authenticity as art therapists” (Moon, 2003, p.53). In‐training engagement in the creative process may “help students remember and center their artist‐selves as a prerequisite for kindling the therapeutic art experience in others” (Wix, 1995, p. 178). Thus overall, the centrality of making art in art therapy students before and during training are specific to this discipline, and may have contributed to the increase in creative identity and CSE in the art therapy students as compared to the other CATs.…”
Section: Discussionmentioning
confidence: 99%
“…Groups of this kind can be found in psychiatric departments (Gonzalez-Dolginko, 2016), in cancer treatment centers (Piot and Plante, 2009) and in community-based models, where the studio is permanent and the participants come and go, and stay as much as they wish (drop in studio). Some open studio models serve a regular group of participants, such as in schools (Czamanski-Cohen, 2010) or training programs for art therapists, which are implemented for a specific period of time (Wix, 1995); (b) The facilitator's role, which differs according to his or her therapeutic approach: most findings that reference this aspect describe a model in which the facilitator does not engage in artmaking; rather, these facilitators concentrate on holding the space, witnessing or helping participants (Deco, 1998). The facilitators support the creative process (Braun, 1997) and allow for the birth of the artwork (Shapiro, 2014).…”
Section: (Continued)mentioning
confidence: 99%