Access  and  Inclusion Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Il lness  A  Master's  Project  by  Jamie  Walsh  Presented  to  the  Arts  and  Administration  Program  of  the  University  of  Oregon  in  partial  fulfillment  of  the  requirements  for  the  degree  of  Masters  of  Science  in  Arts  and  Administration June  2013 Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 3 ABSTRACT  //  The  purpose  of  this  research  is  to  identify  inclusive  opportunities  that  artists  with  developmental  disabilities  (DD)  and/or  mental  illness  currently  have  to  participate  in  the  contemporary  art  world.  This  study  has  been  developed  as  a  Project,  wherein  I  researched  the  history  of  segregation  of  this  population  in  the  United  States,  the  historical  context  and  implications  of  terms  such  as  “Outsider  Art”,  and  current  inclusive  art  opportunities  for  artists  at  three  different  art  programs  in  the  San  Francisco  Bay  Area.  This  provides  an  informed  historical  lens  to  assess  public  perception  of  artwork  by  artists  with  DD  and/or  mental  illness  and  to  identify  the  current  opportunities  such  artists  have  for  community  engagement  and  participation  in  inclusive  art  exhibitions.            KEYWORDS  //    Access,  Inclusion,  Mainstream,  Contemporary  Art,  Outsider  Art                                               Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 4 Acknowledgements  //    Dr.  Ann  Galligan:  As  my  research  advisor,  thank  you  for  providing  guidance  and  enthusiasm  throughout  my  research  process.    My  AAD  cohort:  Thank  you  for  all  of  the  love  and  laughs  over  the  past  two  years.  You  all  have  been  an  amazing  source  of  inspiration.    My  family:  Thank  you  for  always  providing  unconditional  support  and  for  always  believing  in  me.    Andrew  Hampton:  Thank  you  for  being  my  editor  and  for  all  of  your  encouragement  and  insight  along  the  way.    Lastly,  thank  you  to  all  of  the  wonderful  people  who  participated  in  this  research.  This  project  could  not  of  happened  without  your  experience  and  expertise.                                  Cover  image:      Purple  Red  Black  John  Patrick  McKenzie  marker  on  paper  ©  2006  Creativity  Explored     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 5 Jamie Walsh 111  Shelton  McMurphey  Blvd,  #44  ●  Eugene  OR  97401  (517)  896-­‐0918  ●  jwalsh3@uoregon.edu  ●  www.jamieeewalsh.wordpress.com     Summary  of  Qualifications:    Motivated,  creative,  and  efficient  arts  administrative  professional  with  5+  years  of  experience    supporting  artists  with  developmental  disabilities  in  a  studio  setting,  facilitating  exhibitions,  and  community  outreach.  Proficient  in  Adobe  Photoshop,  Illustrator,  InDesign,  iMovie,  Microsoft  Office,  and  social  media  outlets.  Diversified  skill  sets  covering  artist  relations,  program  development,    website  development,  project  management,  marketing,  graphic  design,  strategic  planning,  and  magazine  production.    Education:     M.S.,  Arts  Management,  University  of  Oregon,  Eugene,  OR         Graduation  date:  June  2013         -­‐Concentration  in  Community  Arts               B.A.,  Art  History,  Humboldt  State  University,  Arcata,  CA         Graduation  date:  June  2006      Professional:     Education  Assistant  Intern,  Jordan  Schnitzer  Museum  of  Art,  Eugene,  OR         January  2013-­‐  Present         -­‐research  museum  accessibility  resources  and  programming;  assess           need  in  community;  develop  website  content  for  accessibility  page;             and  document  best  practices  and  recommendations           Gallery/Development  Intern,  Creativity  Explored,  San  Francisco,  CA         July-­‐September  2012  -­‐managed  and  updated  organization  website;  managed  gallery;  prepared  exhibitions;  developed  grants;  and  assisted  in  studio.           Gallery/Studio  Intern,  Project  Onward,  Chicago,  IL         June-­‐  July  2012  -­‐designed  and  installed  exhibitions;  created  graphic  design  materials;  assisted  with  art  sales  transactions;  and  assisted  in  studio.           Art  Instructor,  Arts  &  Services  for  Disabled,  Inc.,  Long  Beach,  CA         October  2010-­‐September  2011         -­‐developed  and  taught  curriculum  with  a  focus  on  the  arts  and  client           enrichment  to  over  30  adults  with  developmental  disabilities;  formulated           class  descriptions,  goals,  objectives,  lesson  plans,  and  tests;  charted             behavioral  goals  and  case  notes;  developed  and  installed  exhibitions.           Curator/Art  Instructor,  The  Studio  &  Cheri  Blackerby  Gallery,  Eureka,  CA         June  2008-­‐September  2010   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 6 -­‐facilitated  exhibitions;  facilitated  gallery  sales,  initiated  fundraising;    managed  online  social  networking  sites;  conducted  digital  archiving;  managed  volunteers;  assisted  artists  in  studio;  developed  artist  portfolio  review    program,  artist  commission  agreement  and  outside  venue  agreement  forms.    Curatorial        Experience:     2013  -­‐Pixel  Babies,  PODS  Gallery,  Eugene,  OR                 -­‐So  Small,  Janet  Smith  Co-­‐op  ,  Eugene,  OR                 -­‐So  Small,  Buzz  Gallery,  Eugene,  OR           2012           -­‐What  We  Carry,  LaVerne  Krause  Gallery,  Eugene,  OR           2011             -­‐Pablo  Rahner  and  Sergio  Paniagua,  Deneff  Gallery,  Long  Beach,  CA           2010             -­‐Wild  Life,  The  Cheri  Blackerby  Gallery,  Eureka,  CA         -­‐Getaway,  The  Cheri  Blackerby  Gallery,  Eureka,  CA         -­‐Sun,  Suki  Boutique,  Eureka,  CA                   -­‐Connecting  to  the  Soul  of  my  Art,  The  Cheri  Blackerby  Gallery,  Eureka,  CA           -­‐Paintings  by  Pablo  Rahner,  Humboldt  Area  Foundation,  Eureka,  CA                         -­‐Four  Worlds  Collide,  The  Cheri  Blackerby  Gallery,  Eureka,  CA                           -­‐Paintings  by  Dawn  Wentworth,  St.  Joseph  Radiation-­‐Oncology,  Eureka,  CA           -­‐Cars,  Trees  &  the  Holy  Spirit,  The  Cheri  Blackerby  Gallery,  Eureka,  CA           -­‐Paintings  by  Gerri  Sadler,  SHN  Engineering,  Eureka,  CA           2009             -­‐Life  After  Death  and  Dreams,  The  Cheri  Blackerby  Gallery,  Eureka,  CA           -­‐Paintings  by  Linda  Turley,  Ryan  Fray  State  Farm  Insurance,  Eureka,  CA           -­‐Treasure  Trash,  The  Cheri  Blackerby  Gallery,  Eureka,  CA                                                 -­‐Drawings  by  John  Taylor,  Eureka  Natural  Foods,  Eureka,  CA                                                       -­‐The  Allen  Cassidy  show,  The  Cheri  Blackerby  Gallery,  Eureka,  CA             -­‐Paintings  by  Jim  Wilson,  Mad  River  Hospital,  Eureka,  CA                                                                 -­‐Sculpture  Exhibition,  US  Bank,  Arcata,  CA                                                                                                                                     -­‐Go  Figure!,  The  Cheri  Blackerby  Gallery,  Eureka,  CA                                                                           -­‐Muchos  Colores  y  Fromas,  The  Cheri  Blackerby  Gallery,  Eureka,  CA                                 -­‐The  Thing  That  Saves  Us,The  Cheri  Blackerby  Gallery,  Eureka,  CA           2008             -­‐Holiday  Sale  Group  Show,  The  Cheri  Blackerby  Gallery,  Eureka,  CA           -­‐Beautiful  Colors,  Beautiful  World,  The  Cheri  Blackerby  Gallery,  Eureka,  CA           -­‐Carnival  Show,  The  Cheri  Blackerby  Gallery,  Eureka,  CA        Projects:     Project  Coordinator,  +exhibits,  Eugene,  OR         January  2013-­‐  Present   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 7 -­‐developed  membership-­‐based  program  of  Eugene  Contemporary  Art;  created  branding  and  graphic  design;  created  documentation  and  contracts;  conducted  marketing;  networked  with  local  businesses,  faculty,  and  student  artists.               Editor-­‐in-­‐chief/Facilitator,  Quickest  Flip,  Eugene,  OR         -­‐manage  website,  manage  social  media,  network  with  artists             across  the  country,  facilitate  interviews,  manage  magazine  layout  and  design.      Volunteer:     Silent  Art  Auction,  Emerging  Leaders  in  the  Arts  Network,  Eugene,  OR         February  2013                 Arts  &  Culture  Program,  Oregon  Supported  Living  Program,  Eugene,  OR         February  2012-­‐  April  2013           Multimodal  Approaches  to  Learning  International  Conference,             Metropolitan  Museum  of  Art,  New  York,  NY         October  2012           Creative  Conversations,  Emerging  Leaders  in  the  Arts  Network,  Eugene,  OR         October  2012           Art  Studio  Assistant,  Pratt  Fine  Arts  Center,  Seattle,  WA         March  2008-­‐June  2008                 Art  Studio  and  Gallery  Assistant,  VSA  Arts  of  Washington,  Seattle,  WA         March  2008-­‐  June  2008            Awards:     Conference  Participation  Scholarship  Award         Multimodal  Approaches  to  Learning  Conference,  New  York,  Fall  2012           Conference  Participation  Scholarship  Award         Chicago  Zine  Fest,  exhibitor  and  workshop  facilitator,  Fall  2013           Schroeder  Family  Scholarship  Award         Faculty  nominated  award  based  on  graduate  research  project,  Spring  2013        References:     Available  upon  request.                 Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 8 Table  of  Contents  //      Chapter  One:   Introduction                 10           Problem  Statement                 11         Conceptual  Framework             12         Research  Methodology             14           Research  Design               16         Data  Collection  &  Analysis  Procedures         18          Chapter  Two:   Literature  Review               20           Introduction                 21         Definitions                 22         Complexity  and  Language             23       Section  I:  Historical  Segregation  in  the  United  States   27         Medical  Model  of  Disability             27         Social  Model  of  Disability               31                 Section  II:  “Outsider  Art”             34         Coining  of  the  term               34         Outsider  Art  Market               36                 Section  III:  Art  Programs  for  Adults  with  Disabilities   40         Development  of  Art  Programs           41         Bay  Area  Art  Programs             43 Chapter  Three:   Case  Studies                 47           Data  Collection  Methods             48         Creative  Growth  Art  Center             49         NIAD  Art  Center               53         Creativity  Explored               57 Chapter  Four:   Analysis                 61             Community  Perception             63           Advocacy                   66         Exhibition  Programming             70         Language                 76         Art  vs.  Bio                 80         Future                   82     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 9 Chapter  Five:     Summary  &  Recommendations             86           Summary                 87         Recommendations               90    Appendices:     A:  Conceptual  Framework  Schematic           93         B:  Email  Recruitment  Letter           94         C:  Consent  Form               95         D:  Interview  Questions             97         E:  Timeline                 98         F:  Developmental  Disability  Definition           99         G:  Case  Study  Interview  Participants                              100         H:  Updated  NIAD  Art  Center  Logo                              101    References                                          102                                                                                 Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 10        Chapter  1:  Introduction                        Untitled  Dan  Miller  mixed  media  ©  2007  Creativity  Growth  Art  Center     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 11 PROBLEM  STATEMENT  //         Due  to  the  coining  of  terms  such  as  “Outsider  Art”  and  a  history  of  community  segregation  of  individuals  with  disabilities,  artwork  created  by  such  artists  tends  to  be  ignored  by  the  mainstream  of  contemporary  art.  The  word  outsider,  on  its  own,  promotes  the  continued  segregation  of  artists  with  disabilities  from  within  a  larger  art  context  and  thus  perpetuates  a  continuation  of  overall  community  segregation.     The  need  for  support  services  for  individuals  with  developmental  disabilities  (DD)  and  mental  illness  gave  rise  to  the  many  art  programs  that  serve  these  artists.  These  programs  exist  across  the  United  States.  As  stated  by  art  program  founders  Florence  Ludins-­‐Katz  and  Elias  Katz  (1990),  In  contrast  to  earlier  beliefs,  there  is  widespread  agreement  that  disabled  people  not  only  belong  in  the  community  but  should  be  active  members  of  the  community,  and  should  not  be  forced  to  exist  in  state  institutions  isolated  form  their  fellow-­‐citizens  (p.  vii).     Some  of  the  oldest  programs,  such  as  Creative  Growth  Art  Center  in  Oakland,  California,  Creativity  Explored  in  San  Francisco,  California,  and  NIAD  Art  Center  (originally  called  the  National  Institute  of  Art  and  Disabilities)  in  Richmond,  California  were  established  over  thirty  years  ago  and  are  currently  among  the  most  progressive  advocating  agencies  for  the  inclusion  of  artists  with  disabilities.  These  programs'  missions  have  grown  to  include  exhibition  programming  and  community  inclusion.     This  project  examines  and  analyzes  the  ways  in  which  these  art  programs  promote  the  artists  they  represent  and  how  their  programming  counteracts  stereotypical  public   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 12 perception  of  artwork  created  by  artists  with  DD  and  mental  illness.  In  identifying  the  ways  that  current  art  programs  promote  inclusion  through  programming,  particularly  exhibition  programming,  I  hope  to  encourage  a  dialogue  for  arts  administrators  interested  in  artwork  by  artists  with  DD  and  mental  illness.  By  better  understanding  the  context  of  this  complex  topic,  arts  administrators  can  make  more  informed  choices  and  have  more  resources  to  help  eliminate  stereotype  and  celebrate  diversity.    CONCEPTUAL  FRAMEWORK  //   This  project  identifies  inclusive  opportunities  artists  with  developmental  disabilities  (DD)  and/or  mental  illness  have  to  participate  in  the  contemporary  art  world.  In  order  to  understand  the  context  of  these  inclusive  opportunities,  it  is  necessary  to  review  the  historical  segregation  of  individuals  with  DD  and  mental  illness  in  the  United  States.  Additionally,  it  is  necessary  to  understand  the  social  constructs  of  the  Outsider  Art  market.  Being  informed  in  these  areas  provides  a  framework  for  understanding  the  subsequent  cultural  context  in  which  art  programs  for  artists  with  DD  and  mental  illness  were  founded  and  continue  to  exist  (See  Appendix  A).     Examining  the  social  and  political  history  in  the  United  States  of  individuals  with  DD  and  mental  illness  sheds  light  on  the  community  perceptions,  stigmas,  and  stereotypes  that  exist  today.  Identifying  segregation,  within  both  the  social  and  artistic  realms,  concerning  individuals  with  disabilities  helps  illustrate  the  role  of  art  programs  in  their  efforts  to  provide  inclusive  access  to  the  mainstream  contemporary  art  world.     This  project  also  analysis  the  term  “Outsider  Art”  and  the  subsequent  art  market.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 13 Historically,  those  interested  in  this  type  of  artwork  are  drawn  to  the  artists  “pure  and  authentic  creative  impulses”  (Dubuffet,  1988,  p.36).  Many  characterize  the  work  as  avant-­‐garde  and  challenging  established  cultural  values.  This  description  and  labeling  created  an  “Outsider  Art  market”  both  in  the  United  States  and  internationally.  According  to  the  website  of  Raw  Vision  Magazine  (2013),  “Outsider  Art  has  now  established  itself  as  a  vibrant  component  of  contemporary  art.”     What  happens  when  the  term  “Outsider”  is  applied  to  artwork  created  by  artists  with  developmental  disabilities  and  mental  illness?  Given  the  historical  segregation  of  individuals  with  disabilities,  the  labeling  only  continues  the  process  of  exclusion.  This  niche  Outsider  market,  unlike  other  markets,  characterizes  artwork  based  on  the  personal  histories  of  the  artists  themselves  rather  than  artistic  styles,  current  art  practices,  and  art  movements.     This  project  identifies  the  ways  that  current  art  programs  for  artists  with  DD  and  mental  illness  create  inclusive  opportunities  for  the  artists  they  represent.  Through  inclusive  exhibition  and  community  inclusion  programming,  artists  with  disabilities  and  the  artwork  created  by  these  artists  have  increased  access  to  the  contemporary  mainstream  art  world.  Inclusive  opportunities  allow  for  the  creativity  of  individuals  to  come  before  a  description  of  the  artists’  biography.     A  literature  review  of  these  issues,  the  social  and  artistic  segregations  affecting  individuals  with  disabilities,  is  included  in  this  project.  The  literature  review  builds  the  context  for  fully  understanding  the  case  studies  and  the  subsequent  data  analysis.       Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 14 RESEARCH  METHODOLOGY  //       The  intent  of  this  research  is  to  explore  how  artwork  by  artists  with  developmental  disabilities  (DD)  and/or  mental  illness  can  be  included  within  a  contemporary  art  context.  In  particular,  the  research  explores  how  art  programs  for  artists  with  DD  in  the  San  Francisco  Bay  Area  (Creativity  Explored,  Creative  Growth  Art  Center,  and  NIAD  Art  Center)  promote  community  engagement  and  inclusive  art  opportunities.     This  research  was  conducted  using  qualitative  methods,  positioning  myself  in  an  interpretivist/social  constructivist  paradigm  with  the  belief  that  truth  is  not  absolute  but  decided  by  human  judgment.  The  epistemology  of  interpretivism  is  based  on  the  assumption  that  cultural  identity  is  a  central  part  of  how  we  understand  others,  the  world,  and  ourselves.  By  placing  myself,  the  researcher,  in  the  interpretivist  paradigm,  I  recognized  both  my  personal  and  professional  biases.  My  art  history  background  and  my  experiences  working  in  art  programs  for  adults  with  DD  have  given  me  a  particular  lens  in  which  I  view  the  art  world  as  a  whole.  This  project  arose  from  my  interest  in  creating  inclusive  opportunities  for  artists.  I  view  this  goal  as  very  important  for  art  organizations.         This  research  project  addresses  the  following  questions:  What  inclusive  opportunities  do  artists  with  DD  and/or  mental  illness  currently  have  to  participate  in  the  contemporary  art  world?  How  do  art  programs  for  artists  with  DD  and/or  mental  illness  provide  inclusive  opportunities  through  community  programming  and  exhibition  programming?  How  has  the  level  of  inclusion  changed  over  time  and  what  barriers  continue  to  exist  that  limit  the  level  of  access  artists  with  disabilities  have  in  the  contemporary  art  world?   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 15   This  study  has  a  strong  focus  on  the  following  terms:  Access,  Inclusion,  Contemporary  Art,  Mainstream,  and  Outsider  Art.  For  the  purposes  of  this  study,  I  have  defined  these  terms  as:        Access       The  ability  and  opportunity  to  obtain  or  make  use  of               something.      Inclusion       The  act  of  including  or  the  state  of  being  included.     Contemporary  Art       Art  produced  and  recognized  at  the  present  point  in               time.     Mainstream       That  which  is  widely  accepted.     Outsider  Art       Any  artist  who  is  untrained  or  with  disabilities  or               suffering  social  exclusion,  whatever  the  nature  of  their               work  ("Raw  Vision,"  2013).       I  recognize  the  many  limitations  to  this  study.  The  topic  of  arts  and  disability  is  complicated  and  expansive.  This  study  does  not  focus  on  artists  themselves  but  rather  art  programs  with  missions  of  supporting  the  artists  they  serve  and  celebrating  the  creative  process.  This  research  focuses  solely  on  three  art  programs  located  in  California  and  a  selection  of  their  current  staff.     This  project  serves  as  a  tool  for  arts  administrators  working  in  the  field  of  visual  arts  who  are  interested  in  access  and  inclusion.  For  those  working  at  programs  for  artists  with  DD  and/or  mental  illness,  this  project  provides  research  and  insight  into  inclusive  opportunities  through  community  engagement  programming  and  exhibition  practices.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 16 Additionally,  this  project  appeals  to  those  working  in  contemporary  art  organizations  and  are  interested  in  becoming  more  inclusive  with  their  exhibition  offerings.     In  a  boarder  sense,  this  project  seeks  to  shed  light  on  the  socially  constructed  notion  of  what  constitutes  “contemporary  fine  art”  and  the  ramifications  for  individuals  that  have  been  historically  excluded,  such  as  artists  with  developmental  disabilities  and  mental  illness.  These  conclusions  also  extend  to  society  as  a  whole.  What  are  the  cultural  implications  of  defining  and  determining  contemporary  art  in  such  a  way  that  excludes  a  portion  of  the  population  from  access  to  mainstream  art?    RESEARCH  DESIGN  //       This  research  project  explores  inclusive  opportunities  for  artists  with  developmental  disabilities  (DD)  and/or  mental  illness  to  participate  in  the  contemporary  art  world.  The  project  examines  community  inclusion  programming  and  exhibition  programming  for  artists  with  DD.  The  research  was  conducted  from  a  qualitative  research  perspective.  The  research  includes  case  studies  of  three  art  programs  in  the  San  Francisco  Bay  Area  of  California.  The  case  study  sites  are:  Creativity  Explored  (San  Francisco,  CA),  Creative  Growth  Art  Center  (Oakland,  CA),  and  the  NIAD  Art  Center  (Richmond,  CA).  Each  case  study  consists  of  multiple  key  informant  interviews  as  well  as  document  analysis.  The  programs  of  focus  for  this  study  where  chosen  due  to  their  prestige  within  the  arts  and  disability  field  and  because  they  are  some  of  the  oldest  existing  programs  of  their  kind  in  the  United  States.      The  case  studies  involved  in-­‐depth  key  informant  interviews  with  each  program's   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 17 executive  director  and  gallery  manager(s).  Interviewees  were  recruited  through  an  email  recruitment  letter  (see  Appendix  B),  and  upon  approval,  interviewees  were  provided  a  consent  form  (see  Appendix  C).  The  interview  questions  relate  to  organizational  goals  regarding  community  inclusion  of  both  artists  and  artwork,  observed  community  perception  of  artwork,  specifics  on  current  community  inclusion  programming,  specifics  on  current  inclusive  exhibition  programming,  and  how  issues  around  inclusion  (related  to  promotion  of  artwork,  language  used  to  talk  about  artwork,  exhibition  opportunities,  and  community  perception)  have  changed  over  time  (see  Appendix  D).  Executive  directors  provided  an  over-­‐arching  perspective  regarding  organizational  mission  and  the  ways  in  which  programming  has  changed  or  remained  the  same  over  time.  Additionally,  each  program's  gallery  manager  provided  information  regarding  inclusive  exhibition  practices  and  documentation  on  exhibition  programming.  Due  to  the  nature  of  this  study,  those  who  participated  as  interviewees  were  at  minimal  risk.     This  study  was  conducted  during  the  winter  and  spring  terms  of  2013  and  was  completed  May  2013  (see  Appendix  E).  Techniques  used  to  establish  credibility  in  this  study  include  triangulation,  peer  debriefing,  and  member  checks.  Gathering  data  from  three  organizations  provided  a  range  of  programming  and  policy  information  regarding  the  inclusion  of  artwork  within  the  contemporary  art  world.     Information  gathered  through  this  project  serves  as  a  tool  for  art  organizations  that  support  artists  with  developmental  disabilities  and  mental  illness.  By  conducting  this  research,  I  have  learned  about  the  community  inclusion  programming  and  inclusive  exhibition  programming  currently  being  offered  at  art  organizations  that  specialize  in  supporting  artists  with  disabilities.  Simultaneously,  through  an  extensive  literature  review,   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 18 I  have  learned  about  the  cultural  context  in  which  these  programs  have  evolved  and  about  the  ways  that  their  actions,  policies,  and  programming  impact  both  the  art  world  and  society.    DATA  COLLECTION  AND  ANALYSIS  PROCEDURES  //       This  research  began  with  an  extensive  literature  review.  The  literature  review  focused  on  three  main  topical  areas:  1)  The  historical  segregation  of  individuals  with  disabilities  and  mental  illness  in  the  United  States,  2)  Outsider  Art  and  the  Outsider  Art  market  and  3)  The  development  of  art  programs  for  adults  with  disabilities  in  the  United  States.  This  literature  review  helps  to  better  understand  the  context  in  which  artwork  created  by  artists  with  developmental  disabilities  (DD)  and  mental  illness  is  perceived  today.     The  literature  review  also  includes  a  section  on  art  programs  for  artists  with  disabilities  in  the  San  Francisco  Bay  Area,  each  founded  by  Florence  Ludins-­‐Katz  and  Elias  Katz  in  the  late  1970s  and  early  1980s.  Each  of  these  programs  is  a  501(c)(3)  non-­‐profit  organization  that  provides  a  professional  studio  environment,  gallery  exhibition  opportunities,  and  some  form  of  community  inclusion  programming.  These  programs  (Creativity  Explored,  Creative  Growth  Art  Center,  and  NIAD  Art  Center)  are  the  sites  of  the  case  studies  considered  in  this  project.  These  programs  no  longer  have  any  connection  to  one  another  but,  because  they  stem  from  similar  beginnings  and  are  among  the  most  established  programs  of  their  kind  in  the  United  States,  together  they  provide  an  unmatched  wealth  of  knowledge.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 19   This  project  discusses  the  major  findings  from  this  research,  provides  recommendations  for  these  organizations  and  similar  organizations,  and  suggests  areas  for  further  research.  Data  collection  techniques  included  interviews  and  document  analysis.  These  methods,  talking  to  selected  key  informants  at  each  organization  and  analyzing  relevant  documentation  regarding  inclusive  exhibition  opportunities,  best  answer  the  proposed  research  question.     To  establish  the  participation  of  each  case  study  site,  I  sent  a  recruitment  letter  (see  Appendix  B)  and  a  consent  form  (see  Appendix  C)  for  each  individual  who  participated  in  the  interview  process.  As  data  relevant  to  my  study  was  acquired,  a  data  sheet  for  document  analysis  or  interview  protocol  sheets  for  interviews  were  assigned  for  future  analysis  (see  Appendix  D).     Document  analysis  was  preformed  on  existing  data  created  by  each  organization.  Analysis  included  digital  documents  (websites  and  press  releases),  and  tangible  documents  (postcards,  newsletters,  and  related  exhibition  materials)  (see  Appendix  D).  Digital  documents  were  kept  on  a  locked  computer  and  tangible  documents  were  kept  in  a  locked  file  to  maintain  confidentiality.     The  interviews  consisted  of  a  series  of  questions  for  executive  directors  and  gallery  mangers  regarding  inclusive  opportunities  for  the  artists  they  support  (see  Appendix  D).  Each  interview  was  conducted  in  person  during  one  interview  session.  Data  from  interviews  were  recorded  through  audio  recording.  Participates  and  their  roles  at  the  organization  are  identified  in  this  project.  Participates  have  had  the  opportunity  to  review  the  content  they  submitted  to  the  project  and  edit  their  remarks  if  they  so  choose.  Providing  these  member  checks  has  helped  increase  credibility  of  the  study.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 20     Chapter  2:  Literature  Review      Untitled Marlon Mullen 30 x 40” acrylic on canvas ©  2012  NIAD  Art  Center       Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 21 INTRODUCTION  //           Significant  historical  events  have  increased  community  inclusion  opportunities  and  human  rights  for  individuals  with  developmental  disabilities  (DD)  and  mental  illness.  Artists  in  the  United  States  with  DD  and  mental  illness  are  now  part  of  permanent  collections  at  prestigious  art  museums,  including  the  Berkeley  Museum  of  Art  and  the  Museum  of  Modern  Art  in  New  York.  Within  the  field  of  Arts  &  Disability,  these  are  very  recent  achievements  in  a  long  history  of  segregation,  stereotype,  and  stigma.       Although  there  have  been  advancements  regarding  inclusion,  it  is  important  to  understand  the  history  of  segregation  in  the  United  States  and  how  this  history  still  impacts  community  perception  of  both  individuals  with  DD  and  mental  illness  and  the  artwork  they  create.  This  research  project  seeks  to  document  the  context  in  which  art  programs  for  artists  with  DD  or  mental  illness  have  developed,  and  the  current  culture  and  opportunities  present  today  for  community  inclusion  and  inclusive  art  exhibitions.  Art  programs  that  support  artists  with  DD  and  mental  illness  are  now  frequently  being  opened  across  the  country.  Though  these  programs  may  be  new  to  the  areas  in  which  they  are  founded,  they  are  part  of  a  much  larger,  nation-­‐wide  foundation  established  over  30  years  ago.       The  first  section  of  the  literature  review  will  highlight  significant  shifts  in  the  medical  treatment  of  individuals  with  DD  and  mental  illness  and  the  political  shifts  pertaining  to  human  rights.  These  two  topics  are  important  in  understanding  the  community  perception  of  individuals  throughout  history  and  how  this  embedded  memory  in  our  society  influences  current  perceptions.  This  history  of  segregation  is  also  reflected  in  the  way  artists  with  DD  and  mental  illness  participate  in  the  contemporary  art  world.     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 22   The  second  section  of  the  literature  review  will  focus  on  the  Outsider  Art  market,  a  market  defined  by  biographies  of  seclusion  and  lack  of  education.  The  third  section  highlights  the  development  of  art  programs  with  the  mission  of  supporting  artists  with  DD  and  mental  illness.    Definitions  //         The  separate  definitions  for  Developmental  Disability  and  Mental  Illness  can  be  given  as:    Developmental  Disability  (DD)     According  to  the  Developmental  Disabilities  Act,  section  102(8),  the  term  'developmental  disability'  means  a  severe,  chronic  disability  of  an  individual  five  years  of  age  or  older  that  meets  certain  specific  criteria  including  likeliness  to  continue  indefinitely  and  manifestation  before  the  age  of  twenty-­‐two.  A  full  definition  is  found  in  Appendix  F.    Mental  Illness     Mental  Illness  is  defined  as  "any  of  various  conditions  characterized  by  impairment  of  an  individual's  normal  [expected]  cognitive,  emotional,  or  behavioral  functioning,  and  caused  by  social,  psychological,  biochemical,  genetic,  or  other  factors,  such  as  infection  or  head  trauma"  ("American  Heritage,"  2009).    DD  and  Mental  Illness     In  definition  and  diagnosis,  developmental  disabilities  differ  from  mental  illnesses.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 23 However,  these  two  types  of  diagnoses  are  linked  together  for  several  reasons.  Research  has  found  that  psychiatric  disorders  are  more  prevalent  in  adults  with  learning  disabilities  than  in  the  general  population  (Deb,  Thomas,  &  Bright,  2001).  Numerous  studies  have   estimated  that  40-­‐70%  of  all  persons  with  DD  have  a  co-­‐occurring  diagnosable  psychiatric  disorder  (Silka  &  Hauser,  1997).     Due  to  the  prevalence  of  co-­‐occurring  DD  and  mental  illness,  social  support  services  intended  to  support  adults  with  DD  also  end  up  supporting  adults  with  mental  illness.  An  example  of  this  dual  support  system  can  be  seen  within  California's  regional  centers.  These  centers  were  established  to  support  individuals  with  DD,  but  are  also  in  the  position  of  serving  individuals  with  mental  illness.  According  to  the  Association  of  Regional  Center  Agencies  (2011),  more  than  20%  of  regional  center  clients  have  a  diagnosis  of  mental  illness  and  are  prescribed  psychotropic  medication.  California's  regional  center  system  figures  centrally  into  the  case  studies  considered  in  this  paper.        Complexity  &  Language  //         Before  diving  into  the  research,  I  must  comment  on  the  scope  of  this  research  topic  and  the  language  used  in  the  subsequent  discussion.  Of  course,  the  analysis  of  historical  segregation  in  the  United  States  of  individuals  with  DD  and  mental  illness  is  a  subject  of  incredible  depth  and  complexity.  The  goal  of  this  paper  is  to  identify  current  inclusive  opportunities  that  artists  with  developmental  disabilities  and/or  mental  illness  have  to  participate  in  the  contemporary  art  world.  Toward  this  goal,  the  next  section  offers  a  discussion  of  the  medical  and  social  models  of  DD  as  a  characteristic  example  of  this  much   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 24 larger  subject.  It  is  my  intention  that  this  will  provide  sufficient  background  to  appreciate  the  analysis  and  conclusions  that  I  arrive  at  in  this  paper,  as  well  as  give  an  appreciation  for  this  rich  and  living  history.     Diversity  is  not  just  a  wide  spectrum  of  people,  interests,  backgrounds,  and  life-­‐styles.  It  is  a  fractal-­‐type  phenomenon  that  continues  as  we  zoom  in.  Within  different  categorized  groups  of  people,  there  are  more  layers  of  diversity.    As  humans,  we  categorize  information  as  a  way  to  make  sense  of  the  world  around  us.  However,  the  need  to  create  categories  for  ourselves  only  leaves  us  with  a  simplified  assessment  of  how  people  self-­‐identify.     An  example  of  self-­‐identification  is  people-­‐first  language.  People-­‐first  language  restructures  language,  replacing  premodified  nouns  (disabled  people)  with  postmodified  nouns  (people  with  disabilities)  (Halmari,  2011).  This  language  reflects  the  evolution  of  other  euphemisms  over  the  years,  where  words  like  crippled  have  been  replaced  with  terms  such  as  differently-­‐abled.  This  progression  is  also  visible  through  the  name  changes  of  many  agencies  and  organizations  that  serve  individuals  with  disabilities.     The  American  Association  on  Intellectual  and  Developmental  Disabilities  (AAIDD)  has  changed  names  four  times  since  its  foundation  in  1876.  Originally,  this  non-­‐profit  was  called  the  American  Association  of  Medical  Officers  of  Institutions  for  Idiotic  and  Feebleminded  Persons,  it  then  changed  the  name  to  the  American  Association  on  Mental  Deficiency  in  1933.  In  1987  the  name  was  changed  to  the  American  Association  on  Mental  Retardation  and  remained  that  way  until  2006,  when  it  became  AAIDD  (Halmari,  2011,  p.  829).    VSA,  the  international  organization  on  arts  and  disability,  has  also  changed  names  over  the  years.  When  founded  in  1974,  the  organization  was  known  as  National  Committee-­‐   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 25 Arts  for  the  Handicapped.  In  1985  the  name  changed  to  Very  Special  Arts  until  1999  when  it  became  VSA  Arts.  Now  the  organization  goes  by  VSA-­‐  The  International  Organization  on  Arts  and  Disability  (“VSA,  "  2013).     As  with  the  evolution  of  organization  names,  people-­‐first  language  is  the  result  of  a  change  in  the  language  that  our  current  culture  and  society  deems  acceptable  and  politically  correct.    The  philosophy  behind  people-­‐first  language  is  that  it  is  more  respectful  to  emphasize  the  person  first,  rather  than  define  individuals  by  their  disabilities  (Blaska,  1993).  Advocacy  groups  like  TASH,  then  called  The  Association  for  Persons  with  Severe  Handicaps, initially  recommended  people-­‐first  language  in  the  early  1990s  and  publications   in  the  field  of  education  and  psychology  soon  adopted  these  new  euphemisms  (Blaska,  1993).  Many  individuals  with  disabilities,  advocacy  groups,  and  educators  continue  to  apply  and  prefer  people-­‐first  language,  but  there  are  those  who  do  not  agree  with  the  ideas  behind  this  model.     Jim  Sinclair,  autism-­‐rights  activist  and  founder  of  Autism  Network  International  argues  that  people-­‐first  language  suggests  that  disability  can  be  separated  from  a  person  as  if  it  is  not  part  of  the  entirety  of  a  person's  existence.  He  argues  people-­‐first  language  insinuates  disability  is  something  bad,  stating  that  "it  is  only  when  someone  has  decided  that  the  characteristic  being  referred  to  is  negative  that  suddenly  people  want  to  separate  it  from  the  person"  (Sinclair,  1999).  The  range  of  opinions  regarding  people-­‐first  language  shows  just  how  complex  the  ideas  of  self-­‐representation,  empowerment,  inclusion,  and  equality  really  are.     Overall,  people  with  disabilities  reserve  the  rights  to  their  own  self-­‐image  and  how  they  choose  to  identify.    I  acknowledge  and  respect  this  fact  but  will  be  using  people-­‐first   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 26 language  throughout  this  paper  for  the  sake  of  consistency  and  because  it  is  a  form  of  linguistic  prescriptivism  I  currently  feel  comfortable  with.  I  understand  that  this  is  not  a  universally  preferred  model.                                                                 Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 27 Section  I:    Historical  Segregation  in  the  United  States   "Let there be a law that no deformed child shall live."  -­‐  (Aristotle,  1905/350BCE,  book  7,  part  XVI)   Aristotle  is  recognized  as  a  great  philosopher  and  scientist,  having  a  profound  influence  on  the  development  of  Western  thought.  Thankfully,  we  have  progressed,  but  Aristotle’s  statement  is  a  testament  to  the  long  history  of  culturally  accepted  segregation  and  the  significant  shifts  that  have  taken  place  regarding  disability  rights.     There  are  many  models  for  understanding  disability:  models  that  describe  how  individuals  with  disabilities  experience  disability  and  how  disability  is  perceived  in  society.  Two  of  the  most  common  models  of  disability  are  the  medical  and  social  models.  Throughout  history  there  have  been  many  medical  advancements  and  shifts  in  policy  that  have  impacted  the  disability  community.  How  disability  is  understood  both  medically  and  socially  has  ramifications  on  policies,  rights,  and  overall  community  inclusion  opportunities  for  people  with  disabilities.     Medical  Model  of  Disability//   The  medical  model  of  disability  fundamentally  attributes  illness  or  disability  to  the  individual  and  their  own  body.  Carol  Gill,  from  the  Chicago  Institute  of  Disability  Research,  explains  this  model  with  five  basic  statements:   1.  Disability  is  a  deficiency  or  abnormality.  2.  Being  disabled  is  negative.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 28 3.  Disability  resides  in  the  individual.  4.  The  remedy  for  disability-­‐related  problems  is  cure  or  normalization  of  the                                                                      individual.  5.  The  agent  of  remedy  is  the  professional.         As  you  can  see,  this  model  leaves  the  individual  in  an  essentially  doomed  and  passive  position.  This  model  makes  clear  why  in  our  society  there  is  an  ingrained  reaction  to  disability  of  pity  and  condescension.  The  medical  model  encourages  the  idea  that  people  with  disabilities  are  entirely  dependent.  However,  as  pointed  out  in  Joseph  Sharpiro's  book  No  Pity  (1993),  rather  than  disability  itself,  "it  is  society's  myths,  fears,  and  stereotypes  that  most  make  being  disabled  difficult"  (p.  5).     Over  the  past  fifty  years  the  medical  treatment  of  individuals  with  developmental  disabilities  and  mental  illness  has  evolved,  leading  to  changes  both  politically  and  socially.  With  advancements  in  the  fields  of  science  and  medicine,  psychiatric  treatments  such  as  lobotomy  and  insulin  shock  therapy  are  now  viewed  as  barbaric.  However,  these  medical-­‐model  procedures  were  commonplace  until  the  advent  of  the  antipsychotic  medications  developed  in  the  1950s.  In  addition  to  the  advances  in  treatment  options  during  this  time  period,  there  was  also  mounting  criticism  of  involuntary  institutional  confinement.     Before  the  1975  Supreme  Court  Case  O'Connor  V.  Donaldson,  there  was  no  policy  restricting  involuntary  commitment  to  mental  hospitals.  Kenneth  Donaldson  was  a  man  committed  by  his  father,  diagnosed  with  schizophrenia,  and  confined  for  over  14  years,  usually  kept  in  a  room  and  given  no  psychiatric  treatment  (Baldwin,  1975).  Due  to  his  own  efforts  advocating  for  his  release,  a  federal  law  was  passed  declaring  that  "a  non-­‐dangerous  patient  who  could  live  safely  in  freedom  has  a  right  to  be  released  if  not  receiving   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 29 treatment"  (Baldwin,  1975,  p.  573).        Institutions  had  improved  since  the  asylums  of  the  19th  century,  which  were  non-­‐therapeutic  and  merely  kept  patients  isolated  (Wright,  1997).  However,  funding  cuts  to  institutions  in  the  early  20th  century  created  poor  living  conditions,  lack  of  hygiene,  and  neglect  (Fakhourya  W,  Priebea  S.,  2007).  A  growing  concern  among  families  and  disability  activists  led  to  an  assessment  of  the  mental  health  care  system  and  eventually  to  patients  becoming  deinstitutionalized  (Thomas,  1998).     Deinstitutionalization  was  part  of  the  handful  of  liberal-­‐era  reforms  of  the  1960s,  which  included  the  Civil  Rights  Act  and  various  social  welfare  programs.  Initiatives  designed  to  reform  the  mental  health  care  system,  which  included  state  hospitals,  were  a  reaction  to  unsatisfactory  conditions,  patient  advocation,  and  the  advent  of  new  medications.  Unfortunately,  the  implementation  of  deinstitutionalization  was  fundamentally  disastrous  due  to  insufficient  funding  for  community  support  services  and  the  release  of  patients  before  adequate  community  support  programming  was  established  (Thomas,  1998).       The  issue  of  involuntary  commitment  vs.  voluntary  commitment  remains  a  contentious  topic  today.  Without  proper  support  services  within  communities,  individuals  who  need  such  services  continue  to  struggle.  This  illustrates  the  complexity  of  determining  the  most  humane  method  of  care.  Currently,  in  the  US,  the  situation  is  such  that  if  involuntary  commitment  were  not  used,  individuals  who  refuse  treatment  would  not  receive  any  kind  of  care  at  all.     Deinstitutionalization  also  brought  an  increase  in  those  seeking  mental  health  care  at  hospitals  and  an  influx  of  individuals  with  mental  illness  into  the  criminal  justice  system.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 30 Hospitals  became  overpopulated  and  patients  were  released  prematurely,  many  of  them  not  continuing  their  prescribed  medications  (Thomas,  1998).  This  resulted  in  the  criminal  justice  system,  which  is  not  a  treatment  system,  detaining,  segregating,  and  isolating  individuals  with  mental  illness,  much  like  the  state  hospitals  of  the  past.     State  legislatures  have  developed  many  of  the  services  and  programs  for  individuals  with  mental  illness  and  developmental  disabilities.  States,  on  their  own,  have  established  social  service  policies  and  programs  to  ensure  advocacy,  support,  and  programming  for  individuals  with  disabilities.  One  way  states  have  organized  support  is  through  the  development  of  Regional  Centers,  as  with  the  state  of  California.     Another  significant  political  shift  is  the  Americans  with  Disabilities  Act  (ADA).  The  ADA,  a  law  passed  in  1990,  is  a  very  recent  civil  rights  act  that  has  shaped  policy  for  individuals  with  disabilities.  This  law  was,  “created  to  ensure  equal  access  for  people  with  disabilities  to  employment,  government  programs  and  services,  and  privately  owned  places  with  public  accommodations,  transportation  and  communication”  (Korza  &  Brown,  2007,  p.  334).  This  law  not  only  ensures  services  but  it  also  encourages  the  creation  of  inclusive  communities  and  the  implementation  of  universal  design  to  allow  for  widespread  accessibility.  This  progressive  way  of  thinking  about  our  communities,  “assumes  diversity  of  users  and  that  a  board  spectrum  of  abilities  is  ordinary,  not  special”  (Korza  &  Brown,  2007,  p.  332).     Although  the  Americans  with  Disabilities  Act  ensures  equal  access  to  employment  and  a  means  for  independence  for  individuals  with  disabilities,  a  study  published  in  the  Journal  of  Intellectual  Disability  Research  entitled  “Spaces  of  Social  Inclusion  and  Belonging  for  People  with  Intellectual  Disabilities”  examines  what  social  inclusion  really  means.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 31 Through  a  set  of  case  studies  focusing  on  community  arts  programs  for  adults  with  disabilities,  Hall  argues  that  inclusion  does  not  necessarily  mean  that  individuals  with  disabilities  participate  in  ‘normal’  social  activities  such  as  employment  and  independent  living.  In  fact,  hall  argues  that  “these  standards  and  expectations  are  very  difficult,  if  not  impossible,  for  many  people  with  IDs  (Intellectual  disabilities)  to  reach”  (Hall,  2010,  p.  51).       This  complex  shift  from  the  medical-­‐model  assumption  that  "the  remedy  for  disability  is  to  normalize  the  individual"  (Carol  Gill,  above)  to  the  push  for  social  inclusion  is  more  than  a  shift  in  policy  but  also  the  result  of  an  evolution  of  socially  constructed  ideas  around  disability.  In  the  late  1960s  and  early  1970s  there  was  a  re-­‐evaluation  of  the  traditional  medical-­‐model  approach  to  disability.  Disability  rights  advocate  Gerben  De  Jong  challenged  the  validity  of  the  medical  model,  "arguing  that  disability  was  in  large  part  a  social  construct,  and  that  environmental  factors  are  at  least  as  important  as  biophysical  ones  in  the  assessment  of  a  disabled  person's  capacity  to  live  independently"  (Barnes,  2000,  p.  69). Social  Model  of  Disability//       The  medical  model  has  had  an  enormous  impact  on  contemporary  perception  of  the  capabilities  and  social  contributions  of  individuals  with  DD  and  mental  illness.  It  is  one  contributing  factor  to  the  prejudices  of  our  own  time  and  place.  The  medical  model  is  placed  in  opposition  with  the  current  social  model  of  disability.  Carol  Gill,  from  the  Chicago  Institute  of  Disability  Research,  explains  this  model  as:   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 32 1.  Disability  is  a  difference.    2.  Being  disabled,  in  itself,  is  neutral.  3.  Disability  derives  from  interaction  between  the  individual  and  society.  4.  The  remedy  for  disability-­‐related  problems  are  a  change  in  the  interaction            between  the  individual  and  society.    5.  The  agent  of  remedy  can  be  the  individual,  an  advocate,  or  anyone  who  affects  the            arrangements  between  the  individual  and  society.           Advancements  in  education  and  advocacy  have  changed  terms,  language,  and  the  way  illness  and  disability  are  currently  understood.  This  advancement  is  due  to  many  sources,  all  of  which  contribute  to  this  rich  history.  It's  worth  noting,  simply,  that  much  of  this  advancement  is  due  to  awareness  and  activism  from  the  disability  rights  movement  itself.  Disability  rights  activists  began  drawing  parallels  to  race  and  gender  and  called  for  a  "relocation  of  disability  from  the  narrow  domain  of  individual  biology  to  the  broader  realm  of  society  and  its  practices  and  beliefs"  (Gill,  Kewman,  &  Brannon,  2003,  p.  306).     It  is  now  understood  that  disability  is  not  an  individual  occurrence,  but  in  reality  is  imposed  by  personal  factors  (such  as  negative  attitudes  and  limited  social  supports)  and  environmental  factors  (such  as  inaccessible  transportation  and  public  buildings).    The  social  model  of  disability  identifies  society  itself  as  one  of  the  main  contributing  factors  in  disabling  people.  Furthermore,  this  model  treats  both  disability  and  normality  as  social  constructs.    Gill  et  al.    (2003)  states  the  social  model  "acknowledges  physical  or  mental  impairment  as  a  common  aspect  of  human  experience,  viewing  persons  with  disabilities  as  hindered  primarily  not  by  their  intrinsic  differences  but  by  society’s  response  to  those  differences"  (p.  306).     The  social  model  uses  modern  research  to  support  integrating  persons  with  DD  and   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 33 mental  illness  into  communities,  with  the  belief  that  community  involvement  is  crucial  to  any  person's  health  and  well-­‐being.  Advances  in  medicine,  political  progress,  and  the  re-­‐evaluation  of  biases  and  social  prejudices  toward  individuals  with  DD  and  mental  illness  are  all  achievements  in  disability  rights.  However,  prejudices,  stereotypes,  and  misconceptions  are  still  pervasive  in  our  culture.  Though  laws  like  the  ADA  permit  individuals  with  DD  and  mental  illness  increased  access  to  public  spaces,  they  do  little  to  touch  on  social  and  cultural  inclusion.  The  ADA  codifies  anti-­‐discrimination  language,  which  doesn't  necessarily  translate  into  the  culture.  An  example  of  where  issues  of  segregation  and  lack  of  inclusion  still  exit  is  within  the  contemporary  art  world.  The  Outsider  Art  market  points  to  issues  of  access  and  inclusion  within  the  visual  arts.                   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 34 Section  II:  Outsider  Art "Is immunity to culture possible?" -­‐  (Fine,  2004,  p.  31)   This  is  a  good  place  to  briefly  draw  out  the  distinction  between  physical  disability  and  DD/mental  illness,  as  well  as  see  how  the  history  of  segregation  of  individuals  with  physical  disabilities  nonetheless  informs  the  study  of  artists  with  DD  and  mental  illness.     Individuals  with  physical  disabilities  have  also  faced  the  prejudices  and  misconceptions  of  society.  A  disheartening  example  is  that  of  freak  shows.  In  the  United  States,  in  the  19th  century,  freak  shows  were  a  venue  in  which  individuals  were  put  on  display  and  seen  not  as  human  beings  but  as  units  of  entertainment  whose  only  value  was  derived  from  the  novelty  of  their  physical  disabilities.     The  memory  of  freak  shows  manifests  in  contemporary  culture  as  the  phenomenon  of  Outsider  Art.  In  particular,  the  culture  of  biographies  surrounding  artists  with  DD  and  mental  illness  emerges  out  of  the  culture  of  freak  shows  that  considers  disabilities,  whether  physical,  mental,  or  developmental,  as  mere  novelties  to  be  consumed  for  entertainment.    Coining  of  the  term  //       The  concept  of  Outsider  Art  in  the  United  States  was  derived  from  the  French  term  L'art  Brut.  French  artist  Jean  Dubuffet  invented  the  term,  which  translates  as  raw  art,  in  the  1940s  to  describe  the  art  made  by  individuals  at  mental  hospitals  he  visited  in  Switzerland  (Muri,  1999).     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 35   The  unique  aesthetic  of  the  artwork,  in  combination  with  the  creators'  biographies  and  mental  illness,  pointed  to  the  "creator  being  somehow  insulated  from  all  social  and  cultural  influences,  devoid  of  all  schooling  in  the  arts,  and  unaware  of  traditions  or  present  compositional  formulae"  (Cardinal,  2009).  The  discovery  and  collection  of  such  raw  art  became  a  passion  of  Dubuffet.  He  first  documents  this  enthusiasm  in  a  letter  to  artist  René  Auberjonois  in  1945,  writing:    I  preferred  ‘Art  Brut’  instead  of  ‘Art  Obscur’  [Obscure  Art],  because  professional  art  does  not  seem  to  me  any  more  visionary  or  lucid;  rather  the  contrary....Why  then  do  you  write  that  gold  in  its  raw  state  is  more  fake  than  imitation  gold?  I  like  it  better  as  a  nugget  than  as  a  watchcase.  Long  live  fresh-­‐drawn,  warm,  raw  buffalo  milk  (Dubuffet,  1945).     The  concepts  of  Art  Brut  were  introduced  to  the  United  States  in  1972  with  the  book  Outsider  Art.  Outsider  Art,  by  art  historian  Roger  Cardinal,  was  the  first  English-­‐language  book  to  be  published  on  the  subject  of  Art  Brut  and  also  introduced  the  Americanized  synonym-­‐  Outsider  Art.  This  term  has  extended  into  an  umbrella  term  to  "describe  everything  from  works  by  self-­‐taught  and  folk  artists,  to  art  produced  in  therapy  programs,  and  art  made  by  those  who  are  maybe  just  a  bit  eccentric"  (Murrell,  2005).  Additionally,  Outsider  Art  has  further  developed  into  the  contemporary  Outsider  Art  market,  made  up  of  galleries,  collectors,  and  art  fairs.       Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 36 Outsider  Art  market  //       Outsider  Art,  from  its  ideological  inception,  places  a  greater  emphasis  on  an  artist’s  personal  biography  than  on  the  artist's  work  itself.  Art  Brut  (the  term  that  preceded  the  coining  of  Outsider  Art)  is  defined  by  Dubuffet  (1967)  as: A  product  created  from  persons  immune  from  the  artistic  culture,  in  which  mimetism  plays  a  minimal  part  if  not  any,  in  a  different  way  from  the  activities  of  the  intellectuals.  These  artists  derive  all,  subjects,  the  choice  of  materials,  symbologies,  rhythms,  style,  etc.,  from  the  personal  interiority,  and  not  from  the  conventions  of  the  traditional  and  fashionable  art  (p.  198).     However,  as  Gary  Alan  Fine  (2004),  author  and  professor  of  sociology  at  Northwestern  University,  questions,  "is  immunity  to  culture  possible?"  (p.  31).    Or  is  this  a  romanticized  idea  imposed  upon  a  diverse  group  of  people?  Dubuffet  sought  out  artists  untouched  by  culture  through  visits  to  psychiatric  asylums  at  a  time  when  patients  were  socially  isolated.  As  pointed  out  by  Carole  Tansella  (2007),  now  that  community  inclusion  is  a  priority  of  programs  for  individuals  with  DD  and  mental  illness,  this  type  of  isolation  no  longer  exists  (p.  135).     Despite  these  observations,  Outsider  Art  in  the  United  States  is  fixed  to  cultural  isolation,  biography,  and  diagnosis.  Since  it  is  a  category  that  lacks  aesthetic  criteria,  definitions  of  Outsider  Art  have  only  become  more  vague  since  the  term  was  first  introduced  by  Roger  Cardinal  in  1972.  This  multitude  of  intersecting  genres  confuses  any  precise  characterization  of  Outsider  Art.  What  is  certain,  though,  is  that  Outsider  Art  is  used   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 37 by  historians,  critics  and  collectors  as  a  term  defined  by  the  status  of  the  persons  creating  the  art  instead  of  any  formal  characteristics  (Tansella,  2007,  p.  133).       Over  the  past  twenty  years,  Outsider  Art  has  expanded  to  become  a  multi-­‐million  dollar  marketplace  in  the  United  States  (Wilson,  2011).  Historically,  the  Outsider  Art  market  has  operated  apart  from  the  mainstream  contemporary  art  market.  Wilson  (2011)  goes  on  to  explain  that,  "the  field  purposefully  divorced  itself  from  Western  art  historical  lineage  and  established  its  own  canon,  resisting  traditional  evaluative  strategies  such  as  context  and  comparison"  (p.  331).       It  is  characteristic  of  the  genre  that  many  well-­‐known  and  best-­‐selling  Outsider  artists  have  documented  histories  of  mental  illness  (Wilson,  2011).    This  evaluation  based  on  biography  influences  who  is  able  to  flourish  as  an  Outsider  artist.  New  York  dealer  Randell  Morris  reports  (as  cited  in  Decarlo  &  Dintenfass,  1992),  "When  I  speak  to  audiences,  if  I  talk  about  surface  tension,  or  even  say  the  artist  can  paint,  I  lose  them.  If  I  talk  about  how  strange  the  artist  is,  they  love  me.  The  stranger  the  human  being,  the  more  they  like  it."  Morris  goes  on  to  say  that  their  gallery  no  longer  uses  biography  and  personal  circumstances  as  a  selling  point,  but  that  they've  lost  a  lot  of  clientele  as  a  result.     Unlike  other  art  markets,  opportunities  to  become  successful  within  the  Outsider  Art  market  are  determined  by  the  level  of  authenticity  as  a  stereotypical  "outsider."  As  stated  by  Gary  Alan  Fine  (2004),  "Authenticity  becomes  a  credential,  one  that  is  ascribed  by  others,  rather  than  achieved  by  the  artist"  (p.  237).  Zolberg  and  Cherbo  (1997)  explain  this  point  further,  "Because  the  question  of  authenticity  hinges,  ultimately,  on  the  social  condition  of  the  artist,  biography  supersedes  the  aesthetic  analysis  to  which  works  by  conventional  artists  are  subjected"  (p.  29).  Becoming  a  successful  Outsider  artist  has  little   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 38 to  do  with  creativity,  talent,  or  vision  and  a  lot  to  do  with  an  interesting  or  entertaining  biography.       Because  of  certain  biographical  facts,  such  as  a  diagnosis  of  DD  or  mental  illness,  artists  become  recognized  by  collectors,  dealers,  and  galleries  as  Outsider  artists.  Once  classified  as  an  Outsider,  an  artist  faces  the  challenge  of  maintaining  authenticity.  An  example  of  this  dilemma  has  been  chronicled  by  John  Windsor  (1997)  in  the  internationally  recognized  Outsider  Art  journal,  Raw  Vision.    Windsor  writes  about  the  career  of  british  artist  Albert  Louden:  It  isn't  easy  being  an  outsider.  Once  elected,  there  are  appearances  to  be  kept  up:  the  solitary  lifestyle,  the  nutty  habits,  the  freedom  from  artistic  influence.  Above  all,  indifference  to  earning  money.  Scrounging  for  canvas  and  paint,  going  without  luxuries  such  as  food  and  socks,  are  all  part  of  the  life  of  austerity  that  one's  public  demands.  In  the  end,  the  outsider's  surest  way  of  providing  his  integrity  is  to  be  dead.  [Louden's]  crime  is  that  he  broke  the  outsider's  vow  of  poverty  -­‐  by  selling  his  paintings  to  commercial  galleries.  Some  of  the  very  dealers  who  bought  and  sold  his  work  now  regard  him  as  the  ousted  outsider.  Untouchable.  He  might  as  well  be  mainstream  (p.  50).    The  Outsider  Art  market  that  adopts  artists  can  also  reject  them,  all  for  reasons  that  have  nothing  to  do  with  the  evaluation  of  their  artwork.       The  monetary  value  assigned  to  artwork  by  Outsider  artists  is  also  significantly  less  than  artwork  by  mainstream  contemporary  artists  (Fine,  2004.  p.  218).  This  proves  to  be  another  limitation  for  artists  placed  in  this  particular  market.  It  does,  admittedly,  make  the  market  more  accessible  for  collectors  who  couldn't  otherwise  afford  original  pieces  of   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 39 artwork  (Fine,  2004,  p.  218).    However,  this  situation  merely  benefits  dealers  and  collectors  at  the  expense  of  the  artist.       One  characteristic  of  the  Outsider  biography  that  strongly  intersects  with  the  population  of  individuals  with  DD  and  mental  illness  is  a  lack  of  formal  arts  education.  It  is  certainly  true  that  artists  who  are  able  to  obtain  a  formal  arts  education,  meaning  artists  who  can  both  afford  and  meet  the  prerequisite  requirements  of  colleges  and  universities,  gain  more  opportunities.  They  receive  formal  training,  portfolio  building,  networking  connections,  and  an  exhibition  history.  These  opportunities  have  become  essential  to  a  career  in  the  contemporary  art  world.  The  Outsider  market  is  presented  as  an  acknowledgment  of  an  underrepresented  part  of  American  culture,  those  without  a  formal  arts  education.  However,  simply  classifying  artwork  based  on  the  artist's  level  of  education  does  not  help  resolve  the  problem  of  unequal  access  to  arts  opportunities.  This  type  of  classification  constructs  its  own  barriers  to  inclusion.     Art  programs  for  artists  with  DD  and  mental  illness  are  now  filling  this  professional  development  gap.  Artists,  no  longer  segregated  from  society,  have  access  to  materials  and  mentorship,  regularly  visit  other  art  spaces,  earn  income,  and  show  the  undeniable  influence  of  popular  culture.  None  of  these  developments  meet  the  criteria  first  introduced  by  Dubuffet,  which  illustrates  the  incorrectness  of  applying  the  Outsider  label  to  artists  with  DD  and  mental  illness.           Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 40 Section  III:  Art  Programs  for  Adults  with  Developmental  Disabilities   "Creativity is a vital living force that lies within each individual" -­‐  (E.  Katz  &  F.L.  Katz,  1990,  p.  3)           Art  programs  supporting  adults  with  DD  and  mental  illness  developed  out  of  what  Rae  Edelson,  director  of  Gateway  Arts,  describes  as  "a  perfect  storm."  In  the  mid-­‐1970s,  when  Roger  Cardinal  published  his  book  Outsider  Art,  the  effects  of  deinstitutionalization  from  the  early  1960s  were  still  prevalent,  and  the  concept  of  Normalization  was  being  introduced  in  the  United  States  (Edelson,  2011,  p.1).  Normalization  advocates  for  the  acceptance  of  people  with  disabilities  into  society  by  offering  the  same  conditions  offered  to  those  without  disabilities.     Within  this  idea,  involvement  with  the  mainstream  activities  of  society  is  thought  to  increase  life  satisfaction,  self-­‐esteem,  and  personal  competence  for  individuals  with  disabilities.  Consequently,  segregation  is  considered  detrimental  to  an  individual's  development  (Landesman  &  Butterfield,  1987,  p.  810).  The  principle  of  Normalization  was  first  developed  in  the  Scandinavian  countries  during  the  1960s,  and  was  further  developed  in  the  United  States  by  the  American  academic  Dr.  Wolf  Wolfenserger.  Normalization  has  had  significant  effects  on  services  provided  for  people  with  disabilities  and  has  influenced  the  shift  away  from  the  medical  model  of  disability,  towards  the  social  model.       Additionally,  the  period  from  the  1960s  through  the  1970s  was  a  time  when  community  arts  became  an  increasingly  widespread  term  in  the  United  States.  Such  programs,  "seek  to  break  down  barriers  between  artist  and  audience  and  to  include  everyone,  no  matter  their  skill  level,  in  creating  and  presenting  the  arts”  (Hager,  2008,   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 41 p.160).    With  that  idea,  community  art  programs  seek  to  broaden  participation  and  create  inclusive  spaces  and  environments.  This  surge  in  community-­‐based  arts  can  be  seen  as  helping  to  propel  the  arts  programming  needed  within  communities  to  serve  adults  with  disabilities.  Currently,  The  website  for  the  National  Arts  and  Disability  Center  (2011)  lists  67  art  centers  for  artists  with  disabilities  in  the  United  States.        Development  of  Art  Programs  //         As  stated  above,  regional  centers  were  established  throughout  California  in  1969  due  to  state  initiatives  such  as  the  Lanterman  Mental  Retardation  Services  Act.  The  Lanterman  Act  states  that  “people  with  developmental  disabilities  and  their  families  have  a  right  to  get  the  services  and  supports  they  need  to  live  like  people  without  disabilities”  (“Frank  D.  Lanterman  Regional  Center,”  2013).  This  system  of  service  centers,  coordinated  by  the  Department  of  Developmental  Services,  originally  started  out  as  seven  centers  statewide  but  has  expanded  to  twenty-­‐one  different  regional  centers  serving  all  of  California.     Regional  centers  help  advocate  and  provide  services  for  individuals  with  disabilities  and  their  families.  The  centers  are  “nonprofit  organizations  that  arrange,  fund,  and  monitor  services  provided  by  service  provider  organizations”  ("Association  of  Regional  Center  Agencies  (ARCA),"  2011).  Such  service  providers  are  comprised  of  both  nonprofit  and  for-­‐profit  providers  that  work  together  to  meet  a  range  of  needs  for  individuals  with  disabilities.  These  needs  range  from  medical  and  dental  to  educational  and  social.  A  main  component  of  the  Lanterman  Act  and  the  overall  mission  of  regional  centers  is  the   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 42 application  of  the  “person-­‐centered  planning”  approach  to  providing  services  ("ARCA,"  2011).  This  approach  means  each  individual  client  has  a  planning  team,  which  includes  the  person  receiving  the  services  and  their  personal  support  network,  that  advocates  for  their  choices  regarding  their  living  situation,  how  they  spend  their  days,  and  how  they  plan  for  their  future.     Nonprofit  art  programs  that  serve  adults  with  disabilities  are  one  type  of  service  provider  that  receives  funding  through  regional  centers.  These  programs  use  visual  arts,  performing  arts,  and/or  music  to  provide  educational,  recreational,  social,  and  emotional  support  to  adults  with  disabilities.  Many  of  these  programs  also  include  alternative-­‐to-­‐employment  programs  by  assisting  clients  to  develop  as  artists  and  participate  in  exhibitions  as  a  means  to  sell  their  artwork.  Alternative-­‐to-­‐employment  programs  “seek  to  ensure  that  people  with  disabilities  with  high  support  needs,  who  require  an  alternative  to  paid  employment,  have  access  to  a  range  of  opportunities  to  develop  skills  and  participate  within  their  community”  ("Activ,"  2013).     Art  programs  that  serve  adults  with  developmental  disabilities  range  from  large-­‐scale  organizations  in  large  cities  to  small-­‐scale  organizations  in  small  towns.  Education  regarding  disability  rights  has  changed  dramatically  since  the  1950s  and  it  is  now  understood  that  people  with  disabilities  not  only  belong  in  their  communities  but  should  be  active  members  within  them.     Research  shows  that,  for  adults  with  DD,  living  and  working  in  community  environments  increases  motivation  and  skills,  which  in  turn  positively  affects  self-­‐determination  and  the  amount  of  control  over  one's  life  (Wehmeyer  &  Bolding,  2001,  p.  372).  As  pointed  out  by  Dr.  Wehmeyer  (2001),  there  are  prevalent  assumptions  that   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 43 individuals  with  DD  cannot  or  do  not  become  self-­‐determined  and  have  a  limited  capacity  to  grow  (p.  374).  These  assumptions  have  been  challenged  by  art  programs  across  the  country,  particularly  those  located  in  the  San  Francisco  Bay  Area.    Bay  Area  Art  Programs  //       Florence  Ludins-­‐Katz,  MA.  and  Elias  Katz,  Ph.D.  are  leaders  in  creating  the  policy  and  programming  for  art  programs  for  adults  with  disabilities.  Both  came  from  backgrounds  in  arts  and  disability:    Florence  was  an  artist  who  taught  at  both  the  high  school  and  collage  levels  and  Elias  was  a  psychologist  who  had  worked  at  the  Sonoma  State  Home  for  the  Mentally  Retarded.     In  1973,  the  Katzes  together  founded,  with  the  help  of  a  grant  from  the  National  Endowment  for  the  Arts,  the  first  art  program  for  adults  with  developmental  disabilities:  Creative  Growth  Art  Center  in  Oakland,  CA.  The  model  they  developed  includes  the  goals  of  "artistic  development,  enhancement  of  self-­‐image  and  self-­‐esteem,  improvement  of  community  skills,  marketing  of  artwork,  and  active  participation  in  the  community”  (Korza  &  Brown,  2007,  343).  Their  methodology  also  puts  a  focus  on  a  group  studio  environment  and  professionalism  (Rinder,  2011).       In  addition  to  Creative  Growth  Art  Center,  the  Katzes  founded  Creativity  Explored  and  NIAD  Art  Center.  Together,  these  three  programs,  which  are  the  focus  of  this  case  study,  have  dramatically  changed  attitudes  towards  artwork  made  by  artists  with  disabilities  and  have  become  leading  models  in  their  field.  In  combination,  these  programs  are  approached  by  over  seventy  individuals  and  organizations  each  year  seeking  advice   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 44 regarding  programming  and  best  practice.  This  number  is  a  testament  to  the  successful  model  developed  by  the  Katzes  forty  years  ago.     As  pointed  out  by  Lawrence  Rinder,  Director  of  the  Berkeley  Art  Museum,  artists  at  these  three  Bay  Area  programs  have  become  the  antithesis  of  that  envisioned  by  Cardinal's  'Outsider  Art',  which  sought  to,  "identify  the  work  of  artists  who  have  no  contact  with  the  art  world  and  who  are  physically  and/or  mentally  isolated"  (Rinder,  2011,  p.9).  Instead,  due  to  the  progressive  methodology  of  these  programs,  artists  work  alongside  one  another,  create  new  works  specifically  for  exhibition  and  sale,  make  regular  visits  to  local  galleries  and  museums,  and  work  with  artist  mentors  who  assist  them  in  developing  new  approaches  and  techniques  (Rinder,  2011).  This  also  contradicts  Dubuffet's  Art  Brut  definition  that,  "works  are  created  from  solitude,  where  the  worries  of  competition,  acclaim,  and  social  promotion  do  not  interfere"  (Dubuffet,  1988,  p.  36).       Lawrence  Rinder,  along  with  Matthew  Higgs,  director  of  White  Columns  in  New  York,  directed  the  art  exhibition  Create  at  the  Berkeley  Art  Museum  in  2011.  Create  featured  artwork  by  artists  from  each  of  the  three  Bay  Area  programs.  This  was  the  first  time  artists  from  all  three  programs  were  contextualized  together  in  a  contemporary  art  museum.  For  many  people,  including  representatives  from  the  three  art  programs,  this  was  a  monumental  opportunity  and  cause  for  celebration.  Rinder  states  that  artists  from  the  programs  are  rapidly  shifting  in  status  from  outsider  to  that  of  insider.  Additionally,  Rinder  (2011)  states  that  the  Berkeley  Art  Museum  is  "tremendously  honored  to  be  playing  a  role  in  that  transformation"  (p.7).       However,  not  everyone  was  pleased  with  this  exhibition.  Petra  Kuppers,  Associate  Professor  of  English,  Women's  Studies  and  Theatre  &  Drama  at  the  University  of  Michigan,   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 45 published  an  article  in  Disability  Studies  Quarterly  titled  "Nothing  About  Us  Without  Us:  Mounting  a  Disability  Arts  Exhibit  in  Berkeley,  California"  (2012).  This  article  brings  up  many  interesting  points  regarding  the  Create  exhibition  as  well  as  the  overall  complexity  of  arts  and  disability.  Kuppers  notices  the  apparent  lack  of  involvement  of  the  artists  in  the  curation  and  textual  productions  surrounding  the  exhibit  and  contrasts  it  with  the  "Nothing  about  us  without  us"  policy  of  disability  rights  and  politics.  This  show  was  directed  by  Lawrence  Rinder,  the  director  of  the  Berkeley  Art  Museum  and  not  a  member  of  the  disability  community.  Kuppers,  who  is  disabled  and  uses  a  wheelchair,  argues  for  the  innate  political  and  social  aspects  of  art.  Kuppers  concludes  that  ignoring  this  aspect  of  art  and  defusing  dialogue  around  such  rich  and  important  issues  is  a  failure  on  the  part  of  the  Create  exhibition.       It  is  impossible  to  not  see  the  validity  in  Kuppers's  arguments.  Artwork  is  powerful  and  artwork  made  by  artists  with  disabilities  is  tied  to  a  history  of  segregation  and  stigma.  However,  what  isn't  said  can  be  just  as  powerful  as  what  is  said.  There  are  many  ways  in  which  these  current  art  programs  are  striving  to  be  revolutionary.  Artists  do  participate  in  politically  themed  shows  with  high  levels  of  dialogue,  in  addition  to  participating  in  art  exhibitions,  such  as  Create,  which  consciously  focus  on  the  artwork  itself.  Not  making  disability  politics  the  forefront  of  the  Create  exhibition  was  itself  a  political  decision.  As  with  the  contention  over  people-­‐first  language,  opinions  around  exhibitions  and  dialogue  highlight  the  complexity  of  the  intersection  of  arts  and  disability.       These  programs  strive  not  only  to  combat  issues  of  seclusion  and  stereotype  for  the  artists  they  serve  but  also  struggle  against  the  art-­‐world  constraints  of  the  constructed  Outsider  Art  market.  This  is  no  small  feat  for  a  group  of  non-­‐profit  arts  organizations.  The   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 46 following  chapter  will  introduce  these  three  programs  as  the  case  study  sites  for  this  research  paper.  Further,  the  analysis  of  these  case  studies  will  introduce  pertinent  topic  areas  for  these  art  programs,  and  reveal  the  strategic  thoughtfulness  that  goes  into  navigating  and  advocating  for  inclusion.                       Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 47 Chapter  3:  Case  Studies     Abstract III Vincent Jackson 11 x 8.5 " Oil pastel on paper ©  2012  Creativity  Explored     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 48 Data  Collection  Methods  //       Findings  from  this  study  were  gathered  through  in-­‐person  interviews  with  executive  directors  and  gallery  managers,  document  analysis  of  promotional  and  organizational  materials,  and  on-­‐site  observations.  Data  collected  through  interviews  focused  on  exhibition  programming,  community  perception  of  artwork,  and  the  evolution  and  trajectory  of  the  arts  and  disabilities  field.  Data  collected  through  document  analysis  includes  publicity  accessible  information  on  websites,  business  cards,  postcards,  brochures,  and  newsletters.  On-­‐site  observations  of  the  studio  and  gallery  spaces  were  made  at  each  organization.       The  purpose  of  this  study  was  to  gather  information  about  inclusive  exhibition  opportunities  and  advancements  in  the  arts  and  disabilities  field  by  researching  three  of  the  oldest  and  most  successful  arts  and  disabilities  programs  in  the  United  States.    I  chose  to  conduct  case  studies  at  1)  Creative  Growth  Art  Center  in  Oakland,  2)  Creativity  Explored  in  San  Francisco,  and  3)  NIAD  Art  Center  in  Richmond.      Introduction  //     As  professional  contemporary  arts  organizations  representing  historically  segregated  and  stereotyped  artists,  thoughtful  and  strategic  approaches  to  appearance  and  presentation  are  paramount.  Organization  logos/marketing  materials  and  websites  are  first  impressions  to  the  arts  community  and  general  public.  In  the  analysis  section  of  this  research  I  will  speak  more  to  the  importance  of  professionalism.  This  section  will  introduce  locations,  organizational  logos,  mission  statements,  website  content,  staffing,  and  gallery/studio  programming  for  each  case  study  site  to  provide  context.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 49 1)  Creative  Growth  Art  Center  //                          [Photo  credit:  File  Magazine]   -­‐  Location  Oakland,  California.    The  expansive  studio  and  gallery  are  housed  in  a  former  auto  body  repair  shop  on  Oakland's  Auto  Row,  alongside  many  other  galleries  that  have  opened  in  this  cultural  area  of  converted  warehouses.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 50 -­‐  History  Creative  Growth  Art  Center  was  co-­‐founded  in  1973  by  Florence  and  Elias  Katz  and  is  the  world's  first  non-­‐profit  art  center  dedicated  to  artists  with  developmental,  physical,  and  mental  disabilities.   -­‐  Mission  Statement  Creative  Growth  Art  Center  serves  adults  with  developmental,  mental,  and  physical  disabilities,  providing  a  professional  studio  environment  for  artistic  development,  gallery  exhibition  and  representation,  and  a  social  atmosphere  among  peers.    -­‐  Logo         [Image  credit:  Creative  Growth  Art  Center]    The  Creative  Growth  logo  is  modern  and  simple.  It  does  not  include  a  tagline  nor  does  it  mention  arts  and  disability.   -­‐  Staff  Executive  Director,  Assistant  Director,  Client  Services  Coordinator,  Summer  Youth  Scholarship  Instructor  &  Coordinator,  Studio  Manager,  Gallery  Manager,  Gallery  Assistant,  Development  Manager,  PR  +  Projects  Manager,  Studio  Administration,  Nurse’s  Aide,  and  Accountant.  There  are  also  14  art  teachers  specializing  in:  Painting,  drawing,  mixed  media,   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 51 print  making,  wood,  video,  mosaics,  ceramics,  textiles,  and  rug  making. -­‐  Artists        Creative  Growth  Art  Center  currently  serves  over  140  artists.  -­‐  Website  www.creativegrowth.org  The  website  homepage  features  the  Creative  Growth  logo  and  opens  to  the  program's  news  feed.  This  introductory  page  does  not  mention  disability  or  the  program's  mission  but  instead  lists  upcoming  events  and  exhibitions.  The  about  page  lists  the  organization's  mission  and  is  the  only  place  on  the  site  that  mentions  "artists  with  developmental,  mental,  and  physical  disabilities."  The  layout  of  the  website  places  a  greater  emphasis  on  exhibitions  than  on  non-­‐profit  programming.  Out  of  the  140+  artists  that  attend  the  Creative  Growth  studio,  only  18  are  presented  on  the  website.    These  selected  18  artists  are  represented  through  their  name,  artist  statement,  exhibition  history,  birth  year,  location,  and  examples  of  their  work.      -­‐  Gallery      [Photo  credit:  Creative  Growth  Art  Center] Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 52  The  Creative  Growth  Gallery  was  established  in  1980  and  hosts  seven  exhibitions  annually.  The  gallery  is  open  Monday  through  Friday  from  10:00am  to  4:30pm  as  well  each  Saturday  following  the  opening  of  a  new  exhibition.  The  Gallery  strives  to  provide  an  in-­‐depth  look  at  the  work  made  within  the  Creative  Growth  studio.      -­‐  Studio    The  Creative  Growth  Studio  is  open  9:30am  to  3:30pm,  Monday  through  Friday.  The  program  provides  a  professional  art  studio  setting  and  facilitation  in  drawing,  painting,  video  production,  ceramics,  mosaics,  wood,  fiber  arts,  textiles,  printmaking  and  photography.  Creative  Growth  also  offers  a  Rug  Workshop  where  artists  can  choose  to  earn  an  hourly  pay  while  collaborating  in  the  production  of  limited  edition  rugs.    Artists  also  visit  museums,  galleries,  and  artists'  studios,  develop  a  working  portfolio,  and  produce  quality  artwork  for  sale  both  in  the  Creative  Growth  gallery  and  internationally.     [Photo  credit:  Creative  Growth  Art  Center]     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 53 2)  NIAD  ART  CENTER  //    [Photo  credit:  NIAD  Art  Center]    -­‐  Location  Richmond,  California.  Located  six  miles  north  of  Berkeley,  Richmond  is  not  an  area  known  for  its  arts  district.  In  fact,  it  is  infamously  more  well-­‐known  as  an  unsafe/high  crime  neighborhood.  Because  of  this,  efforts  at  NIAD  are  concentrated  on  community  building  in  their  own  neighborhood.   -­‐  History  NIAD  (National  Institute  of  Art  &  Disabilities)  Art  Center  was  founded  in  1982  by  Florence  and  Elias  Katz.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 54 -­‐  Mission NIAD  Art  Center  is  an  innovative  visual  arts  center  assisting  adults  with  developmental  and  other  physical  disabilities.    -­‐  Logo    [Image  credit:  NIAD  Art  Center]      Of  the  three  art  programs  considered  as  case  study  sites,  NIAD  Art  Center  is  the  only  one  that  chooses  to  mention  "artists  with  disabilities"  in  its  logo. Note:  Since  these  case  studies  were  conducted,  NIAD  Art  Center  has  updated  its  logo  (Appendix  H).  The  new  logo  is  different  in  two  key  ways:  it  does  not  mention  disability  and  it  explicitly  establishes  NIAD  Art  Center  as  a  contemporary  art  studio  and  gallery.  This  development  highlights  the  heightened  awareness  with  which  art  programs  are  presenting  themselves. -­‐  Staff Executive  Director,  Director  of  Art  Sales  &  Exhibitions,  Client  Services,  Administrative  Coordinator,  Database,  Bookkeeper,  Studio  Manager,  Studio  Aides.  Additionally,  there  are   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 55 nine  artist  staff  specializing  in:  Printmaking,  Fiber  Art,  Painting,  Drawing,  Photography,  Ceramics,  Sculpture,  and  Independent  Living  Skills.  -­‐  Artists    NIAD  Art  Center  currently  serves  65 artists.  -­‐  Website    www.niadart.org    Each  page  on  the  website  features  NIAD  Art  Center's  logo.  The  homepage  features  information  about  current  exhibitions,  programming,  and  the  organization's  history.  All  63  artists  that  attend  NIAD  Art  Center  are  listed  on  the  website.  However,  only  35  artists  have  profiles  accessible  through  links.  These  selected  35  artists  are  represented  through  their  names,  exhibition  histories,  and  examples  of  their  work.    -­‐  Gallery                                                                      [Photo  credit:  NIAD  Art  Center]   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 56 NIAD  galleries  are  open  Monday  through  Friday  from  9:00am  to  4:00pm.  The  main  gallery  exhibits  new  shows  every  eight  weeks,  which  are  organized  by  NIAD  and  by  independent  curators.    In  addition  to  the  main  gallery,  NIAD  facilitates  their  Annex  space  and  Storefront.  The  Annex  space  is  a  two-­‐walled  gallery  that  hosts  shows  for  mainstream  contemporary  artists  as  a  way  to  introduce  new  work  to  NIAD  artists  and  visitors.  The  Storefront  is  an  exhibition  space  that  faces  the  sidewalk  and  is  home  to  various  pop-­‐up  shops  (seasonal  and/or  themed),  artist-­‐led  projects,  and  spotlight  exhibitions.   -­‐  Studio  The  NIAD  Art  studio  is  open  Monday  through  Friday.  Artists  explore  the  creative  process  through  painting,  drawing,  printmaking,  sculpture,  ceramics,  fiber  and  performance.   [Photo  credit:  NIAD  Art  Center]             Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 57 3)  Creativity  Explored  //        [Photo  credit:  Fecal  Face  Dot  Com]     -­‐  Location  San  Francisco,  California.  Creativity  Explored  is  located  in  the  Mission  District  on  16th  street.  This  location  receives  the  highest  amount  of  foot  traffic  and  daily  walk-­‐ins  of  these  case  study  sites.   -­‐  History  Creativity  Explored  was  founded  in  1983  by  Florence  and  Elias  Katz.  A  second  location,  1.5  miles  East  of  the  main  studio,  was  opened  in  1995  to  provide  a  more  accessible  space  for  adults  with  severe  disabilities  to  create  visual  arts.     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 58 -­‐  Mission  Creativity  Explored  is  a  nonprofit  visual  arts  center  where  artists  with  developmental  disabilities  create,  exhibit,  and  sell  art.      -­‐  Logo          [Image  credit:  Creativity  Explored]     Creativity  Explored's  logo  is  simple  and  includes  a  tagline.  CE's  logo  does  not  mention  disability.  Creativity  Explored  also  has  a  second  logo,  pictured  above  right,  used  in  their  social  media.   -­‐  Staff    Executive  Director,  Gallery  &  Office  Manager,  Marketing  &  Business  Development  Director,  Studio  &  Services  Manager,  Development  Director,  Habilitation  Aide,  Gallery  and  Administrative  Assistant,  Art  Sales  Associate,  Associate  Director,  Art  &  Exhibition  Preparator,  Services  Coordinator,  Volunteer  Coordinator.  Additionally,  there  are  18  visual  arts  instructors  referred  to  as  teaching  artists.  The  CE  website  includes  links  to  each  of  the  teaching  artist's  biographies  and  qualifications.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 59 -­‐  Artists  Creativity  Explored  currently  serves  160 artists.    -­‐  Website    www.creativityexplored.org  Creativity  Explored's  website  features  information  regarding  organizational  mission,  goals,  and  vision;  promotes  upcoming  art  exhibitions;  hosts  the  CE  online  store;  and  gives  virtual  representation  to  all  its  artists.  All  artists  are  presented  on  the  website  two  ways:  through  a  layout  of  faces  (black  and  white  headshot  photos  of  each  artist)  and  names  (a  list  of  the  artists'  names  in  alphabetical  order).  Individual  artist  links  lead  to  their  artistic  biographies,  artist  statements,  images  of  their  work,  and  their  exhibition  histories.      -­‐  Gallery                  [Photo  credit:  Creativity  Explored]      The  Creativity  Explored  gallery  was  established  in  2001  and  hosts  six  exhibitions  annually.  The  gallery  is  open  Monday  through  Friday  from  10:00am  to  3:00pm,  Thursday  from   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 60 10:00am  to  7:00  pm,  and  weekends  from  12:00pm  to  5:00pm.  The  gallery  features  six  unique  exhibitions  annually,  which  include:  solo  and  two-­‐person  art  exhibitions,  artist-­‐curated  exhibitions,  and  exhibitions  organized  by  outside  curators.  Exhibitions  are  scheduled  one  year  in  advance,  allowing  artists  time  to  create  work.  The  gallery  has  also  been  repeatedly  voted  "Best  Art  Gallery"  in  the  Bay  Area  by  readers  of  the  SF  Weekly  and  Bay  Guardian.    -­‐  Studio  The  Creativity  Explored  studio  is  open  8:30am  to  2:30pm,  Monday  through  Friday.  Artists  are  provided  with  workspace,  instruction,  and  opportunities  to  explore  a  wide  variety  of  media.  Studio  artists  choose  media  and  subject  matter,  and  trained  professional  artists  are  available  to  assist  each  studio  artist  in  exploring  the  creative  process.  Printmaking,  painting,  drawing,  sculpture,  ceramics,  and  fabric  art  are  included  in  a  program  designed  to  meet  the  needs,  choices,  and  preferences  of  each  studio  artist.                                                                                [Photo  credit:  SFMOMA]       Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 61   Chapter  4:  Analysis                    Untitled  Willie  Harris  13  x  21  x  2.5  "  acrylic  on  fabric  and  foam  acoustic  tiles  ©  NIAD  Art  Center     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 62 Introduction  //           It  was  an  honor  to  sit  down  and  interview  the  participants  of  this  research  project.  The  rich  history  of  these  three  specific  art  programs  offers  an  unprecedented  lens  into  the  evolving  world  of  arts  and  disability.  These  three  programs  share  a  history  of  being  the  first  art  programs  for  artists  with  DD  and  mental  illness.  Since  their  beginnings  in  the  1970s  and  80s,  they  have  become  established  forerunners  towards  the  inclusion  of  artwork  by  artists  with  DD  and  mental  illness  in  the  contemporary  art  world.  The  initial  missions  of  these  programs  has  remained  the  same  since  their  foundation,  but  the  cultural  climate  and  opportunities  available  have  certainly  changed.     The  following  analysis  for  my  case  studies  is  a  result  of  in-­‐person  interviews  with  representatives  from  each  of  these  organizations.  A  complete  list  of  participants  can  be  found  in  Appendix  G.       Based  on  the  interview  questions  and  the  answers  received,  the  analysis  of  this  research  is  grouped  into  the  following  sections:    Community  perception,  advocacy,  exhibition  programming,  language,  art  vs.  bio,  and  the  future.                               Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 63 Community  Perception  //         The  community  perception  of  both  the  artists  and  artwork  at  each  program  varies  greatly.    With  about  15,000  visitors  walking  into  the  Creativity  Explored  (CE)  gallery  each  year,  the  spectrum  of  interest  and  knowledge  ranges  from  those  who  have  known  about  CE  for  thirty  years  to  those  who  walk  in  because  they  see  artwork  through  the  street  level  window  displays.       Amy  Taub,  Director  at  Creativity  Explored,  acknowledges  "some  people  will  come  in  because  they  know  it's  art  by  people  with  developmental  disabilities  and  others  won't"  (personal  communication,  February  21,  2013).  Having  a  gallery  entrance  is  a  great  benefit  to  the  CE  location  because  the  artwork  alone  draws  visitors  walking  past.  Amy  Auerbach,  CE's  gallery  and  office  manager,  states  that  "a  lot  of  people  wouldn't  come  in  if  they  knew  people  with  disabilities  were  behind  the  door"  (personal  communication,  February  21,  2013).     Once  in  the  CE  gallery,  visitors  find  a  doorway  leading  to  the  studio  where  artists  can  be  seen  at  work.  The  reactions  of  those  visitors  who  walk  in  unaware  that  CE  is  more  than  an  art  gallery  provide  an  interesting  look  into  the  community  perception  of  artists  with  disabilities.  There  is  a  high  level  of  positive  feedback  from  visitors  who  are  impressed  beyond  their  expectations,  and  those  who  feel  the  artwork  surpasses  their  own  creative  efforts.     On  the  opposite  side  of  the  spectrum,  there  are  those  who  discount  the  work.  Deb  Dyer,  Director  at  NIAD  Art  Center  explains:  Artists  get  it.  Other  artists  coming  in  are  often  quite  amazed  at  the  work  that   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 64 happens  here.  The  general  public  still  likes  to  say  things  like  -­‐    it's  good  even  if  they  are  disabled  and  isn't  it  wonderful  that  they  were  able  to  produce  such  art  and  not  just  isn't  this  great  art.  I  think  we  still  have  some  ways  to  go  with  that  (personal  communication,  February  19,  2013).     This  type  of  reaction,  by  those  who  treat  the  artwork  as  an  unexpected  accomplishment  rather  than  a  piece  of  artwork,  comes  from  those  influenced  by  disability  stereotypes.  Amy  Taub  states  that  "we're  still  dealing  with  a  society  that  has  lots  of  preconceived  notions,  one  of  which  is  that  people  with  developmental  disabilities  never  grow  up  and  they're  perpetual  children"  (personal  communication,  February  21,  2013).  The  idea  of  an  artist  with  a  disability  developing  a  unique  style  and  artistic  voice  is  hard  for  many  people  to  realize.       How  people  react  to  the  artwork  depends  on  differing  communities  and  the  reasoning  for  engagement.  Timothy  Buckwalter,  gallery  director  at  NIAD  Art  Center,  explains  that  there  are  different  types  of  audiences  that  visit  and  buy  artwork  from  NIAD.  A  core  group  of  people  support  NIAD  artists  out  of  sympathy,  the  same  way  they  would  support  a  charity  event  helping  people  in  need.  Buckwalkter  states,  "Do  they  then  engage  with  the  work  any  more  than  that?  I'm  not  sure.  As  an  artist  I'm  not  interested  in  people  buying  my  work  because  they  feel  bad  for  me"  (personal  communication,  February  19,  2013).  This  is  a  reality  for  all  art  programs  for  individuals  with  DD  and  mental  illness.  There  are  those  who  buy  artwork  because  they  feel  bad  for  the  artists  and  there  are  those  who  buy  artwork  because  they  genuinely  connect  with  the  artwork  and  want  to  own  it.       Another  aspect  of  community  perception  is  context.  The  environment  in  which  the  artists  and  artwork  are  represented  has  an  impact  on  the  way  people  view  the  artwork.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 65 Catherine  Nguyen,  gallery  manager  at  Creative  Growth  Art  Center,  is  an  excellent  example  of  how  context  can  influence  perspective.  Before  working  at  Creative  Growth  Art  Center,  Nguyen  was  the  director  of  finance  and  operations  at  White  Columns  in  New  York.  White  Columns  is  an  alternative  art  space  that  has  shown  Creative  Growth  artists  since  2005.  Nguyen's  introduction  to  the  artists  at  Creative  Growth  was  from  afar,  through  the  artwork.  It  is  interesting  to  contemplate  the  difference  between  first  seeing  artwork  in  a  New  York,  in  prestigious  galleries  and  contemporary  spaces  in  Chelsea,  and  first  seeing  artwork  at  an  on-­‐site  program  gallery.  Nguyen  explains  the  diversity  in  community  perception:    There  is  quite  a  spectrum.  When  you're  working  at  an  art  fair,  the  first  thing  people  gravitate  to  is  the  work  and  they  don't  ask  about  how  it  was  created  or  who  created  it  immediately.  They  do  ask  about  the  artists  but  not  in  the  sense  to  learn  what  their  diagnoses  are.  Their  assessment  tends  to  stay  within  the  realm  of  contemporary  art  and  measuring  the  work  against  those  standards.  When  a  visitor  comes  into  the  Oakland  gallery,  they  are  able  to  see  the  artists  and  they  are  curious.  Is  this  a  school?  Can  I  join?  There  is  a  dance  of  how  forward  they  are  and  if  they  do  want  to  educate  themselves  more  and  learn  about  what  actually  goes  on  here  (personal  communication,  February  20,  2013).     For  many  of  these  programs,  getting  artwork  out  into  the  community  and  placing  the  work  within  inclusive  environments  is  a  high  priority.  Art  programs  for  artists  with  disabilities  exist  within  a  society  filled  with  stigma  and  stereotype.  Though  there  has  been  progress  in  the  past  thirty  or  forty  years,  there  is  still  a  long  way  to  go.         Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 66 Advocacy  //         Programs  providing  support  and  representation  for  individuals  with  such  a  deep  history  of  segregation  and  stereotype  have  inherited  the  role  of  advocate.  Advocacy  can  be  defined  as  the  act  of  pleading  or  arguing  in  favor  of  something,  such  as  a  cause,  idea,  or  policy;  active  support  (American  Heritage,  2000).     As  non-­‐profit  art  organizations,  these  programs  have  always  existed  to  fill  a  need  not  otherwise  met  in  society.  These  programs  advocate  to  change  community  perception  through  exhibitions,  through  inclusive  opportunities  allowing  their  artists  to  be  seen  as  a  contemporary  voice,  and  through  programming  that  promotes  artistic  independence.     Advocacy  at  these  programs  is  two-­‐fold.  There  is  a  dedication  to  empower  the  community  of  artists  with  disabilities  they  represent  and,  at  the  same  time,  there  is  also  a  dedication  to  the  arts  and  the  artwork  being  created.  In  each  of  the  program's  art  studios,  the  staff  is  comprised  of  working  contemporary  artists.  This  creates  a  mentor-­‐type  relationship  as  opposed  to  an  instructor/student  dynamic.  This  artists  working  with  artists  relationship  is  an  important  structure  for  these  programs.  Tom  di  Maria,  Director  of  Creative  Growth  Art  Center,  describes  the  relationship  further:  I  just  really  believe  that  there  is  something  that  happens  in  the  communication  between  artists,  it  is  a  particular  language.  When  you  work  with  people  who  might  not  have  language,  whether  it's  because  they  were  born  in  another  country,  or  they're  non-­‐verbal,  or  they  are  on  the  autistic  spectrum,  or  they  don't  like  to  talk,  or  they  don't  hear,  that  something  comes  through  in  the  way  artists  relate  to  each  other  (personal  communication,  February  20,  2013).   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 67   The  unique  relationship  between  artists  and  staff  at  these  organizations  creates  an  environment  for  creative  activism.  One  way  Creativity  Explored  addresses  stereotypes  around  arts  and  disability  is  through  exhibitions  designed  to  promote  dialogue  around  the  community  perception  of  disability.  Every  few  years,  CE  hosts  exhibitions  that  invite  people  to  look  at  disability  differently.  Amy  Taub,  Director  of  Creativity  Explored,  states,  "it's  going  to  be  political  and  I  think  that's  really  important  for  art  centers  to  do  because  part  of  what  we  are  trying  to  do  is  transform  that  attitude  towards  people"  (personal  communication,  February  21,  2013).     One  of  CE's  most  successful  exhibitions  opened  in  2004  and  was  called  Don't  Call  Me  Retard.  This  exhibition  created  a  venue  for  CE  artists  to  directly  address  the  community  about  self-­‐identification,  stereotype,  and  the  use  of  the  word  retard.  The  success  of  this  show,  which  still  stands  as  their  most  highly  attended  opening,  led  to  this  becoming  their  first  traveling  exhibition  -­‐  it  was  shown  also  at  the  Jewett  Gallery  located  in  the  San  Francisco  Main  Pubic  Library.     Another  empowering  exhibition,  called  Fabulous,  opened  last  year  in  the  CE  gallery  during  San  Francisco  PRIDE  week.  Fabulous,  co-­‐curated  by  CE  artists  and  staff,  celebrated  fashion,  identity,  and  queer  culture.  Ann  Kappes,  CE's  marketing  and  business  development  director,  points  out,  "Some  people  don't  think  of  people  with  developmental  disabilities  as  having  a  sexuality  at  all  let  alone  an  active  part  of  gay  culture,  so  to  know  that  subject  matter  came  from  the  artists  was  really  exciting"  (personal  communication,  February  21,  2013).     Creating  these  types  of  exhibitions  in  their  on-­‐site  galleries  is  one  way  these  programs  address  their  role  as  advocates  and  give  a  voice  to  the  artists.  However,  the   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 68 potential  for  advocacy  extends  past  the  walls  of  these  programs.  As  stated  by  Tom  di  Maria:  The  most  important  part  of  advocacy  is  having  the  art  and  artists  speak  as  a  really  vibrant  and  contemporary  voice.  By  having  our  artists  participate  with  a  full  voice  in  the  contemporary  art  arena  I  think  we  serve  people  with  disabilities  both  in  terms  of  talking  about  the  prejudices  and  stigma  about  their  contributions  but  also  recognizing  the  inherent  cultural  contributions  people  with  disabilities  can  make  artistically  (personal  communication,  February  20,  2013).     Programs  also  advocate  for  artists  by  supporting  community  inclusion  and  independence.  As  site-­‐based  programs,  the  segregation  and  seclusion  of  individuals  with  DD  and  mental  illness  is  still  an  issue.  Inclusion  on  a  social  level  is  met  through  community  engagement  programming  and  a  diverse  base  of  mentorship.  NIAD  Art  Center  took  artists  on  over  40  field  trips  last  year  to  galleries,  museums,  and  artists'  studios.  Deb  Dyer,  Director  of  NIAD  Art  Center,  states,  "because  Richmond  is  not  rich  in  artistic  places  to  see,  I  think  we  provide  the  only  experiences  our  clients  have  to  see  art  elsewhere.  I  have  seen  it  directly  affect  artists'  work"  (personal  communication,  February  19,  2013).  NIAD  also  has  an  artist-­‐in-­‐residence  program  allowing  artists  to  come  in  and  work  in  the  their  art  studio,  and  interns  from  California  College  of  the  Arts  and  Cal  Berkeley  that  work  to  help  create  a  more  extensive  community  of  artists.       These  programs  also  advocate  by  promoting  independence  for  a  population  that  is  thought  to  be  strictly  dependent.  Amy  Taub  honestly  admits:  Many  people  here  could  care  less  about  a  career.  It  may  be  their  families,  it  may  be  us  who  recognizes  that  potential  and  they  really  aren't  interested.  They  are  more  interested  in  art  as  language,  art  as  something  fun,  art  as  some  important  part  of   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 69 their  life  but  they're  not  perceiving  it  as  a  development  of  a  career  trajectory  (personal  communication,  February  21,  2013).     However,  even  if  having  a  career  isn't  of  importance  to  some  of  the  artists  it  does  not  change  the  fact  that  they  are  making  artwork  on  a  regular  basis.  One  of  the  most  complicated  aspects  of  this  type  of  art  program  is  deciding  what  to  do  with  the  artwork.  Choosing  not  to  do  anything  with  works  created  by  artists  with  DD  and  mental  illness  adds  to  the  notion  that  artists  with  DD  and  mental  illness  are  not  an  important  part  of  creative  culture.  If  someone  is  not  able  to  understand  the  significance  of  their  work  does  it  mean  that  their  work  is  no  longer  significant?     In  order  to  create  artist  portfolios  and  exhibition  histories,  these  programs  have  on-­‐site  galleries  and  participate  in  off-­‐site  exhibitions.  In  turn,  artists  gain  recognition  for  their  creative  work,  generate  income,  and  are  able  to  directly  express  themselves  both  through  community  engagement  and  within  the  contemporary  art  world.                                       Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 70 Exhibition  Programming  //         Exhibition  programming  is  a  major  component  of  all  three  art  programs.  It  provides  artists  a  way  to  participate  in  the  community  by  showing  their  artwork  in  public  gallery  exhibitions;  it  builds  exhibition  resumes;  it  draws  people  into  the  buildings  of  these  organizations  for  exhibition  openings;  and  it  provides  a  way  to  advocate  for  the  inclusion  of  artists  within  the  contemporary  art  world.     Exhibition  programming  also  provides  artists  the  opportunity  of  income.  Deb  Dyer,  Director  of  NIAD  Art  Center,  states:  Income  for  the  clients  has  become  more  important.  I  think  the  whole  vocational  aspect  has  become  more  important  to  people  with  disabilities  and  their  families.  It  provides  the  ability  to  earn  money  and  to  say,  "I'm  working  as....".  Mainstreaming  has  made  this  more  of  a  priority.  Last  year,  we  had  80%  of  our  artists  earning  income  that  ranges  from  $4-­‐$4,000  (personal  communication,  February  19,  2013).       With  so  many  artists  producing  artwork  on  a  daily  basis  at  each  organization,  there  is  a  need  for  structure  regarding  artwork  production  and  exhibition  standards.  Once  programs  decide  to  promote  and  exhibit  art  in  their  own  on-­‐site  galleries,  they  become  part  of  a  contemporary  art  context.  Participating  in  a  contemporary  art  context  is  expanded  further  once  programs  reach  past  their  own  walls  and  seek  out  exhibitions  and  exposure  within  the  community  and  at  other  venues.  As  mentioned  above  by  Amy  Taub,  Director  of  Creativity  Explored,  many  of  the  artists  could  care  less  about  a  career  in  the  arts.  However,  exhibition  programs  exist  for  artists  who  are  interested  in  a  career  in  the  arts  and  artists  who  are  making  exceptional  work  that  has  the  potential  to  really  contribute  to  the   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 71 contemporary  art  world.     Consideration  must  be  paid  to  the  quality  of  artwork  being  exhibited.  The  common  stereotype  that  artwork  made  by  artists  with  DD  and  mental  illness  looks  like  artwork  made  by  children  connects  directly  to  the  stereotype  that  individuals  with  DD  and  mental  illness  are  entirely  dependent  and  are  incapable  of  making  serious  contributions  to  society.  An  extremely  important  aspect  of  exhibition  programming  is  to  avoid  perpetuating  this  stereotype.  This  requires  strategic  planning  and  structure  in  order  to  ensure  artists  are  treated  with  respect  and  that  exhibited  artwork  is  of  professional  quality.     The  stereotype  of  low  quality  artwork  is  also  connected  to  the  curation  of  artwork  for  exhibitions,  and  the  perception  that  less  curating  takes  place  in  art  shows  exclusively  for  artists  with  disabilities.  Deb  Dyer  puts  it  bluntly  by  stating,  "Just  because  you  are  disabled  doesn't  mean  you  make  great  art"  (personal  communication,  February  19,  2013).  In  addition,  Timothy  Buckwalter,  gallery  director  at  NIAD  Art  Center,  states  that  "not  everybody  at  NIAD  makes  work  at  the  same  level.  And  not  everyone  at  the  upper  level  makes  great  work"  (personal  communication,  February  19,  2013).       There  is  artwork  made  at  each  program  that  gets  thrown  out  due  to  low  quality.  Thoughtful  curation  not  only  produces  higher  quality  art  exhibitions  but  it  also  encourages  artist  growth.  Low  quality  art  exhibitions  reinforce  the  stereotype  that  artists  with  DD  and  mental  illness  are  only  capable  of  producing  low  quality  art.     Additionally,  the  quality  of  materials  available  to  artists  and  the  treatment  of  the  artwork  can  also  impact  the  overall  aesthetics  and  perception  of  a  piece.  As  Deb  Dyer  points  out,  both  the  artists  and  the  artwork  need  to  be  treated  with  respect  (personal  communication,  February  19,  2013).     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 72   Curation  of  artwork  for  exhibitions  and  the  overall  quality  of  the  artwork  bring  created  are  both  important  aspects  of  exhibition  programing  in  art  programs  for  adults  with  DD  and  mental  illness.  This  type  of  consideration  promotes  art-­‐world  standards  and  helps  to  eliminate  possible  stereotypes.  Another  way  in  which  these  Bay  Area  programs  plan  for  exhibitions  is  through  the  structuring  and  representation  of  artists.     Acknowledging  that  all  artists  aren't  the  same,  these  programs  have  developed  methods  for  determining  where  an  artist  is  at  in  their  artistic  development.  Creativity  Explored  in  San  Francisco  has  developed  a  three-­‐tier  system  for  their  artists.  People  are  divided  into  three  groups:  beginning  artists,  emerging  artists,  and  established  artists.  This  system  was  described  by  Amy  Taub:  For  a  person  to  get  into  Tier  2  they  need  to  have  a  unique  voice,  they  need  to  have  an  exhibition  history,  and  they  need  to  have  a  sales  history  of  at  least  $2000  across  two  years.  Then  our  relationship  changes  with  them  a  little  bit  where  we  provide  more  concerted  instruction  to  build  a  body  of  work  that  is  exhibition  quality  (personal  communication,  February  21,  2013).     Creative  Growth  Art  Center  follows  a  similar  method.  Acknowledging  that  each  artist  is  different,  they  are  not  all  represented  in  the  same  context.  The  on-­‐site  gallery  in  Oakland  shows  work  by  all  of  the  artists  at  least  once  a  year  but  not  all  artists  are  included  in  art  fairs,  and  not  all  artwork  is  priced  the  same.  This  attention  to  the  different  levels  and  quality  of  artists  should  never  discredit  the  importance  and  value  of  art  making  for  all  artists,  regardless  of  level  or  Tier.  As  Tom  di  Maria,  Director  of  Creative  Growth  Art  Center,  points  out:  The  artwork  and  process  has  huge  value  for  the  maker  and  we  try  to  have  a  really   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 73 balanced  studio  environment  so  there  aren't  stars  and  that  everyone  works  together.  If  you  come  on  a  tour,  you  meet  all  the  artists  when  you  come  through,  you  don't  come  to  just  see  one  person.  Those  values  are  really  important  to  us  as  a  community,  but  with  the  work  itself  -­‐  things  rise  to  different  levels  and  you  have  to  be  able  to  accept  that  (personal  communication,  February  20,  2013).     Exhibition  programming  includes  both  on-­‐site  galleries  and  off-­‐site  exhibitions.  Catherine  Nguyen,  gallery  manager  at  Creative  Growth  Art  Center,  describes  the  benefits  of  both,  stating  that:  Within  the  Oakland  gallery  we  have  about  7  shows  a  year,  which  provides  a  way  for  the  artists  to  stay  connected  to  the  idea  that  they  can  pursue  arts  as  a  career  and  they  are  artists.  Outside  exhibitions  or  art  fairs  in  New  York  or  Europe  take  on  a  different  thrust.  It's  then  also  about  exposure  of  the  organization  and  the  artwork  standing  on  its  own  (personal  communication,  February  20,  2013).     For  all  organizations,  on-­‐site  galley  exhibitions  give  representation  for  all  of  their  artists  and  allow  for  curated  and  themed  shows  reflecting  the  artwork  being  made  in  the  studios.  In  comparison,  off-­‐site  exhibitions  allow  for  integrated  settings  and  involvement  in  a  more  contemporary  art  context.  Integrated  settings  let  the  artwork  be  seen  as  a  piece  of  contemporary  art  and  not  defined  by  an  arts  and  disability  context.       Each  program  helps  facilitate  off-­‐site  exhibitions  for  artists  they  represent.  Creative  Growth  participates  in  15-­‐20  outside  exhibitions  and  projects  each  year.  Currently,  The  Brooklyn  Museum  is  doing  a  retrospective  on  Creative  Growth  artist  Judith  Scott.  Creative  Growth  also  works  with  many  outside  artists  and  designers,  such  as  Marc  Jacobs,  as  a  way  to  reach  beyond  their  own  walls  and  provide  artistic  collaboration  opportunities  for  artists.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 74   NIAD  Art  Center  is  also  actively  trying  to  get  artist  representation  apart  from  their  on-­‐site  gallery  and  Outsider  Art  galleries.  Marlon  Mullen,  artist  at  NIAD  Art  Center,  has  had  exhibitions  at  International  Art  Objects  in  Los  Angeles,  White  Columns  in  New  York,  and  the  Jack  Fischer  Gallery  in  San  Francisco.  These  types  of  off-­‐site  exhibitions,  as  pointed  out  by  Timothy  Buckwalter,  are  very  recent  events  for  NIAD.     This  surge  in  off-­‐site  exhibitions  in  inclusive  settings  is  relatively  new  for  all  art  programs  for  artists  with  disabilities.  As  Amy  Taub  states:  It's  only  been  in  the  last  five  years  that  we've  really  even  started  to  do  outreach  where  we're  submitting  work  to  juried  shows.  I  would  be  happy  if  we  never  submitted  any  work  to  something  that  was  exclusively  for  people  with  developmental  disabilities.  The  work  should  be  viewed  and  valued  because  of  its  artistic  merits,  not  because  it  was  created  by  an  artist  with  a  developmental  disability  (personal  communication,  February  21,  2013).     The  Outsider  Art  market  and  shows  specifically  for  artists  with  disabilities  have  always  been  part  of  exhibition  programming  at  these  organizations.  Opportunities  for  off-­‐site  inclusive  exhibitions  are  only  just  recently  becoming  possible  and,  as  pointed  out  by  Deb  Dyer,  the  opportunities  for  art  shows  for  only  artists  with  disabilities  are  going  away  (personal  communication,  February  19,  2013).  Representing  artists  who  fall  into  this  specific  market  requires  thoughtful  navigation.  Inclusive  opportunities  are  prioritized  and  preferred  because,  as  Catherine  Nguyen  states,  they  further  the  mission  of  having  the  artwork  speak  for  itself  and  not  be  put  into  a  category  (personal  communication,  February  20,  2013).       The  established  Outsider  Art  market  does  have  some  benefits  that  art  programs  are   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 75 utilizing  as  they  also  push  for  more  inclusive  opportunities.  Amy  Taub  acknowledges  that  exhibiting  artwork  in  Outsider  shows  gives  some  basic  exposure  to  those  interested  in  artwork  that  appears  to  fit  into  Outsider  Art  constructs  (personal  communication,  February  21,  2013).  It  can  be  an  entrance  point  for  people  to  become  familiar  with  the  artwork  and  artists.  Even  so,  leading  with  an  artist's  biography  and  story  of  disability  is  not  necessary.       Creative  Growth  Art  Center  participates  in  the  Outsider  Art  Fair  in  New  York,  and  has  for  the  past  12  years.  Tom  Di  Maria  explains  the  reasons  for  the  involvement  in  such  a  quintessential  Outsider  Art  event:  I  do  it  because  it's  an  important  market  so  our  artists  earn  income  because  they  sell  there  but  also  12  years  ago  it  was  different  and  there  weren’t  that  many  other  venues  for  our  artists  so  a  lot  of  the  contemporary  exhibition  opportunities  that  we've  been  working  towards  or  have  the  opportunities  to  participate  in  now  didn't  really  exist  then.    Also,  a  lot  of  people  come  through  in  terms  of  collections,  and  people  in  the  field,  and  academics.  It's  been  an  important  meeting  place  for  us  to  be  seen  every  year.  Even  in  that  context  we  don't  lead  with  artist  story  or  disability.  It's  Creative  Growth  Art  Center  and  these  are  our  artists  (personal  communication,  February  20,  2013).     Clearly,  exhibition  programming  is  a  fundamental  component  to  these  art  programs'  missions.  For  these  programs,  exhibition  programming  isn't  as  simple  as  just  holding  shows  in  their  galleries.  It  takes  careful  thought  and  strategic  planning  to  work  for  the  artists'  benefit  and  try  to  overcome  prevailing  stereotypes.     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 76 Language  //         Deciding  what  to  say  and  how  to  say  it  can  be  a  difficult  task.  The  previous  section  about  people-­‐first  language  mentioned  ways  in  which  individuals  with  disabilities  self-­‐identify  and  are  talked  about  in  general.  Empowering  individuals  and  celebrating  diversity  can  at  times  conflict  with  promoting  inclusion  and  equality.  What  is  the  difference  between  being  a  disabled  artist,  an  artist  with  a  disability,  and  just  an  artist?  The  only  difference  is  the  amount  of  information  given.  What  words  are  used  (or  not  used)  and  how  they  are  used  influences  the  way  in  which  artists,  artwork,  and  art  organizations  are  viewed.       Each  of  the  Bay  Area  art  programs  have  made  decisions  regarding  language  on  their  websites  and  in  their  promotional  materials.  Creativity  Explored's  logo  has  the  tagline  art  changes  lives  but  does  not  mention  disability.  Their  promotional  brochure  and  exhibition  postcards  include  their  mission  statement,  which  does  mention  that  CE  is  a  visual  arts  center  where  artists  with  disabilities  create.  The  homepage  of  the  CE  website  does  not  mention  disability.  This  information  is  reserved  for  the  about  section.  Generally,  information  presented  first  on  a  website  is  the  most  important.  Displaying  information  about  upcoming  exhibitions,  the  artists,  and  the  artwork  first  suggests  these  are  the  most  important  aspects.       Creative  Growth  Art  Center  has  no  tagline  and  their  exhibition  postcards  do  not  mention  disability  or  their  mission  statement.  Creative  Growth  does  offer  in-­‐house  informational  cards  that  include  information  about  programming  for  people  with  disabilities,  which  include  the  tagline  visionary  center  for  artists  with  disabilities.  As  with  CE,  Creative  Growth's  website  homepage  does  not  mention  their  mission  or  disability  and  puts   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 77 news  and  current  events  at  the  forefront.     NIAD  Art  Center,  on  the  other  hand,  uses  the  tagline  empowering  artists  with  disabilities.  This  tagline  is  preset  on  exhibition  postcards  as  well  as  their  website  homepage.  The  NIAD  newsletter  also  uses  the  words  outsider,  intuitive,  and  inclusive  as  part  of  the  banner.  Deb  Dyer,  NIAD  director,  explains  that  using  words  like  outsider  "creates  an  entry  point  for  people  and  I  think  that  is  what  it's  been  used  for.  We  still  have  it  on  our  literature  but  we  are  softening  that  also"(personal  communication,  February  19,  2013).  Presenting  these  organizations  as  art  organizations  first  and  not  art  organizations  for  artist  with  disabilities  is  a  way  to  promote  inclusion  and  equality  within  the  art  world.  At  the  same  time,  it's  hard  to  discount  the  words  of  autism-­‐rights  activist  Jim  Sinclair,  who  stated,  "It  is  only  when  someone  has  decided  that  the  characteristic  being  referred  to  is  negative  that  suddenly  people  want  to  separate  it  from  the  person"  (Sinclair,  1999).     When  art  programs  do  discuss  disability,  it  can  be  difficult  finding  the  most  inclusive  way  to  do  so.  Amy  Taub,  Director  of  Creativity  Explored,  helps  describe  this  challenge:  The  language  used  to  describe  disability  is  constantly  changing.  Is  a  person  deaf,  are  they  hearing  impaired,  or  do  they  not  hear?  Are  you  queer  or  are  you  gay?  It  depends  on  the  politics  at  play  at  any  given  time.  In  terms  of  our  language,  our  artists'  creation  definitely  comes  first;  disability  generally  comes  second  (personal  communication,  February  21,  2013).     The  issues  around  language  are  made  more  complex  when  the  language  is  coming  from  those  without  a  disability  trying  to  represent  a  community  of  individuals  with  a  wide  spectrum  of  disabilities.  There  are  those  who  can  self-­‐advocate  and  express  how  they  self-­‐identify  and  what  information  is  important  for  them  to  share  as  an  artist.  However,  there   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 78 are  many  people  who  cannot,  yet  they  are  being  represented  though  these  arts  organizations.       Artist  representation  on  each  organization’s  website  presents  typical  artistic  resumes.  Even  in  biographies,  no  mention  of  disability  or  diagnosis  is  made.  Artists  are  instead  represented  through  their  artwork  and  their  exhibition  histories.       Both  Creativity  Explored  and  NIAD  have  worked  to  develop  ways  to  represent  artists  without  the  use  of  language.  Creativity  Explored  has  created  1-­‐minute  videos  on  their  website  for  all  of  the  artists.  The  videos  show  the  artist  working,  allowing  anyone  to  see  the  artist  and  their  processes.  This  has  become  a  way  for  each  artist  to  essentially  tell  their  story  personally,  giving  an  accurate  presentation  of  who  the  person  is.  Similarly,  Deb  Dyer,  Director  of  NIAD  Art  Center,  has  made  it  a  point  to  take  pictures  of  artists  making  their  art  and  including  these  process-­‐based  images  on  their  website.       These  art  organizations  also  use  language  differently  in  different  contexts.  As  described  by  Ann  Kappas,  CE's  marketing  and  business  development  director:  The  emphasis  on  language  and  message  can  be  very  different  depending  if  you're  solely  talking  about  the  art  or  if  you're  talking  about  raising  donations.  Fundraising  may  emphasize  human  rights  and  the  impact  of  the  program  on  the  person's  life.  That  becomes  the  main  focus  instead  of  the  art  product.  Not  to  say  they  aren't  connected  but  you  have  a  different  emphasis  depending  on  who  you  are  talking  to.  We  use  language  differently  for  different  audiences  (personal  communication,  February  21,  2013).     In  addition  to  different  audiences  there  is  the  difference  in  language  inherent  to  different  environments.  Catherine  Nguyen,  gallery  manager  at  Creative  Growth  Art  Center   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 79 states  that:  In  the  gallery,  language  takes  on  more  of  an  educational  bent  to  it:  history,  the  area  where  art  and  disability  overlap,  Outsider  Art,  Art  Brut,  talking  more  generally  about  it.  For  outside  projects  and  exhibitions,  it's  always  about  the  piece  and  promoting  the  artist,  where  they've  been  showing,  prominent  people  who  have  collected  it  (personal  communication,  February  20,  2013).     The  use  of  language  is  important  in  both  representing  each  individual  artist  and  the  organization  as  a  whole.  Each  program  is  strategic  and  thoughtful  about  what  information  is  shared,  where  it  is  shared,  and  when  it  is  shared.  Since  language  etiquette  is  constantly  evolving,  it  is  important  for  programs  representing  individuals  with  DD  and  mental  illness  to  be  informed  and  make  educated  decisions.                           Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 80 Art  vs.  Bio  //       "We  have  decided  that  we  are  really  wanting  to  show  how  strong  the  artists  are  versus  the  fact  that  they  are  disabled"  (D.Dyer,  personal  communication,  February  19,  2013).  This  statement  runs  true  across  all  three  art  programs.  There  is  a  conscious  effort  to  celebrate  the  artwork  first  and  foremost,  and  not  have  disability  always  preface  the  artwork  or  the  artists.     Not  surprisingly,  this  can  be  a  complicated  challenge.  All  of  the  artists  at  these  programs  do  have  a  disability  and  it  is  important  to  empower  each  individual  and  create  dialogue  around  arts  and  disability.  As  mentioned  above,  there  is  a  spectrum  of  capability  in  which  artists  can  express  how  they  self-­‐identify.  Ann  Kappes,  CE's  marketing  and  business  development  director,  states  that  "when  some  of  the  people  can't  say  what  they  want,  it's  our  job  to  help  promote  their  work  and  how  much  of  their  story  is  told  or  not.  It's  hard"  (personal  communication,  February  21,  2013).     Possibly  more  important  than  what  information  is  being  told  is  realizing  who  is  telling  it  and  for  what  reason.  When  representing  artists  whose  artwork  falls  into  the  Outsider  Art  category,  there  is  pressure  to  provide  biographical  and  personal  information  regarding  the  artists.  Tom  di  Maria,  Director  of  Creative  Growth  Art  Center,  speaks  to  this  dilemma:  Shows  still  really  want  this  really  biographical  information,  they  want  the  photograph  of  the  artist,  they  want  the  diagnosis,  and  I  don't  like  to  provide  that.  People  will  fight  you  for  it,  they'll  whine  and  tell  you  if  they  put  in  on  the  wall  they'll  sell  more  and  I  just  don't  agree  with  that  (personal  communication,  February  20,  2013).   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 81   The  more  information  there  is  about  a  piece  of  artwork,  the  more  interesting  the  artwork  can  become.  This  includes  information  about  any  artist  -­‐    who  they  are,  their  life  story,  and  what  may  have  inspired  them.  However,  when  the  artist  has  a  developmental  disability  or  mental  illness  and  may  not  be  the  one  choosing  to  share  such  personal  information,  should  this  type  of  information  be  shared?     Satisfying  curiosity  without  specifically  mentioning  that  an  artist  has  a  disability  is  a  strategy  to  promote  inclusion  in  the  arts.  Against  the  predominate  Outsider  Art  market  and  history  of  segregation,  choosing  carefully  what  information  to  share  can  help  correct  negative  stereotypes.       These  programs  work  to  find  ways  in  which  an  artist  and  their  life  situation  can  be  talked  about  that  doesn't  lead  with  the  story  of  disability.  For  example,  many  represent  their  artists  as  artists  of  their  program,  with  a  description  such  as  an  artist  at  Creativity  Explored.  Those  interested  in  finding  out  more  information  can  then  research  Creativity  Explored  and  find  out  that  it  is  an  art  program  for  adults  with  DD,  but  this  information  isn't  what  is  being  used  to  define  the  artwork.                                     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 82 Future  //         Programs  for  artists  with  DD  and  mental  illness  have  been  around  since  1973,  when  Creative  Growth  Art  Center  was  founded.  Over  the  past  forty  years,  these  programs  have  evolved  within  the  arts  community  and  within  the  disability  rights  culture.  Similar  art  programs  have  been  developed  all  over  the  country,  greatly  expanding  the  field  of  arts  and  disability.       These  three  art  programs  have  become  leading  models  for  similar  programs.  When  asked,  Tom  di  Maria,  Director  of  Creative  Growth,  described  the  future  for  artists  at  Creative  Growth  Art  Center:  I  feel  the  future  is  that  our  artists  will  have  the  choice  of  where  to  work  and  how  to  be  represented.  I  think  about  artists  like  Dan  Miller  or  William  Scott,  both  very  successful  contemporary  artists  -­‐  is  it  better  for  them  to  work  at  a  place  like  Creative  Growth  or  should  they  have  a  loft  in  a  downtown  art  district  somewhere?  I  think  that  is  their  choice.  There  has  to  be  a  choice  to  be  fully  independent  for  each  individual"  (personal  communication,  February  20,  2013).       For  these  established  programs,  new  issues  have  come  along  with  heightened  artist  success.  It  has  become  increasingly  important  to  have  artists  involved  in  every  step  of  the  artistic  and  exhibition  processes,  allowing  artists  to  be  as  independent  and  informed  as  possible.     Another  important  issue  regarding  the  future  of  art  programs  for  artists  with  DD  and  mental  illness  has  to  do  with  sharing  best  practice  knowledge.  With  so  many  people  currently  running  or  looking  to  start  similar  programs,  it  is  necessary  to  create  some   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 83 record  of  collected  experience  and  best  practice.  Currently,  the  only  documented  resource  for  those  looking  to  start  art  programs  is  Art  &  Disabilities:  Establishing  the  Creative  Art  Center  for  People  with  Disabilities,  an  outdated  book  from  1990  (E.  Katz  &  F.L.  Katz,  1990).  The  three  programs  considered  in  this  project,  being  so  established  and  connected  to  the  contemporary  art  world,  have  a  wealth  of  knowledge  on  contemporary  best  practices  that  needs  to  be  shared.     These  programs  have  excelled  at  navigating  language.  As  stated  above  by  Ann  Kappes,  CE's  marketing  and  business  development  director,  it  is  important  for  programs  to  use  language  differently  for  different  audiences  and  to  understand  that  distinction.  Knowing  when  to  share  information  and  having  a  thoughtful  and  strategic  approach  is  a  process  these  programs  have  learned  and  developed  over  the  years.  However,  Amy  Taub,  Director  of  Creativity  Explored,  expresses  concern  for  new  programs:  I'm  not  sure  some  organizations  starting  out  really  grasp  that  distinction  and  it's  pretty  clear  once  you  make  it  in  your  own  mind  but  the  organizations  that  we've  spoken  to  have  not  yet  made  that  distinction  (personal  communication,  February  21,  2013).     In  addition  to  language,  there  are  other  concerns  regarding  new  programs  who  have  recently  joined  into  the  national  community  of  arts  and  disability.  Again,  Amy  Taub  states:    Websites  for  new  organizations  appear  and,  in  some  cases,  the  quality  of  art  they  are  beginning  to  promote  is  not  as  great  and  may  continue  to  perpetuate  some  of  the  stereotypes  because  they're  just  not  ready  yet.  Presenting  art  of  "lesser  quality"  is  part  of  a  much  bigger  whole.    I'm  concerned  that  as  more  and  more  arts  organizations  pop  up  around  the  country,    it's  not  going  to  help  us.  It  may  actually   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 84 hinder  our  desire  to  assist  our  artists  to  penetrate  the  'real'  world  of  art  (personal  communication,  February  21,  2013).     Not  paying  attention  to,  or  not  having  high  standards  for  quality  and  professionalism  not  only  creates  a  negative  impression  within  the  arts  community,  but  it  is  also  disrespectful  to  the  artists  creating  within  such  programs.  New  art  programs  must  be  mindful  of  their  own  organizational  image,  too.  These  three  art  programs  have  paid  considerable  attention  to  their  logos,  promotional  materials,  websites,  and  how  they  present  themselves  in  their  own  establishments  and  within  the  community.  What  kind  of  impression  does  a  bubbly  hand-­‐drawn  logo  with  a  heart  portray?    It  is  important  to  not  fall  into  stereotypical  notions  of  the  capabilities  of  artists  with  DD  and  mental  illness.       Tom  di  Maria  provides  more  advice  for  newer  art  programs:  Other  programs  should  keep  their  eye  on  the  prize.  A  barber  shop  comes  to  you  or  a  flower  shop  comes  to  you  and  says  I  really  want  to  support  your  program  by  putting  some  art  in  the  window  that  we  can  sell.  Programs  say  yes  without  realizing  that  it  takes  a  lot  of  staff  time  to  pick  the  work,  frame  it,  put  it  there,  it  probably  won't  sell  and  will  be  in  the  sun,  and  it's  not  the  way  I  want  our  artists'  work  to  be  seen.  That's  not  the  way  you'd  invite  a  contemporary  artist  to  participate  in  the  art  world  (personal  communication,  February  20,  2013).     All  art  programs  for  artists  with  DD  and  mental  illness  are  situated  within  the  same  context.  They  are  all  representing  artists  with  DD  and  mental  illness  and  they  all  have  the  ability  and  responsibility  to  advocate  and  empower  the  artists  they  have  chosen  to  represent.  As  Amy  Taub  mentioned,  if  there  is  an  art  program  out  there  not  giving  thoughtful  consideration  to  the  way  they  are  operating,  it  reflects  poorly  on  all  the  similar   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 85 organizations.       With  disability-­‐only  exhibitions  diminishing  and  inclusive  art  opportunities  increasing,  it's  clear  that  this  is  an  exciting  time  in  the  world  of  arts  and  disability,  and  that  there  are  many  opportunities  for  positive  change.                                     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 86  Chapter  5:  Summary  &  Recommendations                    Untitled  Judith  Scott  yarn,  embroidery  floss,  trims,  cardboard,  fabric,  and  newspaper  |  2000  ©  2000  Creative  Growth  Art  Center       Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 87 Summary  //       This  project  examines  the  inclusive  opportunities  that  artists  with  developmental  disabilities  (DD)  and/or  mental  illness  currently  have  to  participate  in  the  contemporary  art  world.  A  historical  analysis  of  the  segregation  of  individuals  with  disabilities  in  the  United  States,  along  with  an  analysis  of  the  Outsider  Art  market,  provide  the  context  in  which  art  programs  for  adults  with  disabilities  were  established.  This  project  also  provides  an  in-­‐depth  look  at  three  case  study  sites:  Creative  Growth  Art  Center,  NIAD  Art  Center,  and  Creativity  Explored,  all  located  in  the  San  Francisco  Bay  Area.  This  project  is  intended  as  a  tool  for  arts  administrators  in  both  established  and  new  art  programs  for  artists  with  disabilities.  More  specifically,  this  project  is  meant  to  stimulate  discussion  and  reflection  within  arts  and  culture  organizations  regarding  artwork  by  artists  with  disabilities.     This  research  project  begins  with  a  three-­‐part  literature  review.  The  literature  review  provides  a  more  thorough  understanding  of  the  history  of  arts  and  disability,  which  informs  the  analysis  of  contemporary  issues  in  the  field.  The  shift  from  the  medical  model  of  disability  to  the  social  model  of  disability  reflects  a  larger  cultural  shift  that  encouraged,  among  other  progressive  developments,  the  inclusion  in  the  arts  of  individuals  with  disabilities.  A  substantial  amount  of  academic  research  is  available  on  the  topics  of  Outsider  Art  and  the  subsequent  Outsider  Art  market.  However,  little  research  has  been  conducted  that  considers  how  the  historical  stigmatization  and  segregation  of  individuals  with  DD  and  mental  illness  has  situated  this  population  within  the  Outsider  Art  market.  Additionally,  little  research  has  been  conducted  on  the  effects  of  historical  segregation  and  the  Outsider  Art  market  on  art  programs  for  adults  with  disabilities.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 88   Traces  of  the  history  of  segregation  and  stigma  for  individuals  with  DD  and  mental  illness  can  be  seen  in  contemporary  society  and  culture.  The  introduction  of  Outsider  Art  to  the  United  States  has  created  a  market  that  thrives  on  artists'  personal  biographies,  particularly  those  of  artists  with  DD  and  mental  illness.  Art  programs  for  artists  with  DD  and  mental  illness  are  working  to  overcome  these  lingering  traces  of  discrimination  by  providing  their  artists  with  needed  resources,  advocating  for  their  artists  in  the  contemporary  art  world,  and  representing  their  artists  in  inclusive,  professional  art  exhibitions.     In  conjunction  with  the  literature  review,  the  case  studies  offer  an  understanding  of  the  current  practices  and  policies  of  art  programs  for  adults  with  disabilities.  Case  study  interviews  provide  insight  into  the  follow  topic  areas:  community  perception,  the  organizational  role  of  the  advocate,  exhibition  programming,  use  of  language,  artwork  vs.  biography,  and  the  future  of  art  programs  for  artists  with  disabilities.  An  analysis  of  the  case  studies  relates  the  current  issues  faced  by  these  programs  to  the  development  of  inclusive  opportunities  that  have  counteracted  segregation  and  stereotype.     A  significant  observation  of  this  research  project  is  recognition  of  the  extraordinary  level  of  complex  strategic  planning  at  some  art  programs.  The  more  that  art  programs  consider  the  historical  segregation  of  individuals  with  disabilities,  and  the  effects  of  the  Outsider  Art  market,  the  more  they  are  able  to  strategically  plan  to  overcome  stereotype.  Several  examples  are  given:  the  use  of  language  by  art  programs,  and  in  particular  the  way  that  language  is  used  differently  for  different  audiences;  the  level  of  professionalism  in  how  arts  organizations  present  themselves  through  their  websites  and  marketing  material;  and  the  conscious  effort  to  highlight  artwork  rather  than  an  artist’s  biography.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 89   A  thorough  knowledge  of  the  mainstream  contemporary  art  world  has  also  proved  to  be  an  important  factor  contributing  to  strategic  planning  in  these  arts  organizations.  Awareness  of  gallery  standards  and  professional  expectations  allow  programs  to  present  artwork  competitively,  dissolving  the  stereotype  of  "low  quality"  artwork.  Contemporary  art  world  familiarity  also  provides  the  networking  and  connections  that  lead  to  inclusive  exhibitions  in  well-­‐regarded  galleries.  This  has  created  a  huge  shift  in  community  perception.  When  well-­‐known  collectors  and  galleries  announce  through  exhibitions  that  artwork  by  artists  with  disabilities  is  relevant  within  a  contemporary  art  context,  public  perception  follows.  Each  inclusive  opportunity  diminishes  segregation  and  erases  the  stigma  attached  to  artwork  by  artists  with  disabilities.     In  addition  to  inclusive  opportunities,  art  programs  also  facilitate  discussions  around  arts  and  disability.    Finding  a  balance  between  inclusive  opportunities  that  do  not  mention  disability  and  the  creation  of  discussions  about  disability  stereotypes  and  rights  may  be  the  best  way  for  art  programs  to  progress  their  cause.                                   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 90 Recommendations  //     This  research  not  only  highlights  progressive  and  inclusive  programming  but  it  also  highlights  the  complexity  and  diversity  among  art  programs  for  adults  with  disabilities,  and  in  disability  culture  in  general.  Evidence  of  this  diversity  is  seen  in  the  discussion  around  people-­‐first  language,  as  well  as  in  the  discussion  around  exhibitions  that  discuss  disability  vs.  those  that  do  not.  It  is  important  that  art  programs  representing  artists  with  disabilities  understand  the  diverse  cultural  context  in  which  they  are  participants.  Arts  administrators  and  organizations  must  strategically  set  goals  and  create  programming  that  meets  not  only  their  own  missions  but  also  positively  contributes  to  the  greater  scope  of  their  field.  Arts  programs  are  not  lonely  atoms  but  connected  molecules  in  the  matter  of  social  progress.     Providing  transparency  in  decision  making  and  allowing  for  an  open  dialogue  between  artists,  arts  administrators,  and  the  community  is  important  in  building  a  community  of  understanding  around  artwork  created  by  artists  with  disabilities.  It  is  crucial  for  arts  administrators  to  understand  common  stereotypes  and  stigmas  connected  to  individuals  with  disabilities  to  avoid  perpetuating  these  stereotypes  themselves.  Community  stereotypes  that  art  programs  must  be  aware  of  include:  low  quality  artwork,  lack  of  curation,  lack  of  professionalism,  the  idea  of  artists  as  dependents,  and  at  bottom  the  idea  that  these  programs  make  an  unsophisticated  contribution  to  contemporary  arts  and  culture.  Programming  and  policy  at  art  programs  for  adults  with  disabilities  do  shape  the  culture  of  arts  and  disabilities,  and  art  programs  must  not  ignore  this  fact.     As  evidenced  by  the  inclusive  opportunities  available  to  the  artists  at  the  programs  considered  in  this  research  project,  the  community  perception  of  artwork  by  artists  with   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 91 disabilities  has  definitely  shifted  over  the  past  thirty  years.  It  is  an  exciting  time  for  artists  and  for  the  art  programs  that  advocate  for  them.  With  thoughtful  and  strategic  programming  by  arts  administrators  both  at  art  programs  and  within  the  contemporary  art  world,  artists  with  developmental  disabilities  and  mental  illness  can  and  will  be  heard  as  significant  voices  in  contemporary  culture.                                     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 92  Appendices  &  References                         Carrots  Evelyn  Reyes  pastel  on  paper  ©  2007  Creativity  Explored   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 93  Appendix  A  //  Conceptual  Framework  Schematic           Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 94  Appendix  B  //  Email  Recruitment  Letter      Date   Name  Address  City/State/Zip    Dear  ____________,    You  are  invited  to  participate  in  a  research  project  titled  Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness,  conducted  by  Jamie  Walsh  from  the  University  of  Oregon’s  Arts  and  Administration  Program.  The  purpose  of  this  study  is  to  explore  inclusive  opportunities  for  artists  with  developmental  disabilities  or  mental  illness  in  participating  in  the  contemporary  art  world.      Attached  is  a  brief  description  and  overview  of  the  project.    You  were  selected  to  participate  in  this  study  because  of  your  leadership  position  with  (Art  Program)  and  your  experiences  with  and  expertise  pertinent  to  inclusive  art  opportunities  in  the  San  Francisco  Bay  Area.  If  you  decide  to  take  part  in  this  research  project,  you  will  be  asked   to   provide   relevant   organizational   materials   and   participate   in   an   in-­‐person  interview,   lasting   approximately   one   hour,   during   winter   2013.     If   you   wish,   interview  questions  will  be  provided  beforehand  for  your  consideration.    Interviews  will  take  place  at  (Art  Program),  or  at  a  more  conveniently  located  site.    Interviews  will  be  scheduled  at  your  convenience.    In  addition  to  taking  handwritten  notes,  with  your  permission,  I  will  use  an  audio  tape  recorder   for   transcription  and  validation  purposes.    You  may  also  be  asked  to  provide  follow-­‐up  information  through  phone  calls  or  email.    If   you   have   any   questions,   please   feel   free   to   contact   me   at   xxx-­‐xxx-­‐xxxx   or  xxx@uoregon.edu.  Any  questions  regarding  your  rights  as  a  research  participant  should  be  directed  to  the  Office  for  the  Protection  of  Human  Subjects,  University  of  Oregon,  Eugene,  OR  97403,  (541)  346-­‐2510.    Thank   you   in   advance   for   your   interest   and   consideration.     I  will   contact   you   shortly   to  speak  about  your  potential  involvement  in  this  study.    Sincerely,        Jamie  Walsh  Master’s  Candidate,  Arts  Administration,  University  of  Oregon     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 95 Appendix  C  //  Consent  Form   Consent  Form    Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness  Principal  Investigator:  Jamie  Walsh  University  of  Oregon  –  Arts  and  Administration  Program      Introduction:  You   are   invited   to   participate   in   a   research  project   titled  Access   and   Inclusion:   Artwork   by   artists  with  Developmental  Disabilities  &  Mental   Illness,   conducted  by   Jamie  Walsh   from  the  University  of  Oregon’s  Arts  and  Administration  Program.  The  purpose  of  this  study  is  to  explore  current  inclusive  opportunities   artists  with   developmental   disabilities   and/or  mental   illness   have   to   participate   in  the  contemporary  art  world.  Please  read  this  form  and  ask  any  questions  before  agreeing  to  be  in  the  study.    Purpose  of  Study:  The   purpose   of   this   study   is   to   explore   inclusive   opportunities   artists   with   developmental  disabilities  and/or  mental  illness  have  to  participate  in  the  contemporary  art  world.  Participants  in  this   study   are   from   the   San   Francisco   Bay   Area,   are   art   organizations   that   support   artists   with  developmental   disabilities   and   mental   illness,   and   have   a   prestigious   reputation   in   the   arts   &  disabilities  field.      Description  of  the  Study  Procedures:  If   you   decide   to   take   part   in   this   research   project,   you   will   be   asked   to   provide   relevant  organizational  materials  and  participate  in  an  in-­‐person  interview,  lasting  approximately  one  hour,  during   winter   2013.     If   you   wish,   interview   questions   will   be   provided   beforehand   for   your  consideration.     Interviews  will   take  place  at  your  organization,  or  at  a  more  conveniently   located  site.     Interviews  will  be   scheduled  at  your   convenience.     In  addition   to   taking  handwritten  notes,  with  your  permission,  I  will  use  an  audio  tape  recorder  for  transcription  and  validation  purposes.    You  may  also  be  asked  to  provide  follow-­‐up  information  through  phone  calls  or  email.    You  will  be  given  an  opportunity  to  review  the  content  you’ve  submitted  before  completion  of  the  project.  The  interview  should  take  no  longer  than  an  hour  of  your  time.    In  addition  to  an  interview,  you  will  also  be  asked  to  provide  relevant  organizational  materials.      This   study   will   be   conducted   over   the   course   of   one   month,   but   participants   can   expect   to   be  involved  directly  with  the  research  for  not  more  than  two  weeks  time  over  the  one-­‐month  period.    Risks/Discomforts  of  Being  in  the  Study:  There  are  minimal  risks  associated  with  participating  in  this  study,  particularly  since  this  phase  of  research  is  exploratory  in  nature.    Benefits  of  Being  in  the  Study:  The   purpose   of   this   study   is   to   explore   in   inclusive   opportunities   artists   with   developmental  disabilities   and/or  mental   illness  have   to  participate   in   the   contemporary  art  world.  This  project  will  serve  as  a  tool  for  arts  administrators  working  in  the  field  of  visual  arts  who  are  interested  in  issues   of   access   and   inclusion.   For   those   working   at   programs   for   artists   with   developmental  disabilities   and/or   mental   illness,   this   project   serves   to   understand   and   examine   inclusive  opportunities   through   community   engagement   programming   and   exhibition   practices.   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 96 Furthermore,  this  project  may  also  appeal  to  those  working  in  contemporary  art  organizations  that  are  interested  in  become  more  inclusive  with  their  exhibition  programming.    Confidentiality:  If  you  decide  to  be   involved   in   this  study,   it   is   likely   that  your  name  will  be   identified   in   the   final  paper  when   reporting   findings   of   the   organization’s   structure   relating   to   inclusive   opportunities.  Identification  of  your  name  may  be  used  through  quoting  and  in  the  references  section.  Before  the  study   is   completed,  you  will  have   the  opportunity   to   review   the  comments  you’ve  submitted  and  where  applicable,  edit  your  remarks.      _____  I  wish  to  review  the  content  I’ve  submitted  before  completion  of  this  project.    All  electronic  information  will  be  coded  and  secured  using  a  password-­‐protected  computer.  Access  to  the  records  will  be  limited  to  the  researcher;  however,  please  note  that  the  Institutional  Review  Board   and   internal   University   of   Oregon   auditors  may   review   the   research   records.   Files  will   be  deleted  after  three  years  (as  determined  by  the  University  of  Oregon).      Voluntary  Participation/Withdrawal:  Your  participation   is   voluntary.   If   you   choose  not   to  participate,   it  will  not   affect   your   current  or  future   relations  with   the   University.   You   are   free   to  withdraw   at   any   time,   for  whatever   reason.  There  is  no  penalty  or  loss  of  benefits  for  not  taking  part  or  for  stopping  your  participation.      Contacts  and  Questions:    The  researcher  conducting  this  study  is  Jamie  Walsh.  For  questions  or  more  information  concerning  this   research   you   may   contact   her   at   xxx-­‐xxx-­‐xxxx   or   xxx@uoregon.edu.   The   research   advisor  overseeing  this  project  is  Ann  Galligan.  If  for  any  reason  you  wish  to  contact  her,  you  may  do  so  at  xxx-­‐xxx-­‐xxxx  or  xxx@uoregon.edu.    If  you  have  any  questions  about  your  rights  as  a  research  subject,  you  may  contact:   the  Office   for  Protection  of  Human  Subjects,  University  of  Oregon  at  xxx-­‐xxx-­‐xxxx  or  xxx@uoregon.edu.    Copy  of  Consent  Form:  You  will  be  given  a  copy  of  this  form  to  keep  for  your  records  and  future  reference.    Statement  of  Consent:  I  have  read  (or  have  had  read  to  me)  the  contents  of  this  consent  form  and  have  been  encouraged  to  ask   questions.   I   have   received   answers   to  my   questions.   I   give  my   consent   to   participate   in   this  study.  I  have  received  (or  will  receive)  a  copy  of  this  form.      Signature__________________________________________________Date______________________        Study  Participant  (Print  Name):        Participant  Signature________________________________________________Date________________________   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 97 Appendix  D  //  Interview  Questions     Questions  for  Executive  Directors    Semi-­‐Structured  Interview  Questions:    1.     How  long  have  you  worked  for  this  organization?  2.     Can  you  tell  me  why  this  organization  was  originally  created?  3.     What  do  you  see  as  being  the  role  of  the  organization  currently?  4.     What  are  the  organization's  goals  regarding  exhibition  programming?  5.     Since  the  creation  of  the  exhibition  programming,  how  have  you  seen  these  goals     change  over  the  years?  6.     What  are  the  organization's  goals  regarding  community  inclusion?  7.     How  have  these  goals  changed  over  the  years?  8.     What  do  you  feel  are  the  pros  and  cons  of  having  both  on-­‐site  exhibitions  as  well  as     off-­‐site  exhibitions?  9.     Describe  to  me  how  you  view  the  community  perception  of  the  artwork  itself.  10.     What  are  some  of  the  main  challenges  regarding  exhibitions  and  community     inclusion  for  artists  at  your  organization?  11.     What  do  you  see  the  future  looking  like  regarding  opportunities  for  the  artists  you     represent?  12.     What  are  your  thoughts  on  exhibitions  featuring  artwork  by  artists  with     developmental  disabilities  and/or  mental  illness  vs.  inclusive  exhibitions? Questions  for  Gallery  Managers    Semi-­‐Structured  Interview  Questions:    1.     How  long  have  you  worked  for  this  organization?  2.   What  are  the  organization's  goals  regarding  exhibition  programming?  3.   Since  the  creation  of  the  exhibition  programming,  how  have  you  seen  these  goals  change  over  the  years?  4.   What  do  you  feel  are  the  pros  and  cons  of  having  both  on-­‐site  exhibitions  as  well  as  off-­‐site  exhibitions?  5.   Describe  to  me  how  you  view  the  community  perception  of  the  artwork  itself.  6.   How  do  you  go  about  seeking  exhibition  opportunities  at  off-­‐site  venues?  7.   What  are  some  of  the  main  challenges  regarding  exhibitions  for  artists  at  your  organization?  8.   What  do  you  see  the  future  looking  like  regarding  opportunities  for  the  artists  you  represent?  9.   What  are  your  thoughts  on  exhibitions  featuring  artwork  by  artists  with  developmental  disabilities  and/or  mental  illness  vs.  inclusive  exhibitions?  10   How  are  the  artists  represented  in  language  used  in  promotional  materials,  press,  and  the  website?   Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 98 Appendix  E  //  Time  Line     Arts  and  Administration:  Program  Master's  Research  Timeline,  2012-­‐2013    Fall  2012  (AAD  631)     • Complete  full  research  proposal,  meeting  regularly  with  research  adviser  • Draft  detailed  research  instruments  • Draft  human  subjects  documents  and  complete  CITI  training  • Create  general  outline  of  final  document  • Submit  human  subjects  application Winter  2013  (AAD  501,  601)          JANUARY  • Submit  human  subjects  application  documents  )if  not  completed  in  fall  • Refine  research  instruments  • Convert  proposal  into  chapter  drafts  • Plan  with  your  advisor  the  dates  that  chapter  drafts  will  be  due;  submission  of  chapter  drafts  will  be  worked  out  in  agreement  with  your  advisor  over  the  next  several  months          FEBRUARY/MARCH  • Begin  data  collection  and  analysis  • Prepare  detailed  outline  of  full  document  • Begin  to  submit  chapter  drafts    Spring  2013  (AAD  503,  601)              April  • Complete  data  collection  • Continue  with  ongoing  data  analysis  • Write  full  first  draft  of  final  document,  submitting  chapters  to  advisor  for  review  and  feedback  according  to  plan              May  • Wednesday,  May  1:  Deadline  for  draft  of  full  document  to  be  submitted  to  advisor  • Week  of  May  6:  Feedback  from  advisor  prior  to  student  presentations  • Friday,  May  10:  Student  presentations  of  master's  research  • Monday,  May  13th  (5:00pm):  Deadline  to  submit  text  and  images  for  inclusion  in  student  research  journal  • May  20-­‐31:  Continue  revisions  to  full  document  • Friday,  May  31:  Deadline  for  full  final  draft  to  be  submitted  to  adviser              June  • June  3-­‐11:  Submit  final  document  and  PDF         Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 99 Appendix  F  //  Developmental  Disabilities  Act,  section  102(8)           1.  Is  attributable  to  a  mental  or  physical  impairment  or  combination  of  mental  and     physical  impairments;     2.  Is  manifested  before  the  individual  attains  age  22;     3.  Is  likely  to  continue  indefinitely;     4.  Results  in  substantial  functional  limitations  in  three  or  more  of  the  following     areas  of  major  life  activity;       (i)  Self-­‐care;         (ii)  Receptive  and  expressive  language;       (iii)  Learning;         (iv)  Mobility;       (v)  Self-­‐direction;         (vi)  Capacity  for  independent  living;  and         (vii)  Economic  self-­‐sufficiency.  5.  Reflects  the  individual's  need  for  a  combination  and  sequence  of  special,  interdisciplinary,  or  generic  services,  supports,  or  other  assistance  that  is  of  lifelong  or  extended  duration  and  is  individually  planned  and  coordinated,  except  that  such  term,  when  applied  to  infants  and  young  children  means  individuals  from  birth  to  age  5,  inclusive,  who  have  substantial  developmental  delay  or  specific  congenital  or  acquired  conditions  with  a  high  probability  of  resulting  in  developmental  disabilities  if  services  are  not  provided.     Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 100 Appendix  G  //  Case  Study  Interview  Participants      NIAD  Art  Center  (February  19,  2013):  • Deborah  Dyer,  Executive  Director    • Timothy  Buckwalter,  Director  of  Art  Sales  and  Exhibitions    Creative  Growth  Art  Center  (February  20,  2013):  • Tom  di  Maria,  Executive  Director    • Catherine  Nguyen,  Gallery  Manager    Creativity  Explored  (February  21,  2013):  • Amy  Taub,  Executive  Director  • Amy  Auerbach,  Gallery  Manager  • Ann  Kappes,  Director  of  Marketing  and  Licensing                       Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 101 Appendix  H  //  Updated  NIAD  Art  Center  Logo                                 Access  and  Inclusion:  Artwork  by  Artists  with  Developmental  Disabilities  &  Mental  Illness           Jamie Walsh 102 References  //   Activ.  (2013).  People,  Skills,  and  Community.  Retrieved  from     http://www.activ.asn.au/2/2074/8/people_skills_and_community.pm    Advocacy.  [Def.  1].  (2009).  The  Free  Dictionary.  In  American  Heritage  Dictionary  of             the  English  Language,  Fourth  Edition.  Retrieved  from     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