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The editors' stated aim is to clarify the current theory and practice of art therapy, whilst allowing each of the contributors to express a personal point of view. In fact the thirteen art therapists differ so widely in both theory and practice that I found it hard to discern a single unifying approach that might define art therapy. Notwithstanding this, many of the papers are lively and thought-provoking in their own right.
The early part of the book addresses some of the knotty theoretical issues that continue to divide the profession. The familiar question as to whether art is an intrinsically therapeutic activity or can only be so as part of a therapeutic relationship remains unanswered. Disagreement over such a fundamental philosophical issue goes some way to explain the diversity of opinion and clinical practice evident in the book.
Insecurity about professional status and recognition, a subject which has arisen in much of the art therapy literature (e.g. Dalley & Case 1992, Dalley et al 1987, ) is very much in evidence in this publication too. At times it felt a bit repetitive, covering old ground again, and I thought I sensed a somewhat defensive attitude surrounding the whole issue. For example, in attempting to demonstrate the rigour involved in art therapy training, one writer likens it to psychoanalytic training and suggests that art therapists therefore have similar understanding of unconscious processes and motivation. Since art therapy training can be completed in one year and does not yet require that trainees undergo personal therapy or analysis, I felt the comparison was misleading and unconvincing.
As soon as the focus of the book shifts away from art therapy's struggles as a profession to actual descriptions of the work, it becomes far more engaging to read. Each paper contains a review of the literature relevant to its client group, followed by clinical examples. Some papers in particular are worthy of mention.
Christine Wood's account of her work w