The Psychoanalyst as Photographer and Painter

The meetings of the American Psychoanalytic Association saw their second annual exhibit of members' artistry in New York this January. Approximately 75 photographic images, paintings, and collages were shown, each one created by a member, affiliate, or associate of the Association or by a member of the IPA or IPSO. The first annual exhibit in January 2009 had been limited to photography; this year the show was expanded. There is always a shortage of space at APsaA's National Meeting so this exhibit lasted for only one day, Friday, January 15, from 9 a.m. to 5 p.m., but thanks to very good planning by APsaA's scientific program and meetings director, Carolyn Gatto, we had larger and much better lighted space to exhibit the works of art.

The premise for the exhibit was that analytic clinical work, coming to know the patient through in-depth experience and creative communication, is analogous to the analyst-artist's seeing the subject, coming to know it, framing it through the lens or on canvas, and embracing its essence. All those in the Association and in the IPA who wanted to share their versions of that creative process were invited to participate. Exhibitors this year included Graciela Abelin-Sas, Elise Blair, Paula Christian-Kliger, Sarah Coleman, Diana Cuello, Russell Denea, Michael Fleisher, Deborah Genninger, Joanne Gold, Richard Gottlieb, Daria Inbar, Karen Johnson, Valerie Laabs-Siemon, Felise Levine, Nadine Levinson, Mali Mann, Jon Meyer, William Moffett, Paul Mosher, Ruth Neubauer, Nancy Olson, Allen Palmer, Jonathan Palmer, Lauri Robertson, Ben Roth, Leslie Schweitzer, Bruce Sklarew, Lana Starkman, Mervin Stewart, and Robert White. Some had exhibited last year but half were new to this scene.

There were a few hitches. The hotel shipped one artist's easel back home on the eve of the exhibit but, with only slightly red faces, provided a gilded, very ornate one to take its place. In addition, we were so packed with art that the initial setup of the room simply did not provide adequate display space and throughout the morning we were sending requests to staff for more side and corner tables. Despite that, there was the kind of good feeling and camaraderie we have come to treasure when we get together as artists to show our work.

Subjects ranged from a study of small waterfalls, to majestic mountain scenes, to abstract images in acrylic and seaside oils. To mention just a few of the specific pieces, Paul Mosher exhibited a black and white portrait of his wife and a technical piece merging two photographs with striking results. Mervin Stewart exhibited some beautiful photographs of rural countryside with a multiple image of Pittsburgh's Fourth of July celebration. Lauri Robertson brought two photographic images of the fields of Nantucket which had the softness and subtlety of watercolors. I showed a series of black and white photographs which were an “intimate” view of waterfalls as well as a total change of pace in photographic depictions of the inside and outside of analytic self analysis. Nadine Levinson showed her oil of a rocky shore and the seaside in striking greens and blues.

Commentary by Jim Blair

Once again, one of the highlights for both viewers and participants was the discussion by critically acclaimed professional photographer Jim Blair, who has done much of his work for National Geographic. Blair, who devoted many hours to the exhibit, had technical comments at times but emphasized the creative process. He spoke of capturing the moment, expressing the feeling, and then conceptualizing the image in a way that conveyed its intrinsic emotion—much as an analyst might work with an analysand.

At the end of a day punctuated by animated discussions about where an image was taken and how it was done or the process of creating through oils and acrylic, participants reluctantly took down the exhibit. Thoughts, however, immediately turned to the possibility of the third annual exhibit. If we do come back next year, we would again include members, affiliates, and associates of the Association and members of the IPA and IPSO and would want to expand the kind of art that could be shown. For example, might we want to include small sculptures or mobiles? Might we want to include members' poetry that would by virtue of being artfully printed be a work of art for the eyes as well as the ears?

In the spirit of a show that is for the analytic community, all feedback is welcome. We have talented members whose art adds an important dimension not only to the meetings but also to the understanding of analytic creative work.