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Nadia Ferrara
To cite this article: Nadia Ferrara (1995) Magazine Photo Collage: A Multicultural Assessment and
Treatment Technique, Art Therapy, 12:3, 197-198, DOI: 10.1080/07421656.1995.10759161
Article views: 89
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Magazine Photo Collage:A
Multicultural Assessment and
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Treatment Technique
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by Helen Landgarten,MA,A.T.R., HLM, New York:
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Brunner/Mazel, Inc., 1993.
224 pp.,96 black &white illus. $29.95,cloth. ISBN
selects pictures from the miscellaneous box and writes his or her
thoughts about each image. The task is openended and the mis-
cellaneous box of pictures is used because of its nonthreatening
nature. No limits are placed on the number of pictures selected.
Landgarten carefully outlines what to look for in assessing art-
related behaviors (eg., how are the photographs handled, glued,
etc.).
In the second task, the client is asked to choose pictures of
people and, on a separate paper, writes what the people are
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0-87630-706-3. thinking and saying. This task “reveals clients’ perception about
Reviewed by Nadia Ferrara, MA,A.T.R., trust, regarding either themselves, someone in their life, or pos-
Montreal, Quebec, Canada sibly the therapist” (p. 10).
During the third task, either box is used to select pictures
Art therapy textbooks on assessment are rare and greatly in
that represent something “good” and something “bad.” Choices
demand. Helen Landgarten’s Magazine Photo Collage: A may give clues about the client’s idea of positive and negative
Multicultural Assessment and Treatment Technique, a textbook images.
for students and art therapists, brings evaluation to the fore- The fourth task involves choosing one picture from the
p u n d and describes how to use a Magazine Photo Collage “people” box, writing what is happening to the person, and how
(MPC) procedure for this purpose. At the same time, it is multi- the situation could change. This task may highlight the client’s
culturally sensitive in its demonstration of uses for the MPC with attitude, coping mechanisms, and problem-solving skills.
various populations. AU four tasks are illustrated with case vignettes that show
Landgarten recognizes that we live and work in a mosaic how to use the MPC during assessment and treatment phases of
society filled with diverse cultures. She presents a nonculturally therapy. In the treatment phase, the MPC can be introduced at
biased tool, the MPC, and shows how it can be effectively any time for any treatment goal. Some MPC objectives are
applied to various ethnic and cultural groups, including Asians, designed to manage cultural differences between client and ther-
African-Americans, and Hispanics. Her method uses pre-cut apist and encourage development of cultural self-identifcation
images from carefully selected, culturally appropriate magazines. and self-awareness.
These are separated into two boxes and offered to clients. The Certain art behaviors may indicate a client’s stren@hs and
first box contains pictures of a variety of people from various cul- problem areas. The manner in which images are looked at, han-
tures, and highlights differences in age, sex, and economic con- dled, and placed on paper are important to observe. It is also
dition. The second box offers “miscellaneousitems” from a range important to observe how the MPC is created, whether in an
of photographs that focus on themes related to chemical depen- extremely cautious or regressive fashion. According to
dency, physical and/or sexual abuse, eating disorders, and other Landgarten, “The photos in the MPC are projections of the
relevant issues. As a resource for collecting pictures, Landgarten client’s self, symbolic of significant persons in their life, and/or a
provides a list of “culturallyslanted magazine publications use- transference statement” (p. 20). Verbal responses and free asso-
ful for their particular ethnic imagery. ciations are also very important and may confirm or contradict
The MPC is a nonstandardized, projective tool. It is the therapist’s observations.
described as beneficial for assessment and treatment stages in Facets of the MPC strongly resemble underlying elements
therapy because “clients can iden+ with the images and voice of phototherapy, although there is no reference made by
their projections onto their self-selected pictures” (p. 1). Landgarten to phototherapy literature. Weiser (1993)describes
In the assessment phase, collage focus is on the manifest how interactingwith personal snapshots and albums as represen-
content, specifymg that the therapist select pictures that reflect tational objects, symbolic self-constructs, and metaphoric transi-
the client’s ethnicity. Thereafter, in the treatment phase, the clin- tional objects can reveal deep forms of awareness. According to
ician may use the MPC to make an intervention or to offer an Weiser, “Photographs ... have the power to capture and express
interpretation,takmg into consideration its latent content and, as feelings and ideas in visual-symbolic forms, some of which are
emphasized by Landgarten, its unique metaphoric language.The intimately personal metaphors” (p. 6).
clinician gathers the client’s free associations in order to under- Landgarten uses clinical vignettes to illustrate her ideas. For
stand the symbolism in the collage. instance, one of the goals in a “positive life review” process with
The MPC assessment technique includes four tasks that use an 85-year-old Asian woman was to encourage her to become
the two boxes of magazine pictures. Tasks are presented to the independently creative. Her collage work became a sigruficant
client using specific instructions. In the first task the client self-object. Both Weiser and Landgarten stress that clinicians
197
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should proceed with caution when interpreting the unconscious
content of the collages as well as the photographs. The images in
both can create bridges to one’s inner world in ways that words
REVIEWS
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for students to follow because a sigruficant aspect of art therapy Riley’s work in context. She states that it is “[tlhe integration of
training includes learning to base clinical inferences on the art making into family therapy that yields ... a clearer under-
client’s background, culture, unique interpretations, behavioral standing of family dynamics, roles and rules, ways to reinvent
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observations, and related theory. Linking relevant literature to communication and behavior patterns ...” (p. 12). Therapy with
research is an essential component of the interpretive process. Riley, an experienced and gifted clinician, also appears to be a lot
Collage work clearly can be evocative. The MPC facilitates of fun.
self-disclosure and helps establish a relationship between overt Riley writes for an audience of professional art therapists
and latent content. According to Lamy (1986), ‘The effect of the and family therapists who are most often psychiatric social work-
[collage] process is to increase the emotional involvement since ers, but also include psychologists and psychiatrists. Malchiodi’s
the person is less concentrated on achieving aesthetically pleas- notes in her introductions for teachers and supervisors of gradu-
ing results but rather on the symbolic content ...” (p. 60). ate art therapy students, offer further points of discussion.
While the MPC is a valuable therapeutic instrument, its lim- Riley’s social constructionist theoretical stance is clearly the
itations, which are important to consider, are not outlined by latest in an intellectual odyssey. The family and the therapist
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Landgarten. One potential disadvantage of collage artmaking is
that it uses ready-made materials rather than an empty space
which can be transformed. Collage work may promote depen-
dency on the available materials and lead to avoiding develop-
ment of one’s creative process (Lamy, 1986). However, collage
can be effectively used as a tool to guide the client towards work
in drawing, painting, or clay sculpting, gradually developing
dependence on one’s own creative resources.
Because it is not a standardized tool, the MPC is best when
together will dis-solve the problem by their collaborative efforts.
The narrative is central and authority is shared, although the
therapist retains responsibility for introducing art tasks that allow
the family to illustrate their story.
To her credit, Riley has investigated and mastered the think-
ing and practice of the strategic, systemic, and structural theories
of family therapy. Each of these represents a considerable body
of literature and each requires many hours of practice in session
to master. The interlacing of art therapy with each of these
introduced with other standardized assessments. It can also be schools of thinking is Riley’s generous contribution to the field.
used as an adjunct to diagnostic art evaluations. This is the first This mastery allows her the flexibility to apply the most useful
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book focusing specifically on magazine collage, and Landgarten approach, whatever the presenting problem, whatever the cul-
has made a valuable contribution to the field by adding a new tural and socioeconomic background of the family. Malchiodi
References zy
dimension to art therapy and multicultural assessment. These
important contributions warrant further development and
research.
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Limy, Y. (1986).A study of wUage and assemblage as a therapeutic tool
in art therapy. Montreal, Quebec:Concoda University.
Weiser, J. (1993). Phototherapy techniques: Erplortng the secrets of per-
early on refers the reader unfamiliar with family therapy to more
comprehensive foundation books in the field. Without this
knowledge, one would not fully appreciate Riley’s dexterity and
skillful interventions.
This book is divided into three sections. In “Family Art
Therapy-Integrating Theory with Practice,” Riley begins with
the significance of the family’s illustrations of their story, the rea-
son they came for help. Joseph, an abused 11-year-old,told Riley
the story of being forced to kneel on dried beans as a punish-
sonal snapshots andfamiry albums. San Francisco:Jossey-Bass. ment. Through art, she helped the child transform this image by
making paper beans, expanding, and playing with their symbolic
meaning. At one point, Riley offers Joseph a handful of real dned
Integrative Approaches to Family beans to cany in his pocket as a reminder he now has the power
Art Therapy over them and not the other way around. This case vignette
shows art therapy at its best. The author investigates the creation
by Shirley Riley,MFCC,A.T.R., with observations of reality and meaning in the therapeutic process.
A basic concept of the social constructionistview is that the
by Cathy A. Malchiodi,MA, A.T.R., Chicago, IL:
therapeutic session is time spent in conversation, co-constructing
Magnolia Street Publishers, 1994. a new outcome to a problematic situation presented by the
262 pp,,95 black & white illus., $29,95,paper. client($. Therefore, “unless the concept of ‘languaging,’the dia-
ISBN 0-96 13309-5-3 logue that arises from exploration of the art product, is attended