Front cover and page v: ‘... and shadows were blown like grey cloths over the sea.’ Suzanne Perry, Sheridan Linnell, Josephine Pretorius and Jill Westwood (2007). Performance art response to Andy Gilroy, ‘The waves, or, be careful what you wish for’. Public address to the Sydney art therapy community. Western Sydney University (2007). Photograph by Jill Westwood. Title quotation from The Waves (Woolf, 2015/1931).
Page vi: Detail of Untitled. Evan (n.d.). Crayon on paper. (See Chapter 2, Figure 2, page 81.)
Prologue
Figure 1 Untitled. Bronwyn Davies (2008). Wall hanging, embroidery thread, sequins, buttons, satin and tuille on silk.
Introduction
Frontispiece: Detail of Figure 1, It’s been a long time. Andy Gilroy, (2016/17). Collage, pencil, oil pastels and tissue paper on paper.
Figure 1 It’s been a long time (detail: The Straw Bale House). Andy Gilroy (2016/17). Collage, pencil, oil pastels and tissue paper on paper.
Figure 2 It’s been a long time (detail: We four). Andy Gilroy (2016/17). Collage, pencil, oil pastels and tissue paper on paper.
Figure 3 It’s been a long time (detail: An archaeology of shame). Andy Gilroy (2016/17). Collage, pencil, oil pastels and tissue paper on paper.
Figure 4 It’s been a long time (detail: A reparative conversation). Andy Gilroy (2016/17). Collage, pencil, oil pastels and tissue paper on paper.
Figure 5 Art therapy has a black art history. Tarquam McKenna (2016). Digital photo-montage.
Figure 6 Multibake. Sheridan Linnell (2017). Charcoal and ink sketch, torn and mounted on found baking paper.
Figure 7 Power – Territory: Art Therapy. Jill Westwood (2016). Assemblage of flints, net and found objects on floor tiles.
Figure 8 Art therapy: taking a postcolonial, aesthetic turn. Jill Westwood (2016). Assemblage of flints, bricks and paint on floor tiles.
Figure 9 Heterotopic net 1. Jill Westwood (2016). Assemblage of flints, net and found objects on floor tiles.
Figure 10 Heterotopic net 2. Jill Westwood (2016). Assemblage of flints, net and found objects on floor tiles.
Figure 11 Where knowing and not knowing touch. Sheridan Linnell, Suzanne Perry, Josephine Pretorius and Westwood, (2007). Installation (light-box and mixed media, ink, watercolour and collage).
Chapter 1
Frontispiece: Detail of Figure 2.
Figure 1 Untitled postcard. Jan Allen (2011). Pastel drawing digital photocollage.
Figure 2 Untitled postcard. Jean Rumbold (2011). Digitally altered image.
Figure 3 Untitled postcard. Jan Allen (2011). Digital photocollage.
Figure 4 Untitled postcard. Jean Rumbold (2011). Digitally altered image.
Figure 5 Layers postcard. Jan Allen (2011). Digital photocollage.
Figure 6 Way home postcard. Jean Rumbold (2011). Digitally altered image.
Figure 7 The flats postcard. Jan Allen (2011). Digital photocollage.
Figure 8 Untitled postcard. Lilian Tann (2011). Digital photocollage.
Figure 9 The underpass postcard. Jean Rumbold (2011). Digital photograph.
Figure 10 Untitled Postcard. Victoria Schaendelbach (2011). Pastel drawing digital photocollage.
Figure 11 One tree postcard. Janine Brophy Dixon (2011). Pastel drawing.
Figure 12 Untitled image postcard from The Culture in Transit project (undated). Reprinted with permission.
Figure 13 From migration to integration installation postcard. Amanda Woodford (2011). Digital photocollage.
Figure 14 Eucalyptus Caesia postcard. Jean Rumbold (2011). Digital photograph.
Figure 15 Untitled postcard 1. Jan Allen (2011). Digital photocollage.
Figure 16 Untitled postcard 2. Jan Allen (2011). Digital photocollage.
Chapter 2
Frontispiece: Detail of Figure 3.
Figure 1 Aboriginal flag. Harold Thomas (1971).
Figure 2 Untitled. Evan (n.d.). Crayon on paper.
Figure 3 The cricket bat. Evan (n.d.). Crayon on paper.
Figure 4 Looking over the hell fire. Evan (n.d.). Crayon on paper.
Figure 5 Actress Shareena Clanton speaks at a protest in Melbourne organised by Aboriginal rights activists to mark Australia Day, January 2017. Asanka Brendon Ratnayake/Anadolu. Photograph (2017).
Figure 6 Uluru. Evan (n.d.). Crayon on paper.
Figure 7 Detail of Uluru. Evan (n.d.). Crayon on paper.
Chapter 3
Frontispiece: Detail of It’s been a long time. Andy Gilroy (2016/17). Collage, pencil, oil pastels and tissue paper on paper.
Chapter 4
Frontispiece: Detail of It’s been a long time. Andy Gilroy (2016/17). Collage, pencil, oil pastels and tissue paper on paper.
Chapter 5
Frontispiece: Detail of Figure 3.
Figure 1 Detail of University of Essex, view of the residential towers. Claire Edwards (2016). Pen and ink on paper.
Figure 2i Wills Memorial, the Plains, Totnes Devon. Phil End (2013) photograph.
Figure 3 View from the Island towards Bridgetown, Totnes, Devon. Claire Edwards (2016). Oil pastels on paper.
Figure 4 University of Essex, view of the residential towers. Claire Edwards (2016). Pen and ink on paper.
Figure 5 Australia: land of tomorrow. Joe Greenberg (1948). Migration poster Museum of Victoria.
Figure 6 There’s a man’s job for you. WP and JG (1947). Migration poster, National Library of Australia.
Figure 7 Detail of There’s a man’s job for you in Australia. WP and JG. (1947). Migration poster, National Library of Australia.
Figure 8 Detail of Australia: land of tomorrow. Joe Greenberg, (1948). Migration poster, Museum of Victoria.
Chapter 6
Frontispiece: Detail of Figure 2.
Figure 1 Detail from MA Art Therapy brochure, University of Western Sydney (UWS) (1995), photograph.
Figure 2 Installation. Jill Westwood (2013). Mixed media.
Figure 3 Taronga Zoo. Jill Westwood (Winter 1995). Photograph.
Figure 4 Jill Westwood and Marga Hanna and in the Blue Mountains. Jill Westwood (Winter 1995). Photograph.
Figure 5 Map of art therapy around the world. Jill Westwood (1996). Acrylic paint on paper.
Figure 6 A view of the landscape of the study. Jill Westwood (2003). Oil pastel on black paper.
Figure 7 Explorations into the centre? Jill Westwood (2003). Chalk pastel on paper.
Figure 8 At the base of Uluru. Jill Westwood (c.1998). Photograph.
Figure 9 A decade 1995–2005 as an art therapy educator at UWS Australia. Jill Westwood (2005). Collage and oil pastels on card.
Figure 10 Landscape of the research project. Jill Westwood (2007). Collage and oil pastels on black paper.
Figure 11 Research Dreaming Jill Westwood (2008). Collage and oil pastel on paper.
Figure 12 Artwork (plastic bag robe featuring Queen Elizabeth II). Jill Westwood (2009). Mixed media including paper, ribbon, plastic carrier bag.
Figure 13 Artwork (Shark Donkey Pearly Kings and Queens). Jill Westwood (2009) Mixed media including paper, found objects, plastic, water.
Figure 14 View across the street from my family home. Jill Westwood (2009). Photograph.
Figure 15 Inside the Town Hall building, Goldsmiths, University of London. Jill Westwood (2009). Photograph.
Figure 16 It was a cold snowy winter, the footprints of birds. Jill Westwood (2009). Photograph.
Figure 17 Inside one of the art therapy studios at Goldsmiths. Jill Westwood (2009). Photograph.
Figure 18 A bestiary of art therapy education in Australia. Jill Westwood (2009). Collage and ink on cartridge paper.
Figure 19 Platypus. Jill Westwood (2009). Found fabrics and sponge.
Figure 20 A genealogy of art therapy education in Australia. Jill Westwood (2009). Collage and ink on cartridge paper.
Figure 21 A cosmology of art therapy education in Australia. Jill Westwood (2009). Collage and ink on cartridge paper.
Figure 22 Andy Gilroy in foreground and conference delegates. Jill Westwood (2013). Photograph.
Figure 23 View of the installation at the conference. Jill Westwood (2013). Photograph.
Figure 24 Finding a voice, making your mark. Goldsmiths, University of London (2013). Poster of the International Conference.
Figure 25 Installation. Jill Westwood (2013). Mixed media.
Figure 26 Magpie – detail of Installation connected to ECU.
Figure 27 Detail of Genealogy image, Michael Campanelli.
Figure 28 Detail of Genealogy image, Michael Edwards, Guy Grey-Smith.
Figure 29 Figures that became part of the installation.
Figure 30 Detail of Genealogy image, David Harvey, Annette Coulter.
Figure 31 Detail of Genealogy image, John Henzell, Tarquam McKenna.
Figure 32 Detail of Cosmology image referencing Bestiary image of ECU/IKON programmes.
Figure 33 Detail of Genealogy image tracing the origins of influences from UK (Adrian Hill) and USA (Edith Kramer).
Figure 34 Hannah Menahemi, Jill Westwood and John Henzell in Perth. Jill Westwood (c.2001). Photograph.
Figure 35 A gathering of ANZATA and many of the art therapy educators at a conference in Perth. Photograph.
Figure 36 Detail of Cosmology image referencing Bestiary image of IKON programme.
Figure 37 Detail of Genealogy image, Vicki Dean and Rafael Locke.
Figure 38 Detail of Cosmology image referencing Bestiary image of the IKON programme
Figure 39 Fox–coyote image from Installation.
Figure 40 Detail of Installation referencing UWS programme.
Figure 41 Detail of Installation referencing UWS programme.
Figure 42 Detail of Cosmology image referencing key background figures related to the UWS programme, Keith Bennett Andy Gilroy Jill Westwood Adrian Carr.
Figure 43 MA Art Therapy students in a workshop experience. Jill Westwood (c. 2006). Photograph.
Figure 44 Sheridan Linnell Suzanne Perry Jill Westwood Josephine Pretorius. Jill Westwood (2007). Photograph.
Figure 45 Detail of Installation referencing La Trobe programme.
Figure 46 Detail of Genealogy image, Hannah Menahemi, Nancy Slater.
Figure 47 Detail of Cosmology image.
Figure 48 Shadows of Andy Gilroy and Jill Westwood in the grounds of La Trobe Campus. Jill Westwood (2008). Photograph.
Figure 49 Detail of Installation referencing MIECAT programme.
Figure 50 Detail of Genealogy image MIECAT programme, Jan Allen and Warren Lett.
Figure 51 Detail of Installation referencing MIECAT programme.
Figure 52 Detail of Installation, platypus referencing RMIT programme.
Figure 53 Detail of Installation, Platypus and PhD.
Figure 54 Detail of Installation referencing UQ programme.
Figure 55 Detail of Installation referencing UQ programme.
Chapter 7
Frontispiece: Detail of Figure 6.
Figure 1 Wearing the same dress. Suzanne Perry (2011). Acrylic paint and ink on paper.
Figure 2 Is that you? Detail. Suzanne Perry and Jeff Allan (2013). Digital media.
Figure 3 Bear girl calls her father. Suzanne Perry (2009). Ink on paper.
Figure 4 Crying Donkey. Suzanne Perry (2007). Acrylic on hardboard.
Figure 5 Werewolf bride to be. Suzanne Perry and Jeff Allan (2013). Digital media.
Figure 6 What happened? (2013) Suzanne Perry and Jeff Allan. Digital media
Chapter 8
Frontispiece: Detail of Figure 8.
Figure 1 Detail of Immersive visual analysis in response to interview with Poppy. Jody Thomson (2015). Pastels on paper..
Figure 2 Detail of Immersive visual analysis in response to interview with Poppy. Jody Thomson (2015). Pastels on paper.
Figure 3 Art response to interview. Poppy (2015). Collage and watercolour.
Figure 4 Immersive visual analysis in response to interview with Poppy. Jody Thomson (2015). Pastels on paper.
Figure 5 Art response to interview. Byron, (2015). Pastels on paper.
Figure 6 Immersive visual analysis in response to interview with Byron. Jody Thomson, (2015). Pastels on paper.
Figure 7 Detail of Art response to interview. Byron (2015). Pastels on paper.
Figure 8 Research response image: Painting a picture of art therapy in Australian cancer care. Jody Thomson, (2015). Pastels on paper.
Chapter 9
Frontispiece: Detail of Figure 10. Other images in this chapter are from Where knowing and not knowing touch (Art and the unconscious), exhibition at The Vanishing Point Gallery Newtown, Sydney, Australia, 27 September – 7 October, 2007.
Figure 1 Welcome donkey. Suzanne Perry (2007). Acrylic and pastels on paper.
Figure 2 From Where knowing and not knowing touch. Lightbox installation of ink drawing, poetry, collage and found objects. Sheridan Linnell, Suzanne Perry, Josephine Pretorius and Jill Westwood.
Figure 3 Where knowing and not knowing touch. Sheridan Linnell, Suzanne Perry, Josephine Pretorius and Jill Westwood (2007). Installation, lightbox and mixed media, ink, watercolour and collage.
Figure 4 Performance. Sheridan Linnell, Suzanne Perry, Josephine Pretorius and Jill Westwood, (2007). Where knowing and not knowing touch (Art and the unconscious). Exhibition at The Vanishing Point Gallery, Newtown, Sydney, Australia, 27 September – 7 October, 2007. Photographer unknown.
Figure 5 Sheridan Linnell, Suzanne Perry, Jill Westwood, Josephine Pretorius. Jill Westwood (2007). Photograph.
Figure 6 Fragments of a group collage. Sheridan Linnell, Suzanne Perry, Josephine Pretorius and Jill Westwood, (2007). Collage, ink and watercolour on paper.
Figure 7 Cat–human. Suzanne Perry (2007). Ink and pastels on paper.
Figure 8 Castle and birthday party projection. Sheridan Linnell, Suzanne Perry, Josephine Pretorius and Jill Westwood, (2007). Plaster, wire and slide projection construction.
Figure 9 First steps: Sheridan with her grandmother Grace and an unknown woman. Edward Preece (1954). Photograph.
Figure 10 Film projection and donkey head. Installation. Sheridan Linnell, Suzanne Perry, Josephine Pretorius and Jill Westwood, (2007).
Figure 11 Detail of Crying ghost donkey. Suzanne Perry, (2007). Polymer matt varnish on hardboard.
Figure 12 Josephine and her brother. Hermanus Stephanus Pretorius, (1953). Photograph.
Figure 13 Vinnie in her nurse’s uniform. Photographer unknown (1930s). Photograph.
Figure 14 Fragments of a group collage. Sheridan Linnell, Suzanne Perry, Josephine Pretorius and Jill Westwood, (2007) Collage, ink and watercolour on paper.
Figure 15 Detail from MA Art Therapy brochure, University of Western Sydney (UWS), (1995). Photograph.
Figure 16 Jill and Graham with monkeys. Photographer unknown (1962). Photograph.
Figure 17 At the foot of the slide. Margaret Westwood (1963). Photograph.
Figure 18 Jill and Jackie. Photographer unknown (1964). Polaroid photograph.
Figure 19 One penny, 1917. Jill Westwood, (2007). Photograph.
Figure 20 My birthday party in the garden of my family home. Margaret Westwood (1965). Photograph.
Figure 21 UWS Art Therapy and its supporters: past/absent/present. Jill Westwood, Sheridan Linnell, Suzanne Perry and Josephine Pretorius (2005). Mixed media installation and performance at the Old Art Therapy Cottage.
Chapter 10
Frontispiece: Detail of Figure 3.
Figure 1 Ngarlu Assessment Model Joe Roe NWHS.
Figure 2 Martin’s model of Aboriginal child development (2005).
Table 1 Martin versus Erikson.
Table 2 Cultural identity of research participants.
Figure 3 Dream catcher. Kate (2006) Mixed media.
Figure 4 Kangaroo-jack/Torres Strait Islander flag. Dan (2006). Chalk pastel on paper.
Figure 5 Untitled family drawing. Tony (2006). Texta on paper.
Figure 6 Untitled. Tony (2006). Paint on paper plate.
Figure 7 “Spotty”. Tear Drop 1. Beth (2006). Texta and biro on paper.
Figure 8 Tear Drop 2. Beth (2006). Texta on paper.
Figure 9 Hello sun. Abbey (2006) Texta on paper.
Table 3 Cultural specificity of child protection workers.
Chapter 11
Frontispiece: Detail of Figure 2.
Figure 1 School Mornington Island 1950. Courtesy of the State Library of Queensland and the community of Mornington Island.
Figure 2 Pam Johnston. Jill Westwood (2014) Collage assemblage featuring photograph of Pam Johnston. Original photographer unknown.
Chapter 12
Frontispiece: Detail of Figure 1.
Figure 1 Untitled (‘the Team Painting’). Joanna Keyser, Nancy Aviah, Ian Hanslow, Josh Hinchcliffe, Liz Rummery, Fiona Tung and Sandy Weule-Warburton (2005). Acrylic paint on canvas board.
Chapter 13
Frontispiece: Detail of Figure 8.
Figure 1 Couple and cliff. Professor Russell Meares and Dr Susanne Meares. Nicolette Eisdell (2010). Oil on canvas.
Figure 2 Professor Russell Meares. Nicolette Eisdell (2010). Oil on canvas.
Figure 3 Detail of Professor Russell Meares. Nicolette Eisdell (2010). Oil on canvas.
Figure 4 Faceless figure. Alex (undated). Crayon on paper.
Figure 5 The conversation begins. Joint drawing (undated). Crayon on paper.
Figure 6 The conversation develops. Joint drawing (undated). Crayon on paper.
Figure 7 Alex being saved by God. Joint drawing (undated). Crayon on paper.
Figure 8 Alex and his family. Alex (undated). Crayon on paper.
Figure 9 My family. Alex (undated). Crayon and pencil on paper.
Chapter 14
Frontispiece: Detail of Figure 13.
Figure 1 Detail of The art materials in Elanor’s room. Patricia Fenner (2008). Photograph.
Figure 2 Detail of West facing wall in Elanor’s room. Patricia Fenner (2008). Photograph.
Figure 3 Detail of The window view seen from client Melinda’s chair. Patricia Fenner (2008). Photograph.
Figure 4 Detail of Cate’s therapy room. Patricia Fenner (2008). Photograph.
Figure 5 East facing wall in Elanor’s room. Patricia Fenner (2008). Photograph.
Figure 6 West facing wall in Elanor’s room. Patricia Fenner (2008). Photograph.
Figure 7 Venus’ desk with the photograph of Freud’s couch. Patricia Fenner (2008). Photograph.
Figure 8 The overhead drape in Elanor’s studio. Patricia Fenner (2008) Photograph.
Figure 9 Two components of Venus’ three-part art response. Venus (2008). Oil pastel on paper.
Figure 10 Cate’s therapy room. Patricia Fenner (2008). Photograph.
Figure 11 Cate’s empowering painting. Patricia Fenner (2008). Photograph.
Figure 12 Cate’s art response to her experience including the ‘golden centre’. Cate (2008). Acrylic paint, oil pastel, collage on paper.
Figure 13 Sandra’s ‘own place’ in the therapy room. Patricia Fenner (2008). Photograph.
Figure 14 Sandra’s representation of her experience including her ‘own place’. Patricia Fenner (2008). Collage, pencil felt on board.
Figure 15 The art materials in Elanor’s room. Patricia Fenner (2008). Photograph.
Figure 16 Raygan’s art response. Raygan (2008). Collage on board.
Figure 17 The window view seen from client Melinda’s chair. Patricia Fenner (2008) Photograph.
Figure 18 Melinda’s art response (seen from above). Melinda (2008). Paint, plasticine and collage on board.
Figure 19 Detail of Melinda’s art work. Melinda (2008). Paint, plasticine and collage on board.
Figure 20 Detail of Venus’ three-part art response. Venus (2008). Oil pastel on paper.
Figure 21 Detail of The art materials in Elanor’s room. Patricia Fenner (2008). Photograph.
Epilogue
Figure 1 Detail of Dreaming Australia, into art therapy’s future. Lynn Kapitan (2018). Digital collage.
Figure 2 Detail of Morialta Conservation Park, South Australia. Eddee Daniel (2015). Photograph.
Figure 3 Morialta Conservation Park, South Australia. Eddee Daniel (2015). Photograph.
Figure 4 Dreaming Australia, into art therapy’s future. Lynn Kapitan (2018). Digital collage.