Approaches • 115she has called The Re-Enchantment of Art Therapy (20 03), which has a similar kind of plea
for poetry.
The most multifaceted compendium of such approaches is found in Mimi Farrelly-
Hansen’s (2001) edited book, Spirituality & Art Therapy. David Henley (2002) subtitled
his book on using clay Plying the Sacred Circle, and Paolo Knill and his colleagues (2004)
called their most recent explanation of an intermodal approach Minstrels of the Soul. Just
as humanistic approaches were a reaction to the dominance of psychodynamic ones, so the
move toward both studio and spiritual approaches is in part a reaction to what Allen (1995)
called the “clinification of art therapy.”
Integrative Approaches to Art Therapy
In the 2001 revision of Approaches to Art Therapy I grouped approaches that integrated
one or more theoretical perspectives (DVD 5.7). Two chapters from the first edition dealt
honestly with the many determinants of theoretical positions and technical decisions, each
articulating a rationale for adopting more than one model to guide work in art therapy.
Ulman (A) explained how and why she ended up working with some patients in art as ther-
apy (Kramer) and with some using art psychotherapy (Naumburg). Wadeson (B) described
her Eclectic approach, how it evolved, and how she used it over the course of a long career
(Fig ure 5.14). Both offered intelligent considerations of how to be open-minded without
being sloppy.
By the time the second edition was published, Multimodal theorizing as well as methods
had become much more common, so two new chapters were added to this section. One is
by Shaun McNiff (C) (1986), who had founded a training program in expressive therapies in
1974 at Lesley (Figure 5.15). McNiff ’s chapter dealt with a way of working with groups in
art using the imagination as well as multiple modalities (McNiff, 1998b, 2003). The other,
Figure 5.14 Harriet Wadeson, eclectic art therapy.