Recently Disparate Minds had the opportunity to have an encouraging and insightful conversation with Ari Ne’eman about progressive art studios, the incredible work they do, their future, and their relationship to the disability rights movement. Ari is a hero of the movement, particularly as a champion of autism rights and autistic self advocacy; he’s the co-founder and current president of the Autism Self Advocacy Network (ASAN) and was appointed by President Barack Obama to chair the National Council on Disability’s Policy & Program Evaluation Committee in 2009 (Ne’eman is the first autistic person to ever serve on the council).
As we’ve traveled around the country speaking with directors of progressive art studios, a common concern, almost everywhere, has been how these programs can continue as regulations regarding medicaid services change - that phasing out the practice of providing medicaid funded services in a “congregated” or “sheltered” setting could threaten their existence. Strangely, progressive art studios seem to find themselves at odds with the broader disability rights movement as a direct result of this. As we’ve researched to understand this issue, we’ve found that representatives of the disability rights movement generally just aren't aware that progressive art studios exist or familiar with their impact or importance. Other than a general awareness of the VSA (a network of providers affiliated with the Kennedy Center offering some art related services to children with disabilities), Ari also had no prior knowledge of progressive art studios, had never heard of Creative Growth or Judith Scott, and didn’t know that at the center of our culture, the art world, there’s an incredible shift occurring in the way that developmental disability is currently understood.
During our visit with Creativity Explored director Amy Taub, responding to a question about developing practices to accommodate future regulations (such as an integrated or community based model that works) said “this is what works”. Studios like Creativity Explored have, for decades, provided day programs supporting artists to have independence, agency, and place in our culture to a degree beyond the the most idealistic dreams of any other form of service provider. Championing the voices and ideas of people with disabilities in national and international forums, in public works and large-scale commercial endeavors. And yet, Taub also conceded poignantly that progressive art studios are an incredibly small fraction of medicaid providers for day or employment services.
Through exhibitions, artists like Marlon Mullen achieve a profound connection to a broader community.
Furthermore, it’s not only studios that aren’t well known or understood among disability service providers, but art itself. The achievements of artists like Judith scott, Dan Miller, Courttney Cooper, Marlon Mullen, Julian Martin, and Helen Rae feel monumental; it’s easy to forget how small and obscure the art world really is to the majority of the population. The reality is that most people wouldn't know who Larry Gagosian or Jeff Koons are, nevermind Matthew Higgs or Andrew Edlin, even as their influence touches so many aspects of our culture. The social impact of contemporary art isn’t married to public knowledge of its agents; the average IKEA customer has likely never heard the name Donald Judd. The impact that progressive art studios have made and can make, is enormous and unprecedented in history for people with disabilities, even as the most successful examples of artists from progressive art studios remain mostly unknown.
We believe that even though progressive art studios are currently a relatively small fraction of services provided, the work they pursue is essential. We decided to reach out to Ari Ne’eman and discuss this specifically in response to his own comments on the relationship of the disability rights movement to social and cultural change. In this video Ari responds to a question about the lack of social and cultural victories made by the disability rights movement, conceding that the movement has focused on making valuable legal and policy advancements by “soft selling” the cultural and social impact that’s aspired for. He states, “We haven’t excelled at turning out large numbers of people, we haven’t excelled at winning social and cultural victories” and that the movement is “not well-geared towards winning hearts and minds”; as a result of this and the movement being insular in nature, Ne’eman says, “We don't see the broader cultural conversations about disabilities that we see in the context of other identities.”
Winning hearts and minds while creating broad cultural conversation is exactly what progressive art studios are doing, better than any other model for support. We conveyed to Ari the feeling expressed to us by many progressive art studios that “congregating” or “facility-based” programs are unfairly regarded to be necessarily less progressive than integrated community-based supports, arguing that although progressive art studios aren’t integrated spaces in a traditional sense, they affect integration and inclusion in their respective communities and cultures through exhibitions, which ultimately provide a categorically more authentic presence for the voices and ideas of artists with disabilities than simply being physically present does.
We also argue that even though integration is possible and is being pursued by several studios, it may not be without a cost to the studio’s effective functioning, as well as their social impact. Currently, we argued, these studios are emerging in the contemporary art conversation as a new model for artists’ careers and development, and it’s important that this movement belongs to artists with disabilities and their respective studios. Even ignoring the practical disadvantages of transitioning to a system in which artists with disabilities rent studio space to work alongside neurotypical artists (with facilitators visiting to work with them as job coaches), this is a change that would undermine these artists’ ability to make a case for their place in history not only as artists who are successful despite disability and receiving services, but as artists for whom being disabled and receiving services is an integral part of their identity, their lives, and their creative practice. These artists’ disability and dispositions as recipients of services should be understood as a legitimate cause to congregate as artists, because it should be understood as a legitimate way of being.
The studio at the Center For Creative Works in Philadelphia PA is a rich creative community
Ari’s response to this was encouraging and compelling. He expressed that integrating progressive art studios wouldn't have to mean eliminating the studio itself, or even depriving it of its identity as a space for artists with disabilities, it just needs to also be open to artists without disabilities who aren’t paid supports. Ari explained that this isn’t just about the social impact of integration, but also how integration affects the delivery of services. This is something easy to forget, as our focus has been on the handful of studios who are the most progressive and successful in the world, where delivery of services isn’t a concern. Looking more broadly, that there are a great many programs who provide art, even in an open studio setting that aren’t as effective as they should be - who are not as organized, progressive, or person-directed as they should be. It’s undeniable that the quality of services provided by staff would, as a whole, be better if staff were also working with neurotypical artists. In this sense, it’s impossible to deny that if all service providers providing day programs were required to be open and appealing to neurotypical artists using their space alongside artists with disabilities, they would be forced to use more progressive practices. It’s significant that this idea only makes any sense for art studio programs - they’re the only kind of day program that would be appealing to neurotypical artists if they become open to them.
Ari explained that there has been a focus on integrating and improving residential and employment services more than day services, and he committed to us that he’ll keep progressive art studios in mind as attention shifts to day services. In response to our description of the progressive art studio model, Ne’eman emphasized a few key points that will be important going forward:
- Focus on benefit to the individual served
Although the social and cultural impact of progressive art studios and their artists is important, it should never be prioritized over benefit to the individual. This means facilitating and supporting career management in a way that always prioritizes the artist’s wants and needs above all other concerns, including social impact, or benefit to the program or its staff. This means not exhibiting or selling an artist's work if they don't want it exhibited or sold, even if that exhibition would provide valuable exposure for the program as a whole. This also means being very careful about collaborative projects, which are often regarded as a good way to connect with the community, but which could also present a high risk for exploitation.
- Severability of services
The relationship of the program to the artist needs to be such that the artist is able to continue their life and career even if they chose to use another provider. This is a concern that stems from problems identified in residential services in which service providers are also landlords, so ending or changing services means moving out of their home.
For progressive art studios this has important implications in two dynamics of the model. One is ownership of the artists’ works - both physical inventory and as intellectual property. Agreements have to be very clear from the start about how this is managed in the event that an artist chooses to stop being a part of the studio or move to a different studio. The other dynamic is the marriage of habilitation/care services and art facilitation/career management services. Having artists work with artists in the studio is essential, so the dual role of artist staff as facilitators and direct care or habilitation staff is an ideal arrangement. The principle of severability of services would seem to also require that the artist should be able to continue to use the studio even if they prefer to use a different provider for rehabilitation services, or if they chose to discontinue their habilitation or care services. The latter is arguably more essential, and certainly more feasible, as it would simply require that the artist pay for their use of the studio by some other means, as neurotypical artists using the studio would in an integrated arrangement.
Eliminating scheduling of regular hours
One of the essential aspects of a progressive art studio described by Lawrence Rinder in discussion of the Create exhibition was that the artists work in the studio during “hours which reflect the common work hours, five days a week 9-5”. However, artists shouldn’t be in agreement with the studio to attend at certain times as they would attend work or school, but may set goals to invest a particular amount of time and devise plans that use a schedule to meet that goal. In practice, this seems to boil down to a mere matter of language, but it’s based on an important principle; artists in progressive art studios aren’t paid an hourly rate, so they can’t obliged to attend particular hours. Attendance policies or schedules that have a compulsory feeling are left over from less progressive models - an artist's use of the studio should be understood as self-motivated.
The most encouraging insight from this conversation was that the future of progressive art studios may be not only to sustain as regulations change, but to broaden scope and expand as a new definition of what day programming is. If studios are understood not as part of an outmoded form of service, but as the examples of the ideal model for a still relevant and important one, then day programs in general can be redefined, no longer as places where people with disabilities are accommodated, but as spaces for creativity, in which a truly neurologically diverse group of creative people congregate to utilize tools, materials, and work space with guidance and support as needed - spaces that are for expression, entrepreneurship, and all manner of making, whose existence is a statement about the essential relationship of diversity to productivity as paragons of the most extreme expression of those principles.
