ART & MENTAL HEALTH

by Linda Lombardi, Managing Editor, Arts Link magazine

The link between art and mental health has never been felt so acutely as during the pandemic, when art and culture organizations had to close to the public. Almost two years of social distancing and lockdown have made feelings of isolation and loss more universal. It has also made us more comfortable talking about mental health.

According to research from Boston University, depression and anxiety rates tripled during the first year of the pandemic, and remain high. Some people felt the weight at the start of the pandemic. Some have felt it more as we reopen. Throughout it all, art has created connection and restored hope.

Across the country, arts and culture organizations have put the arts front and center to engage their communities in unique ways. Three Americans for the Arts member organizations—a private gallery, a city’s public art department, and a regional theater—used art to improve their community’s mental health during the pandemic.

AN EXPERIENCE OF CATHARSIS

"Descent of the Holy Spirit" by Vojislav Radovanovic, photo by LA Art Documents, courtesy Angels Gate Cultural Center.

In January 2020, Angels Gate Cultural Center in San Pedro, California, held a nationwide call for exhibitions to engage their southern Los Angeles community. Artist-Curators Jason Jenn’s and Vojislav Radovanovic’s "Sanctuary of the Aftermath" explored spirituality, art as a remedy, and art as a tool to explore social and generational traumas.

Prior to COVID-19, Angels Gate Director of Exhibitions & Public Programs Cecelia Koger was drawn to the use of art as a healing mechanism. As the pandemic grew, the art took on deeper meaning. “We didn’t foresee how much this would be needed,” said Koger. “The timing became very meaningful.”

Part of WE RISE, LA County Department of Mental Health’s initiative during Mental Health Awareness Month, "Sanctuary of the Aftermath" brought audiences face-to-face with the weighty subjects of our day: climate change, social injustice, human and cultural trauma, isolation. Through installation, video, and auditory art, the artists—Nica Aquino, Joseph Carrillo, Jeff Frost, Anita Getzler, David Hollen, Jason Jenn, Ibuki Kuramochi, Rosalyn Myles, Vojislav Radovanovic, Alison Ragguette, and Kayla Tange—created vital connection at a time when the world was a lonely place.

"Circle of Abstract Ritual" by Jeff Frost, photo by Jeff Frost, courtesy Angels Gate Cultural Center.

“The works were influenced by what was happening during the pandemic, but the artists were already connected to the issues of trauma, healing, and mental health,” shared Jenn and Radovanovic´. “We wanted to focus on non-traditional art forms to create an immersive experience that was simultaneously removed from the outside world’s problems while addressing them. We wanted the safety of Sanctuary juxtaposed with the looming threat implied by the word Aftermath.”

By April 2021, Angels Gate was ready to let people back into the gallery. With COVID-19 restrictions in mind, they created a virtual tour of the exhibit, which was so popular that they now create one for every show.

“As the first exhibit where we could let people into the space again,” said Koger, “this show carefully and respectfully dealt with heavy themes and topics. It was an experience of catharsis, a way to feel all the emotions of the past year.”

ART IS HEALING

"Reconnect Yourself" mural and artist Niz G, photo by Joe Ybarra, courtesy Raasin in the Sun.

In response to the pandemic, Austin’s Economic Development Department’s Art in Public Places (AIPP) program launched the Be Well Murals, a largescale mural project of positive messages about mental and physical health.

Through the Austin Civilian Conservation Corps, an initiative that channels employment opportunities to people economically impacted by COVID-19, AIPP’s Program Manager Sue Lambe was seeking ways to hire artists. When the art installation at the Lamar Underpass was deaccessioned, Lambe proposed a mural project of over 10,000 square feet.

“There are all sorts of ways people react to artwork and it does affect a person’s well-being,” said Lambe. “If you walk or drive by an artwork every day, you develop a relationship with it. It can connect people to people and people to place. That’s a core value, to feel connected. Art is one way we do that.”

Raasin McIntosh and her organization, Raasin in the Sun, was hired to run the project, with a focus on racial equity. McIntosh curated a jury of seven local art and culture leaders who reviewed 63 responses to the open call and selected six BIPOC artists: Luis Angulo, Samara Barks, Kimie Flores, Niz G., Rex Hamilton, and Carmen Rangel. Based on the artist’s chemistry, McIntosh’s team strategically broke them into groups to focus on the east and west ends of the wall. The artists collaborated to tie their works together and create a sense of flow.

Artists selected for the Be Well Murals Project (l to r): Uloang, Rex Hamilton, Niz G, Samara Barks, Carmen Rangel, and Kimie Flores; photo by Joe Ybarra, courtesy Raasin in the Sun.

The Be Well Murals (aptly named by McIntosh) were called the “Best Prescription for the Community” by The Austin Chronicle. “Art is healing,” said McIntosh. “We have a long road ahead of us and not everyone’s ok. Art is the light. It uplifts, it inspires, it tells stories, it gives voice to the voiceless.”

Originally planned to be up for one year, AIPP recently announced that the murals will remain through September 2022.

“Things aren’t as dire as they seem,” said Lambe. “There’s always art to go to and people to talk to. We’ll get through it together.”

SPACE, TOOLS, AND SUPPORT

Mark Cabus in "Every Brilliant Thing," photo courtesy Nashville Repertory Theatre.

Partnerships with mental health organizations during Nashville Repertory Theatre’s 2019 production of "Every Brilliant Thing"—a show that explores depression, suicide, love, and resilience—began a long-term commitment to the mental health of artists, staff, and audiences.

When COVID-19 closed theaters, artists faced job loss and existential questions of identity. Mental Health America of the MidSouth helped Nashville Rep compile resources for artists and offered workshops on mental health and self-care. “Nashville is a tough market for theater artists,” said Executive Director Drew Ogle. “There’s a small number of professional theaters here and there aren’t many artists who work consistently. The need for support around that identity is real.”

For their return to live theater this past November, Nashville Rep chose "Ragtime," a large show that would put many local artists to work and whose themes of racism, immigration, police violence, and political division resonate today. In addition to COVID-19 precautions of masking and vaccinations, the artistic staff was also sensitive to the racial trauma in the play. The theater’s EDI committee argued that the show was a way to have uncomfortable conversations with their audience around today’s issues. But to do it right, the right people had to be in the room. BIPOC artistic leaders made up the majority of the creative team, including a mental health professional available to the cast throughout the process.

“Creating a rehearsal space where actors of color feel safe and cared for is important to us,” said producer and Ragtime director Micah-Shane Brewer. “We want to give them the space, tools, and support needed to be able to do this with honesty and safety.”

Changes were also made offstage. “We ended sub-minimum wage internships,” said Ogle, “increased artist salaries, and set standards for how long jobs are advertised and the language used in job descriptions. Our board committed to be the leader in the industry when it comes to employment practices. We don’t know how quickly we can get there, but we want to get there.”

The arts have always provided ways to engage, inspire, reflect, and heal. As we begin to come together again, there’s no doubt they will continue to do so.

The cast of "Ragtime," photo courtesy Nashville Repertory Theatre.