Art Spaces Supporting Autistic Artists in NYC: Part II

And on to the second part of my blog, where I met with autistic art centres in and around New York! A reminder that the first part can be read here, and also that the art centres I visited often catered to artists with other disabilities too – so not simply focusing on autism. In addition to the art centres I went to see, I found that there were galleries that supported ‘Outsider Artists’. I’m not sure how politically correct that term is anymore, and whether people still use it, yet I do keep stumbling upon it. One example is a gallery called Ricco/Maresca that champions and showcases the art of self-taught masters working outside the continuum of art history. You also have the American Folk Art Museum devoted to the creative expressions of self-taught artists, past and present. So there really are galleries that support ‘alternate’ routes and means to the arts, as well as the artist’s mental and physical condition, which was very interesting to discover. But back to my list, and here we go with the final two on my list!

Arts Unbound - www.artsunbound.org

These guys are based out in New Jersey and that’s where I had my group exhibition on collaboration, and you can read more about the ‘Women and Autism’ work I did here, and find out exactly what I got up to. it was fascinating stuff! Now, as well as having a studio and two gallery spaces, Arts Unbound work with their artists on the business side of art, which is hugely important. The general process is for the artist to have their art practise and then later for them to be mentored in terms of where their work fits in with the overall marketplace; how they can position their work; how to write an artist statement and generally market and promote themselves. I was amazed at how well-rounded the support is and it all felt like such a well-thought-out concept. They’d really covered everything! And I think it’s hugely important for artists to have business support to supplement their art, because essentially the two go hand-in-hand – without the business element, it remains a hobby. Again, the gallery exhibits extensively and has artist talks. I’d say Arts Unbound are slightly different to the others in that in addition to serving people with mental illness, developmental or physical disabilities, they also serve seniors (with or without disabilities) and have a visual arts education program that is open to the general public.

The gallery space (one of two) in New Jersey 

The lovely Celene Ryan, Director of Artist Development

LAND Gallery – www.landgallery.org

And finally to LAND gallery, who are based in the Dumbo area of Brooklyn, New York. They have a small gallery with a studio space at the back, and support 16 artists with developmental disabilities. I’d say I was most impressed with the connections LAND has – they have artists who have their work used as prints on furniture (e.g. a sofa chair) in shops, as well as other corporate partnerships – not to mention connections with prestigious galleries around the world. It felt that the artists there had tremendous outreach to these opportunities, which is a huge plus. The organisation is run as a non-profit and artists develop their skills in a nurturing environment, while their work is marketed to the community in a vibrant and inclusive manner. LAND artists work with painters, sculptors, fibre artists, animators, designers and others who value creative collaboration.

So that was my round-up! What did you think? It really was an incredible and very humbling experience to visit these art spaces. I felt so in awe and thankful that each and every one of these places exists in supporting artists from the autistic spectrum – and those with other difficulties. I’m so happy with the work they’re doing, as they really do ensure that the artists have equal access to resources and can express their own creative vision, rather than to be isolated and controlled – which can happen all too often in our society.

I’d also like to say a really big thank you to all of these art centres for welcoming me with open arms and warm hearts; to come and visit and explore their organisations, and to meet with their staff and artists. A real honour and privilege – thank you 😊

Art Spaces Supporting Autistic Artists in NYC: Part I

As part of my Arts Council project, I set myself an investigation to visit art spaces around New York that support autistic artists. I’d largely made contact with them before coming to New York, so had a fair idea of what they were about. But then there’s nothing like seeing something with your own eyes and meeting the people that run the place – as well as the artists that attend the centres. So off I went, unsure of how they would match with their sparkling websites.

Firstly, I have to say that I was very much impressed with each of these spaces. They’ve all come from such spectacular and inspiring visions, and have a dedicated team of people who have worked very hard to get them up and running – as well as to make the connections that they have in the arts world. Which is the crucial part really, as we all know – it’s all very well having a lovely studio space, but if the work can’t be exhibited and sold on, then I guess it’s not really fulfilling its purpose in supporting these artists. The talent at each of the places I visited was very high. There was real commitment and the artists were of a high calibre, who were focused on refining their process and style of work.

A lot of these centres supported disabled artists as a whole – so those with physical and mental disabilities, of which included autism, depression, learning difficulties – and many more. Many artists had multiple and quite complex needs. Though what every person had in common was the fact that they’re an artist; it’s what they have a passion for and how they wish to spend their time. And that commitment to the arts was clear. Below is the first part of my visits, with two of the centres I visited, while the remaining two can be read in the second part of this blog, here.

Fountain House Gallery - www.fountainhousegallery.org

Fountain House Gallery provide an environment for artists living with mental illness to pursue their creative visions and to challenge the stigma that surrounds mental illness. They had their first exhibition in 2000, featuring a small group of artists and have gone from strength to strength ever since. They have studio spaces across the New York boroughs where their artists can work from, while the Fountain House Gallery itself sits in a prominent position in central Manhattan.

‘Domicile’ exhibition

What I really liked about them was the fact that they have six different exhibitions a year, of which every artist that is part of their roster, can apply and submit at least one piece of work to – within a given theme. The curator for each show is different, and will blind-pick the works that they like – dependent on their vision - and create a show accordingly.

The gallery based in central Manhattan

The centre has incredible links with professional artists, run a very successful annual auction, as well as taking part in external shows including the distinguished Outsider Art Fair. Artists are involved in educational talks and help invigilate the gallery space via short four-hour shifts. This helps them stay connected and involved with the exhibitions, as well as enabling them to speak with the public directly about their work.

‘Domicile’ exhibition

Pure Vision Arts (PVA) - www.shield.org/activities

Also based in the centre of Manhattan, Pure Vision Arts have a spacious studio area where their artists can work, and this space can be turned into a gallery for when they host private views and other events. It’s the first specialised art studio and exhibition space for artists on the autistic spectrum and intellectual/developmental disabilities. As well as the studio space, they provide art materials, exhibition opportunities, and career development for beginning, emerging and established artists. They seem to limit the number of artists to around 20, simply because of the number of workstations available, and I guess this is something that Fountain House had greater flexibility with (they have around 40 artists). They’re also part of the Shield Institute which means that they’re under an umbrella body of whom run various other art programmes and unique services for clients across New York.

I attended the private view of one of their shows in December and was really impressed! It was very well attended, and the studio also appears to have incredible links with professionals and galleries around the world.

Incredible work by one of the PVA artist's: Barry Kahn

Read on to the second part of my blog for the rest of my round-up!

NYC: Touch-down in Brooklyn, Part II

I’ve been here a little longer now and beginning to settle in. I’m navigating my way around the city better and due to the project work I’m doing here in terms of the workshops, studio work, visiting galleries and meeting autistic artists - I’m getting to see quite a bit of the city. Which, when I’m not getting lost – is lovely!

So. I’m in New York; this great, amazing city - part of America, this *mighty* land - yet it doesn’t feel so ‘great’ at times… and this is something that’s been gnawing away at me each day since arriving. It comes to me in bursts. Little things that continually get me thinking that living standards aren’t so fantastic here. I mean this at a personal level by the way, for your average American - or businesses and large corporation - the story is very different. And these are my comparisons to the UK/Western Europe.

Firstly, people don’t seem to have as many rights here. I mean their private healthcare system lends itself to its very own blog post, but I’m also referring to consumer rights and employment law. Their maternity pay and leave is minimal, and holidays aren’t easy to come by. I thought the UK had a minute number of public holidays! And you can totally forget about minimum pay here. And other basic rights: if you’re fired, you’re fired. And even though you’re paying private healthcare insurance, not everything is covered. For instance, you still have to pay for a mammogram (in the hundreds) or to give birth (in the thousands). How does that figure…?

In terms of consumer law, there’s a real lack of price transparency, and I’m noticing this a lot when I do my grocery shopping. You have to be really careful not to get ripped off! There are a lot of small, local, grocery stores. And often goods aren’t labelled in price. And where they are, you still have to check that it’s being priced through correctly at the till. It’s also really normal for my local greengrocer to change its prices on almost a daily basis – as it is for me to be charged $2.50 for a pepper, instead of the $1.50. And yes, that is the price for one pepper! Food is considerably more expensive here – and this is taking into account the not-so-favourable exchange rate. But you want to hear the worst of it? It goes off really quickly! Apparently, food standards overall are considerably lower than in Europe and in terms of the lack of price transparency – this is excused by saying that you weren’t ‘forced’ to buy the product and that you always had a choice in the matter. And no, you can certainly not get a refund easily(!)

Yes, the infamous $1.50 pepper, which I was initially charged $2.50 for

Another aspect, is the fact that it’s really uncommon to have a dishwasher, washing machine and dryer (or at least adequate outdoor space to dry your clothes) in your apartment. Now, I’m not against going to a launderette in any way – my last art project was all about washing, after all! But by not having these utilities, and with food shopping being that much more difficult – it takes up a lot of your time. Time away from leisure and relaxation. And surely that’s a sign in itself of lower living standards? It’s odd, it feels like we’re back in the 90s or thereabouts; a real drop that I just didn’t anticipate.

With no dishwasher, the washing up gloves are always at the ready! 

And yes, the food portions are notoriously huge. But why though? And why in New York, a more progressive state? And why so, more importantly, when people can’t and don’t finish them?! It makes you continue to pick at your plate when you’re far past the point of being full, and then you end up carrying a doggy-bag around with you for the rest of the evening. Smaller portions (healthier and more manageable) while charging slightly less (better for the consumer and the business wouldn’t lose out) being the solution? It’s an interesting one and will continue to plague me for the rest of my time here, I’m sure!

So, these have been my latest nit-picks as I continue to get to grips with the city! It’s a busy time, and I’ll speak more about the work that I’ve been doing in my next blog posts – I just didn’t want these initial impressions to become the norm, and for me to then forget about them!

Do stay in touch on social media too by the way through my handle @mahliaamatina – I’m posting most days on what I’m up to and continued observations on this fascinating city! Thanks for reading 😊

Neurodiversity and the Arts - Arts Council Funding received to go to New York!

I am tremendously excited. For just a few days ago, I found out that I was successful in my funding application for the Arts Council’s ‘Developing your Creative Practise’ (DYCP). This is a new piece of funding, which started earlier this year, and gives artists of all forms the opportunity to try something different with their practise - and to ultimately have the opportunity that they wouldn’t otherwise have.

How did I get this, and what were the steps I undertook to create the proposal? Well, this blog will run through my process and hopefully make it clearer to those of your who are also looking to apply for similar funding. One that I would totally encourage, by the way!

So firstly, my artistic aim is to ‘create arts led advocacy work around neurodiversity that openly translates a positive message in impactful yet accessible ways’. I feel that by identifying your goal in the long-term is a great place to start. I then researched and found that to get closer to this objective, I would need to: build new relationships, receive mentorship and collaborate with other autistic artists - in a place that is progressive and leads the way in terms of the neurodiverse arts scene.

Me giving a talk at my autism-friendly and multi-sensory exhibition ‘Around the World in 80 Washing Lines’ 

In terms of the arts and neurodiversity, the United States is considerably advanced and progressive. For instance, it has more art centres and galleries that work with and support neurodiverse artists. Additionally, there is a higher concentration of neurodiverse artists based in the US, especially in/around the state of New York. My findings highlighted that New York City would be an ideal location and base to implement this step change in my working practice.

So, with my goal and location identified, I set to work in terms of researching and identifying potential opportunities. These included, for instance; meeting with influential people (who I emailed and set up meetings with), visiting neurodivergent arts centres (again emailing them to explain I’d be visiting) and the chance to lead workshops with autistic artists (also organised upfront) – all of whom I hope will be my collaborative partners for the next chapter of my artist career. I also researched and found artists who were willing to be my mentors during this time – both an exciting and rare opportunity. You may notice that I emailed and told these people/organisations that I’d be coming to New York. And that’s another key – believing you’re going. This way, the relationship builds regardless – and you’ll already be gaining.

One of the best pieces of advice I have to anyone applying for Arts Council funding is to attend a one-to-one surgery session in your area to meet with an ACE representative to talk your project through with. Having the chance to ask questions that are specific to your project is completely invaluable. You get to hear what the counterargument might be and where your focus should lay – especially when there is a strict character limit to adhere to. This, I believe, has been pinnacle in me writing a strong, focused application.

I also find it helpful to give my form to one or two other people and get their opinion. But just make sure it’s someone who understands you in terms of your artistic goals and your work. And of course; to come back to your application after a few days, or even weeks, after working on it. Like with my paintings – there’s nothing like a fresh set of eyes! Plus, with the way our minds work, they’ll always be thinking and working on the application in the background – very helpful while you crack on with everything else you have to do as an artist 😉

And finally: always get feedback if you don’t receive the grant. Even with this DYCP application – you can still phone up and ask - because it’s this feedback that will enable you to come back stronger next time round. This is what I did last year when I was initially turned down for funding for my #80WashingLines project. And I came back with a mightily amazing application the second time round - and received the funding!

So, let’s see where this opportunity takes me. At the very least it will set me on a journey of exploring my art practise within the context of collaborating and connection-making – all in a direction that is different to my typical art practise, yet still key to my art messaging. I’ll be writing up my findings in regular blog posts, so do please keep coming back to see how I’m getting on.

Until the Big Apple! 😊