Art definitions and movements are changing just as the social paradigms they spring from. This exploration looked at paradigms in art of the past that have become the foundation for movements today. Currently the transformative powers art has to offer have been recognized. Colleges are beginning to train a major and a career. The literature review explored what role transformative art has played in artists' lives and looked at its uses in education. Conceptual art goes beyond the aesthetics of art and touches the mind and heart. I began to explore this kind of art in the nearby galleries. I found a theme I could be passionate about and began to develop it visually. For my project, I developed transformative art. Often students can master a media and create an image with it. But, unless they are told what to create, their craftsmanship skills lie mute. They need guidance to realize their visual voices. As I researched the subject matter of my show, I challenged my students in my high school art classes to look past technique and create some conceptual art of their own.

Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

Five graduate students from the Marital and Family Art Therapy Program at Loyola Marymount University (LMU) conducted a research study to explore the characteristics and attributes of collective art practices and how they contribute to healing. A survey including quantitative measures and qualitative responses were administered on the Qualtrics platform, allowing for a wide geographic reach and rapid data collection. The subsequent qualitative analysis involved the creation of visual artworks by the researchers, utilizing the arts as data to identify additional common themes contributing to healing attributes. The data revealed three major themes, or characteristics, of how art contributes to healing: (1) shared collective experience, (2) validation and space for emotional expression, and (3) art as a conduit of healing. These three themes were recurrent throughout the responses and emerged from participants' responses to three specific questions, driven by a curiosity about the attributes and experiences involving art and community. The results gathered not only provided parallel alignment with significant deviation from those gathered during the literature review, but also shed light on the profound impact of creative expression in fostering well-being, cultivating interpersonal connections, and promoting emotional healing within collective settings. This insight offers valuable guidance for future researchers and art therapists, emphasizing the importance of incorporating collective healing elements into their practice and theoretical frameworks.

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006. / This thesis investigates the concept of conversion which arose out of the process of making soap as medium for my body of sculptural works and signifying its material transformation with ‘cleaning’ and ‘conversion’ – terms encountered in research into chemical transformation (in alchemy) and further endorsed by my linking my sculptural forms, resembling fonts, to religious conversion. A line of theoretical research was thus traced into ritual as an embodied experience of recalling memory in the desire for redemption or healing. Contemporary South Africa art, it seemed, was also going through a conversion process. The movement, from the domination of apartheid to the profound change of the ‘new South Africa’, necessitated a sense of tolerance in response to the reawakening of the diversity of cultures, rituals and memories. Thus present debate surrounding the concerns of reconciliation and restitution requires a re-evaluation of the importance of memory – to forget, to renew or to uphold – in the desire for healing. This has re-awakened an appreciation of multi-cultural rituals and invoked new self-consciousness and a reformulation of identity. I was thus inspired to investigate transformation in terms of art theory, psychology and philosophy. By identifying Freud’s psychoanalytic concept of transference and of ‘working-through’ as a part of his ‘Theory of Conversion’, I arrived at this proposition: art initiates an awakening of self-consciousness. In arguing for the vitality of the mythopoetic imagination, as held within the unconscious, however, I claim that art, as an embodied process, draws from memory, and resonates within the context of a ritualised empathic interrelatedness of ourselves as humans in the environment. In attempting to understand the South African transformation, which resembles the spirit of Renaissance Humanism, I examined how historical shifts influence both inter-human and environment/human relationships. Operating largely in terms of the transference of power and belief, these moved, in an ever-recurring cycle, through sixteenth century Renaissance Humanism, which tolerated diverse religious convictions, to Cartesian reason and the quest for certainty, manifesting in religious and politically motivated wars. This revolution, I believe, has occurred again from the modern to the postmodern era. I believe, therefore, that art has a healing capacity. This flows from a metanoia – a turning around – effected in both artist and audience. Through this creative and aesthetic view of art, experienced in my practical making and substantiated in my theoretical research, art, I conclude, initiates inner conversion and thus healing.