The Impact of ART CART: SAVING THE LEGACY, an Intergenerational, Interdisciplinary Program for Older Adult Professional Artists

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1 The Impact of ART CART: SAVING THE LEGACY, an Intergenerational, Interdisciplinary Program for Older Adult Professional Artists Victoria Rizzo, Ph.D., LCSW-R Chair & Associate Professor, Department of Social Work College of Community & Public Affairs, Binghamton University NCCA June 11, 2014 Research Center for Arts & Culture National Center for Creative Aging

2 Research Center for Arts & Culture (RCAC), 2007 Above Ground: Information on Artists III: Special Focus New York City Aging Artists 61% - no preparation for their work after death 95% - did not archive their work 97% - no estate plan 3 out of 4 - no will 1 in 5 - no documentation of work at all 52% report health to be much worse than a year ago 34% state health limits their productivity which is disappointing and frustrating 50% live alone ART CART Background 2

3 Provide professional aging artists with direct, hands-on support and guidance to manage and preserve their life s work Provide fellows with an intergenerational, educational experience and mentorship in the documentation of artistic and cultural legacy Establish a fine-tuned and replicable process so that other institutions nationwide can undertake similar efforts in their communities ART CART Mission 3

4 Phase I: ART CART launched at Columbia University Duration of pilot project: fall 2010 spring fellows from a variety of Columbia University departments and schools 6 aging NY-based visual artists Phase II: ART CART continued in NYC and Washington, DC fellows from several universities 10 aging artists from multiple disciplines in each city ART CART PHASES I & II 4

5 Phase III: A four-site model for national replication NYC Washington, DC In discussion: Ithaca-Binghamton, NY More rural ART CART Phase III: Model for National Replication 5

6 NYC Research Center for Arts & Culture National Center for Creative Aging Prof. Joan Jeffri DC Columbia Univ. College of Physicians and Surgeons Columbia Univ. School of Social Work Teachers College Art Education Prof. Janet Falk- Kessler Dr. Patricia Miller, Consultant Dr. Victoria Rizzo Dr. Judith Burton Liza Zapol, Oral History Consultant American Univ. Arts Administration American Univ. Oral History Corcoran College of Art & Design Howard Univ. Occupational Therapy Prof. Sherburne Laughlin Dr. Daniel Kerr Dr. Pamela Lawton Dr. Felecia Banks ART CART 6 Interdepartmental Structure

7 NYC DC Columbia University Social Work Occupational Therapy Art American University Arts Management Oral History Montclair State University New York University Pratt Institute Museum Management Visual Arts Administration Occupational Therapy Musical Studies Arts & Cultural Management Corcoran College of Art & Design Howard University Art Education Occupational Therapy Studio Art Psychology Fine Arts The New School Fine Arts Tai Sophia Institute Acupuncture ART CART 7 Fellows Disciplines

8 Components / Team Players Professional visual artists 62+, metro area, lifetime making art Artists working partners Fellows health/aging & arts disciplines Intergenerational, Interdisciplinary, Interprofessional ART CART Team Players 8

9 Multi-Components of ART CART Intervention Service learning in artists community/work environments Interdisciplinary teamwork Adult learning Collaborative/participatory action research Health promotion Secondary prevention Conceptual Frameworks Guiding Intervention 9

10 Parallel Research Project Intervention Group: 10 participating artists in NYC; 9 in DC Control Group: 10 artists who applied but were not included in ART CART in NYC;10 in DC Social isolation vs. inclusion and engagement Morale depression continuum vs. self-esteem Role and activity limitations-dependency vs. activity-productivity Risk for falls-unsafe function vs. safe function in environment One or more negative factors above vs. positive aging ART CART Research 10

11 Background The study examines the effectiveness of the ART CART program on the psychosocial well-being and safe functioning of older adult professional artists The intervention group of artists participating in ART CART was compared with a matched control group of artists interested in participating even though they were not selected for program inclusion 11

12 Methods Data were collected in three 90- to 120-minute interviews at: Baseline (January 2013) Post-test (May/June 2013) Follow-up: 6 months after completing program (in progress) Artists received $60 gift cards at baseline and post-test and $70 gift cards at follow up Artists completed questionnaires consisting of background information, assessments, and outcome measures of : Morale/depression (positive aging) Social isolation (social inclusion) Productivity/activity levels (productivity) Safe functioning (health promotion) 12

13 GEM: Gerontological Environment Modifications (Bakker, 2010) The Falls Interview Schedule (FIS) (Berkman & Miller, ) ART CART Assessments 27

14 Geriatric Depression Scale (Yesavage & Brink, 1983) Philadelphia Morale Scale (Lawton, M.P., 1975) Loneliness Scale (Russell, Peplau, & Ferguson, 1980) Activity Card Sort (ACS) (Baum & Edwards, 2008) Timed Up & Go (Podsiadlo, D., & Richardson S., 1991) Activities Specific Balance Confidence Scale (ABC Scale) (Powell, I.E., & Myers, A.M., 1995) ART CART Measures 27

15 Baseline Sample Characteristics 35 participants 19 in New York City (9 ART CART, 10 control group) 16 in Washington D.C. (9 ART CART, 7 control group) Total Sample Descriptives (n = 35) Mean age = 78 years 77.1% identified as female; 22.9% as male 62.9% identified as White; 20.0% as Black/African American/Negro; 2.9% as Hispanic/Latino; 17.1% as other Most were native English speakers (88.6%) born in the United States (91.4%) who held at least a bachelor s degree (82.8%) 68.8% of artists earned a masters degree/professional degree/ph.d.; 18.8% earned a Bachelor s degree; 6.3% had a H.S. diploma; and 6.1% did not have a H.S. education 15

16 Statements Regarding Art (n = 35) 100% of participants considered themselves to be artists. More than 75 % of artists agreed with the following statements: The main body of my activity is some form of art (94.7%) I have a demonstrated record of exhibition, performances, installations, publications, or other evidence of my art (94.7%) I have been formally trained/educated as an artist (84.2%) My main priority is to make art (78.9%) Only 15.8% of artists agreed with the following statement, I make a living as an artist. 16

17 Data Collection & Analysis The overall retention rate from baseline to follow-up was 74.3%, meaning 26 of the 35 artists completed all three interviews. Mixed ANOVA repeated measures analyses with Bonferroni Correction post hoc tests were used to examine the impact of ART CART on the following outcome measures: Geriatric Depression Scale, Philadelphia Morale Scale, Revised UCLA Loneliness Scale, Activity Card Sort, ABC Confidence Scale, the Activity Card Sort, and Timed Up & Go.: 17

18 Findings: Outcome Measures Significant findings were revealed for: 1) the Geriatric Depression Scale.. However, this finding was not relevant since scores in both groups were below 2; and, 2) the Activity Card Sort (ACS) social activities subscale and current activity global score. Scores on both of these decreased significantly for the ART CART group, but only decreased slightly for control group. This finding suggests that artists social activities decreased after participation in ART CART. 18

19 Findings: Assessments The Falls Interview Schedule: Artists in both groups had fallen or were at risk of falling during the course of the study. Nearly half of the participants in both groups had fallen in the last year and more than a third of participants in both groups reported they had almost fallen. Over the three measurement periods, the percentage of those reporting they had fallen in the control group decreased much more dramatically than in the ART CART group. Gerontological Environment Modifications: assessed safe functioning of artists in their studios as well as to identify artists in need of occupational therapy to address safety issues in their studios Two artists in the NYC ART group benefitted from two sessions each with an occupational therapist. Improved safe functioning was revealed for 14 areas, including several related directly to ART CART: storage of art work; selecting art works for documentation, wearing proper foot wear while making art; and having adequate room for easels. 19

20 Implications & Lessons Learned Implications The lack of significant findings is likely due to ceiling effects. The artists in both groups were very high functioning at baseline on all of the measures. Therefore, there was little room for improvement. Self-selection of artists to participate in ART CART also likely contributed to lack of findings. Lessons Learned Best outcome measures may not have been selected. Also, need to focus on measuring strengths not deficits. Learned a great deal about the coordination necessary for a research project in multiple sites. Need a clearly identified research team for next round of research. 20

21 A multiple-site model for national replication NYC Washington, DC In discussion: Ithaca-Binghamton, NY More rural Parallel Research Project informed by lessons learned and input from ART CART sites ART CART Next Steps 21

22 The following research partners contributed to this power point presentation: Joan Jeffri, Director, Research Center for Arts & Culture, National Center for Creative Aging; Dr. Patricia A. Miller, Special Research Scientist, Columbia University ART CART Acknowledgements 22

23 Art is a way of future knowing. - ART CART artist Betty Blayton 23

24 This is the first time artists can write their own history. - Artist's working partner Ting Olatunji For more information, contact: Joan Jeffri, Director Research Center for Arts & Culture National Center for Creative Aging 4125 Albemarle Street NW Washington, DC rcac@creativeaging.org 24