The Art of Connection

Transcript

• 00:00Alright. So good afternoon. Welcome,
• 00:02everyone.
• 00:04And
• 00:05we are in for
• 00:07a very special
• 00:10Grand Rounds today.
• 00:11I will briefly introduce what
• 00:13this Grand Rounds is a
• 00:14part of, and that's a
• 00:16truly special thing.
• 00:18And then Linda will introduce
• 00:20our speaker who's also truly
• 00:21special. Lots of specialty today.
• 00:23So
• 00:24the the program that, that
• 00:26we're hosting today is the
• 00:28Max Ridvo,
• 00:29class of thirteen,
• 00:31and Alan Slifka, class of
• 00:33fifty one,
• 00:34program for the medical humanities
• 00:36of the Yale Child Study
• 00:37Center.
• 00:38This is a program that
• 00:40was endowed
• 00:41eight years ago
• 00:43by the president of the
• 00:44Slifka
• 00:45Foundation, who's a dear friend
• 00:47and colleague,
• 00:48Riva Ariel Aritvo, who I
• 00:50think is joining us from
• 00:51LA. Hello, Ari, wherever you
• 00:53you are.
• 00:54And this program is, named
• 00:56in loving memory of her
• 00:58late,
• 00:59son, who was
• 01:01a college student here at
• 01:02Yale and a brilliant young
• 01:04poet who died way too
• 01:05young,
• 01:06and her late husband, Alan
• 01:08Slifka, who was a
• 01:10major philanthropist
• 01:13and, brilliant businessman.
• 01:16The the idea of this
• 01:17program is to bring together
• 01:20the humanities
• 01:21broadly defined
• 01:23and the child study center
• 01:24with its focus on children
• 01:26also broadly defined.
• 01:29In its, initial,
• 01:31words, the Max Ridvo and
• 01:33Alice Lifka fifty one program
• 01:34for the medical humanities at
• 01:35the Yale Child Study Center
• 01:37brings an artist to campus
• 01:39annually as a guest speaker
• 01:41and as a visiting scholar
• 01:43to explore and support the
• 01:44experience of psychiatric and medical
• 01:46illness in youth.
• 01:48We have worked with the,
• 01:49Arts for Healing program at
• 01:51Yale New Haven Hall Children's
• 01:52Hospital to support artists and
• 01:54creative arts therapists
• 01:56who help patients and their
• 01:57families with the artistic expression,
• 01:59other struggles with illness in
• 02:01a variety of clinical settings.
• 02:03As I mentioned, this program
• 02:04was endowed in two thousand
• 02:05eighteen by doctor Rivarilla Ridvoslivka
• 02:08and the Alan b. Slavka
• 02:10Foundation in loving memory.
• 02:12And just to give you
• 02:13a sense of what we
• 02:14have accomplished during these eight
• 02:15years,
• 02:17the very first year, we
• 02:18had not one, but we
• 02:19had two speakers. We had
• 02:20Aaron Shaferris,
• 02:21who's a spoken word artist
• 02:23and a beatboxer,
• 02:24and we had here beatboxing
• 02:26happening. It was amazing.
• 02:28Kendra Carlson is a photographer.
• 02:30The second year,
• 02:32in the pandemic, we had
• 02:33to skip the first year
• 02:34of the pandemic.
• 02:35But in two thousand twenty
• 02:36one, also in the pandemic,
• 02:38Sarah Reuel,
• 02:40playwright and professor here in
• 02:41the School of Drama,
• 02:43she put together a play,
• 02:45a two people play, two
• 02:46person play on Zoom,
• 02:48which by then was, like,
• 02:50unheard of. And it was
• 02:51so powerful that it want
• 02:53went on to be a
• 02:54play,
• 02:54off Broadway.
• 02:56And that play is based
• 02:57on the letters between Max
• 02:59Ridvo and Sarah Ruhl and
• 03:01the book that she then
• 03:02wrote letters to Max.
• 03:06The third year, two thousand
• 03:07twenty two,
• 03:09we had the Nobel laureate
• 03:11poet, Louise Gluck, who has
• 03:14since,
• 03:15passed
• 03:16and who was a professor
• 03:17here at Yale as well.
• 03:19The fourth year, we had
• 03:20Eva Ridvo, who is a
• 03:21photographer.
• 03:24The fifth year, we had,
• 03:26the first time that we
• 03:27had one of our trainees,
• 03:28Ayobelo Ayotunde,
• 03:30who did a magnificent portrait
• 03:32that's hanging one floor upstairs.
• 03:34Last year, we had Elizabeth
• 03:36Metzger, a poet.
• 03:38And this year, I won't
• 03:39give it all away,
• 03:41but Linda will give it
• 03:42all away. And we're so
• 03:43delighted that, we're bringing this
• 03:45partnership with MoMA and Francesca
• 03:46as the ambassador. So please,
• 03:47Linda.
• 03:53Thank you very much, Andres.
• 03:55And it's really a pleasure
• 03:56to was this the eighth
• 03:57year, you said? The eighth
• 03:59year is wonderful. And, really,
• 04:00to have Francesca Rosenberg from
• 04:02MoMA to join us.
• 04:04I am excited to introduce
• 04:06francesca to you, but also
• 04:08to really more publicly talk
• 04:11about this partnership with our
• 04:12colleagues
• 04:13the museum of modern art
• 04:15So as you can see
• 04:16on the slide francesca is
• 04:17the director of access programs
• 04:19and initiatives at MoMA,
• 04:22where you've been for thirty
• 04:24years, three decades,
• 04:26and looking really at the
• 04:27at the intersection of cultural
• 04:29engagement,
• 04:30of diversity,
• 04:31disability, equity, and public health.
• 04:34So So I think you'll
• 04:34start to see why this
• 04:36is really a very intuitive
• 04:38coming together.
• 04:40She was the first accessibility
• 04:41coordinator,
• 04:43at the museum.
• 04:45Really think about that, an
• 04:46accessibility coordinator, really the first
• 04:48person to start this,
• 04:50and has been instrumental in
• 04:52transforming
• 04:53MoMA,
• 04:54into a global network
• 04:56of inclusivity
• 04:58and conceptualizing and implementing programs
• 05:00that serve thousands
• 05:02of individuals, visitors,
• 05:04adults, and children alike through
• 05:06the year
• 05:07with disabilities.
• 05:09Francesca is also the designer
• 05:12of a pioneering
• 05:13meet me at MoMA program.
• 05:15I really like the the
• 05:16title.
• 05:17For individuals with dementia and
• 05:19their caregivers, and I've seen
• 05:20the books that you also
• 05:22created from that. They're they're
• 05:23just beautiful.
• 05:25That was launched in two
• 05:26thousand and six,
• 05:28and it's become an international
• 05:30model for how you the
• 05:31arts and health programming can
• 05:33come together
• 05:34and has earned a number
• 05:35of awards around the country
• 05:37for exactly that, the interface
• 05:39of art and health.
• 05:41And then currently,
• 05:43this is very, very great
• 05:44for us. You're championing the
• 05:46role of museums in adolescent
• 05:48mental health
• 05:49and investigating how targeted museum
• 05:51based interventions
• 05:53can offer support
• 05:54for adolescents in this critical
• 05:56developmental period.
• 05:58You may not know that
• 05:59MoMA actually has a long
• 06:01standing partnership
• 06:03with New York City and
• 06:04the district seventy five
• 06:06where they teach resident artist
• 06:08how to work with children
• 06:09and develop programs for children,
• 06:11children at all developmental ages,
• 06:14those with neurodevelopmental
• 06:15disabilities, but across across the
• 06:18developmental
• 06:21spectrum. So I'm really gonna
• 06:22give you the chance to
• 06:23to hear from Francesca just
• 06:25to say that it is
• 06:26been my pleasure and honor
• 06:27to have you as a
• 06:28colleague. And I hope this
• 06:29is just the beginning,
• 06:31the continuation
• 06:33of our partnership. So thank
• 06:34you so much for coming.
• 06:44Thank
• 06:45you, Andres. Thank you, Linda.
• 06:46So great,
• 06:48to be here today with
• 06:50all of you and,
• 06:52all of the attendees online
• 06:54as well.
• 06:57I
• 06:58as Linda said, I'm the
• 06:59director of access programs and
• 07:01initiatives at MoMA.
• 07:03And today,
• 07:04I'm here to talk about
• 07:06why art and the institutions
• 07:08that hold it have an
• 07:10unexpected
• 07:11and urgent role to play
• 07:13in how we connect with
• 07:15each other.
• 07:17This sits at the intersection
• 07:18of art,
• 07:19health,
• 07:21and human connection. And it's
• 07:22also the reason museums like
• 07:24MoMA are increasingly finding ourselves
• 07:27in the middle of a
• 07:28public health conversation we didn't
• 07:30expect to be part of.
• 07:33So before
• 07:35any of that, though, I
• 07:37want to show you something,
• 07:39that a child made.
• 07:41This is a sketchbook
• 07:42page made by a student.
• 07:44As Linda said, we work
• 07:45with district seventy five, and
• 07:47that's the city's network of,
• 07:50specialized schools and classes for
• 07:52students with
• 07:53disabilities across all five boroughs
• 07:55of New York City.
• 07:57We gave the students a
• 07:59simple prompt as you see
• 08:00at the top. Think of
• 08:02your greatest strength.
• 08:04Draw that trait.
• 08:06And this child drew
• 08:09their dad
• 08:11and wrote
• 08:12now I'm getting choked up
• 08:14about my dad.
• 08:16I didn't expect that.
• 08:18Wrote, my dad makes me
• 08:21happy. My greatest strength is
• 08:23my dad.
• 08:26So,
• 08:28I've shown this drawing to
• 08:29a lot of people, and
• 08:30it stops them every time.
• 08:32Because this child didn't identify
• 08:34a skill or a talent
• 08:37or something they could do.
• 08:40They identified
• 08:41a relationship,
• 08:43a connection
• 08:44as their greatest
• 08:46strength.
• 08:47And that is the whole
• 08:49message of my talk drawn
• 08:51in pencil
• 08:52by a student in New
• 08:53York City.
• 08:57The child was telling us
• 08:58something about what human beings
• 09:01actually need,
• 09:02and it turns out that
• 09:04the data
• 09:05agrees.
• 09:11In twenty twenty three,
• 09:14the US surgeon general, doctor
• 09:16Vivek Murthy, did something unusual.
• 09:19He issued a formal advisory
• 09:22declaring loneliness
• 09:24a public health crisis,
• 09:26not an unpleasant personal feeling,
• 09:28but a condition with measurable
• 09:31dangerous consequences for physical health.
• 09:34He did this because more
• 09:36than half of American adults
• 09:38report meaningful loneliness
• 09:41because the health impact of
• 09:42that loneliness
• 09:43across cardiovascular
• 09:45disease, stroke, depression, dementia is
• 09:48equivalent to smoking
• 09:49fifteen cigarettes a day.
• 09:52And because the problem is
• 09:53not concentrated in one demographic.
• 09:57It touches
• 09:58every age group, every region,
• 10:00every income bracket.
• 10:02This is not a small
• 10:04problem.
• 10:05It's a quiet structural crisis.
• 10:11Carl Jung said,
• 10:13loneliness is not the absence
• 10:15of people. Loneliness is the
• 10:17inability to express what matters
• 10:19to you most.
• 10:22What he's just describing isn't
• 10:24isolation.
• 10:26It's a failure of expression,
• 10:28a failure of meaning making
• 10:30in the company of others,
• 10:31and that, it turns out,
• 10:33is exactly the condition art
• 10:36can be designed
• 10:37to address.
• 10:41Before we go any further,
• 10:43I just wanna draw a
• 10:45distinction
• 10:46that I think is quite
• 10:47important
• 10:48between loneliness and social isolation
• 10:50cause they're very often used
• 10:52interchangeably
• 10:53and they're quite different things.
• 10:56Social isolation is objective.
• 10:58It's the count of your
• 11:00relationships
• 11:01and contacts, and you can
• 11:02measure it.
• 11:04Loneliness is subjective.
• 11:06It's the felt gap between
• 11:08the connection you have and
• 11:10the connection you want.
• 11:12You can be socially isolated
• 11:14and not feel lonely, and
• 11:16this is the crucial part.
• 11:18You can be surrounded by
• 11:20lots and lots of people
• 11:21and still feel profoundly
• 11:23lonely.
• 11:25Young's definition lines up with
• 11:26the second one.
• 11:28Not the absence of company,
• 11:30the absence of meaningful
• 11:37expression. When the surgeon general
• 11:39published the twenty twenty three
• 11:41advisory, two demographic
• 11:44groups stood out for the
• 11:45highest rates of loneliness,
• 11:47older adults
• 11:48and teenagers.
• 11:50The single loneliness age on
• 11:52record is
• 11:55nineteen.
• 11:56Adolescence on the cusp of
• 11:58adulthood.
• 12:00Young adults today
• 12:02are nearly twice as likely
• 12:03to report feeling
• 12:06lonely
• 12:07as adults over sixty five.
• 12:09The rate of loneliness among
• 12:11young adults has risen every
• 12:13year between nineteen seventy six
• 12:15and twenty nineteen.
• 12:18And for the teenagers we
• 12:20work with at MoMA, the
• 12:21risk factors
• 12:22rarely occur in isolation.
• 12:26Disability, mental health conditions, financial
• 12:29insecurity,
• 12:30urban density,
• 12:32each of those on its
• 12:33own
• 12:34is a documented
• 12:36predictor
• 12:37of both isolation and loneliness.
• 12:40And together, they form a
• 12:42kind of stacked
• 12:43vulnerability
• 12:44that can be especially difficult
• 12:46to navigate.
• 12:49So that's the difficult
• 12:50half of the picture. And
• 12:52many of you, I know,
• 12:53are clinicians,
• 12:54and you are
• 12:56all too familiar
• 12:57with this.
• 12:59So I'm not going to
• 13:00dwell on it. I'm here
• 13:01to talk about what role
• 13:04art can play.
• 13:06And the photograph in this
• 13:07slide,
• 13:09is from a program called
• 13:10Act Your Age,
• 13:12that we did at MoMA
• 13:14where we paired older adults
• 13:15and teenagers in weekly photography
• 13:18classes to investigate perceptions of
• 13:20age,
• 13:21and it's one of several
• 13:22intergenerational
• 13:23programs we've offered over the
• 13:25years.
• 13:30Surgeon general Murphy put it
• 13:32plainly.
• 13:33Social connection is as essential
• 13:35to survival as food,
• 13:38water, and shelter. And it's
• 13:40not a metaphor.
• 13:41That's physiology.
• 13:43And if that's true, then
• 13:44the institutions that help people
• 13:46connect meaningfully
• 13:48are not a luxury.
• 13:50They're infrastructure.
• 13:52And I'd argue that museums
• 13:53sit in that category
• 13:55doing real public health work.
• 14:00The surgeon general's framework
• 14:02identifies
• 14:03three components
• 14:06of social
• 14:07connection that all need to
• 14:08be working.
• 14:10Structure,
• 14:11how many relationships you have,
• 14:13function, what those relationships do
• 14:15for you, whether they offer
• 14:17support,
• 14:18mentorship,
• 14:19recognition,
• 14:20a sense of being known,
• 14:22and quality,
• 14:24whether the interactions
• 14:25are positive or negative.
• 14:28Moments programs are especially good
• 14:30at the middle one. We
• 14:32don't fix the size of
• 14:33someone's social network. We create
• 14:35the conditions in which the
• 14:38interactions feel meaningful,
• 14:40where people can express what
• 14:41matters to them,
• 14:43which takes us back to
• 14:44young.
• 14:46Let me show you what
• 14:47this looks like in practice.
• 14:51MoMA reaches children across a
• 14:53wide range of programs,
• 14:55school visits, community partnerships,
• 14:57family programs.
• 14:59And this,
• 15:00photograph is from a program
• 15:02called Create Ability,
• 15:05which,
• 15:06just celebrated
• 15:07its twentieth anniversary.
• 15:10It's designed for children with
• 15:11intellectual and developmental
• 15:13disabilities and the families who
• 15:15come with them.
• 15:16And, my colleague Teresa Rodewald,
• 15:19who stepped out of the
• 15:20room, oversees this program
• 15:23very beautifully.
• 15:25It runs once a month,
• 15:26year after year, and it's
• 15:28structured around three things, looking
• 15:30at art, talking about art,
• 15:32and building community.
• 15:36Our our teaching artists designed
• 15:38these sessions deliver deliberately.
• 15:40The activities are built to
• 15:41help children find their voice,
• 15:43exercise self expression,
• 15:46and build confidence.
• 15:49Some projects are individual, the
• 15:51work of one mind, one
• 15:52vision.
• 15:53Others are collaborative,
• 15:55the kind that exercise patience,
• 15:57listening, and the practical mechanics
• 16:00of working alongside someone else.
• 16:02Both matter.
• 16:03So do the developmental
• 16:05gains that come along quietly.
• 16:09Fine motor skills,
• 16:10hand eye coordination,
• 16:12the early steps of writing.
• 16:15But the heart of createability
• 16:17isn't curriculum.
• 16:18It's that the children leave
• 16:20more confident than they arrived
• 16:22in a setting where the
• 16:23only standard is the joy
• 16:25of personal success,
• 16:27and it looks different to
• 16:29each attendee.
• 16:34Children producing work in the
• 16:36same galleries where Matisse
• 16:39paintings hang on the wall,
• 16:40that proximity matters.
• 16:42It signals to a child
• 16:44that their expression
• 16:45belongs
• 16:46here too.
• 16:49It's also intergenerational.
• 16:52When children and adults look
• 16:53at art together, the usual
• 16:55power dynamic shifts.
• 16:57The child becomes the one
• 16:59with insight. The adult becomes
• 17:01the one listening.
• 17:03We know intuitively
• 17:05that this matters.
• 17:07And the evidence backs it
• 17:08up at scale.
• 17:15How about that?
• 17:18Sorry. I don't know why
• 17:19that looks like that.
• 17:22Well, I'll tell you what
• 17:24it says.
• 17:25So
• 17:27the
• 17:28World Health Organization
• 17:30in twenty nineteen published a
• 17:32landmark scoping review asking what
• 17:35role
• 17:35the arts play in health
• 17:37and well-being.
• 17:39The findings
• 17:40were unambiguous.
• 17:42The arts do not just
• 17:43feel good.
• 17:44They have measurable effects across
• 17:46mental and physical health
• 17:48along two broad pathways.
• 17:52And this first slide shows
• 17:54pillar one, prevention
• 17:56and promotion.
• 17:58Arts engagement supports
• 18:00child development. It encourages healthy
• 18:02behavior.
• 18:04It provides protection for caregivers,
• 18:06the unsung population of every
• 18:08health care system
• 18:10against burnout and ill health.
• 18:12It influences the social determinants
• 18:15of health long before clinical
• 18:17interventions are needed.
• 18:20And the second pillar is
• 18:22management and treatment.
• 18:24Arts engagement supports people living
• 18:26with mental
• 18:27health issues with neurological
• 18:29and neurodevelopmental
• 18:31disorders
• 18:32with chronic disease and with
• 18:34end of life care.
• 18:36The World Health Organization
• 18:38frames the arts not as
• 18:39an ornament,
• 18:40but as a component of
• 18:42a functioning
• 18:43health system.
• 18:47So back to district seventy
• 18:48five.
• 18:49I opened,
• 18:51with that child's drawing,
• 18:53and that came out of
• 18:55a social emotional learning curriculum
• 18:58that MoMA developed with district
• 19:00seventy five.
• 19:02The work was led on
• 19:03our side by my colleague
• 19:04Lara Schweller,
• 19:06and on theirs by Amanda
• 19:08McPhee, who is the director
• 19:10of arts education and programs
• 19:11for district seventy five.
• 19:14The curriculum includes something called
• 19:17sketch a day.
• 19:18Each morning, students take out
• 19:20a sketchbook
• 19:21that we provide, and they
• 19:22discuss a drawing prompt.
• 19:25Then there are five to
• 19:26ten minutes of quiet drawing
• 19:28time.
• 19:29The prompts give them an
• 19:31entry point. Maybe a student
• 19:32had a rough morning.
• 19:34Maybe they're anxious about a
• 19:35class. Maybe they're excited.
• 19:38The page is a way
• 19:39to put that somewhere.
• 19:41The first prompt that you
• 19:43see here is simple. Who
• 19:44am I?
• 19:45Students were asked to draw
• 19:47a self portrait.
• 19:48Not a pretty picture necessarily,
• 19:50but an answer.
• 19:53The next one is draw
• 19:54a confident or proud line.
• 19:56And here you see the
• 19:57student responded with bold
• 20:00green
• 20:01strokes filling the page and
• 20:02wrote, I drew proud confident
• 20:05lines.
• 20:06The student found a way
• 20:07to express something about themselves
• 20:09they may not have had
• 20:10words for. That's exactly what
• 20:12Young was describing.
• 20:16We asked when you're feeling
• 20:17sad, what's something that makes
• 20:19you feel better? Draw it.
• 20:21And here, the the student,
• 20:24Drew
• 20:25Drew himself listening to music.
• 20:30If you could be anything
• 20:31in the world, what would
• 20:32you be?
• 20:34And this student
• 20:36drew,
• 20:37the an astronaut on the
• 20:39moon.
• 20:42And the notes that you're
• 20:43seeing alongside
• 20:44these drawings are written by
• 20:46teachers capturing what the students
• 20:48said about their work, and
• 20:50the conversations
• 20:52between teacher and student are
• 20:54part of the design.
• 20:56They lead to better understanding
• 20:58each other.
• 21:00How do you ask for
• 21:01help? Dry yourself asking for
• 21:04help.
• 21:05And this one says, this
• 21:06is me falling off my
• 21:08scooter asking for help.
• 21:14Other revelations
• 21:16come of this activity too.
• 21:18Parents
• 21:19see these sketchbooks.
• 21:21One said, I had no
• 21:22idea my child
• 21:24felt this way.
• 21:26Another said, we're gonna keep
• 21:27working on this journal over
• 21:29the summer.
• 21:32The sketchbooks went on view
• 21:34at MoMA as part of
• 21:36a larger exhibition
• 21:37in our Cullman Education Center.
• 21:40There was joy and pride
• 21:42in the room as families,
• 21:44teachers, and students gathered to
• 21:46see their work.
• 21:48And now that Teresa is
• 21:50back in the room, I'm
• 21:51going to embarrass her and,
• 21:52just recognize Teresa for organizing
• 21:55this exhibition and the CreatAbility
• 21:58program and so many wonderful
• 22:00programs at MoMA.
• 22:05So that opening at MoMA
• 22:07with kids and parents
• 22:09and art teachers and homeroom
• 22:12teachers in a room together
• 22:13looking at, the children's work
• 22:16is what social connection
• 22:18looks like when you build
• 22:19the conditions for it. It's
• 22:21also a small version of
• 22:22something researchers have begun to
• 22:24measure at at scale.
• 22:27And last year, doctor Jill
• 22:30Sonke and her team at
• 22:31the University
• 22:32of Florida published a study
• 22:35of eighteen
• 22:36US communities that
• 22:38puts a framework around what
• 22:40we've been seeing.
• 22:42And here is the framework.
• 22:44Sankey and her colleagues working
• 22:46under the one nation,
• 22:48one project initiative propose a
• 22:50theory of change that runs
• 22:52in three steps.
• 22:54Arts participation builds
• 22:56social
• 22:57cohesion, and social cohesion in
• 22:59turn enhances
• 23:01well-being,
• 23:02mental, emotional, physical.
• 23:05It's not that art directly
• 23:08heals. It's that art creates
• 23:10the conditions for connection,
• 23:12and connection is what does
• 23:14the work.
• 23:15The middle step, social cohesion,
• 23:17is the load bearing piece.
• 23:21This wasn't a small pilot.
• 23:23The research was a three
• 23:25part, two year mixed methods
• 23:28study
• 23:29spanning eighteen
• 23:30US communities.
• 23:32It used surveys, focus groups,
• 23:34and participatory
• 23:35murals
• 23:36to ask whether arts participation
• 23:38actually moves the needle on
• 23:40connection and health
• 23:42and to test whether social
• 23:44prescribing,
• 23:45which is the practice of
• 23:46clinicians prescribing
• 23:48arts and cultural engagement the
• 23:50way they prescribe
• 23:52physical activity,
• 23:54is feasible in this country.
• 23:57What's striking is that the
• 23:59effects show up across the
• 24:01lifespan.
• 24:02Older adults who participate in
• 24:04the arts
• 24:05reported a forty eight percent
• 24:07lower risk of depression
• 24:09and a forty four percent
• 24:10reduction in dementia.
• 24:12Young adults who participated
• 24:14are more likely
• 24:16to stay in school.
• 24:18The mechanism doesn't care how
• 24:20old you are.
• 24:22And here's how the community
• 24:24members describe their own arts
• 24:29in
• 24:29the past seven days, which
• 24:30tells you that most people
• 24:31already
• 24:33are doing this in some
• 24:35form.
• 24:36Ninety six percent agreed that
• 24:38arts participation
• 24:39improves well-being in their community.
• 24:42Ninety two agreed that it
• 24:44builds social cohesion,
• 24:46and ninety said they would,
• 24:48like to participate more in
• 24:50the arts to improve their
• 24:51well-being.
• 24:53So if you read those,
• 24:56last three numbers together, you
• 24:58notice a near universal belief
• 25:00that the arts improve life
• 25:03paired with an unmet
• 25:05appetite to do more of
• 25:06it.
• 25:07And that is the demand
• 25:09k demand side case for
• 25:11institutions
• 25:12like MoMA
• 25:13and for partnerships like the
• 25:14one we have with district
• 25:16seventy five.
• 25:19This framework makes the mechanism
• 25:22explicit.
• 25:23Arts participation,
• 25:24especially when it includes cocreation,
• 25:27culture sharing, physicality,
• 25:29and inclusivity,
• 25:31builds social social cohesion,
• 25:34which in turn enhances
• 25:36well-being,
• 25:37And this holds across populations.
• 25:41Before we get into what
• 25:43to do about it, I
• 25:44want to widen the lens
• 25:46beyond children because the same
• 25:48mechanism holds at the other
• 25:50end of life.
• 25:56The same conditions
• 25:57that helped district seventy five
• 25:59students' acceptance,
• 26:01shared experience,
• 26:02intellectual
• 26:03stimulation
• 26:04show up in our work
• 26:06with older adults.
• 26:09Meet me at MoMA is
• 26:10one of our flagship
• 26:12programs, and it was designed
• 26:14for people living with dementia
• 26:15and their care partners. And
• 26:17as Linda said, it has
• 26:18been running for decades.
• 26:20The premise is simple.
• 26:22The museum and the conversations
• 26:24we have around artwork are
• 26:26a forum for dialogue. And
• 26:27in this case, dialogue
• 26:29is the route to social
• 26:31connection.
• 26:32Since two thousand and six,
• 26:33we've worked with more than
• 26:34a hundred and fifty
• 26:48We have a facilitator
• 26:50here leading a group of
• 26:51older adults in conversation
• 26:53in front of that same
• 26:54Matisse. It's a very popular
• 26:56work of art.
• 26:58And we found that art
• 27:00is the right tool for
• 27:01this work because it doesn't
• 27:02require
• 27:04memory.
• 27:05Sometimes
• 27:06a painting taps into long
• 27:08term memory,
• 27:09but mostly
• 27:10the work is about being
• 27:12in the moment
• 27:14with other people and sharing
• 27:16observations
• 27:17and interpretations
• 27:18and making connections.
• 27:22We use techniques
• 27:23like turn and talk, pairing
• 27:25each participant with the person
• 27:27they came with and offering
• 27:28them a prompt.
• 27:30We build group poems out
• 27:32of one word responses.
• 27:36And guess what?
• 27:38I'm gonna try it with
• 27:39you right now.
• 27:42So I promise that this
• 27:43was gonna be interactive,
• 27:45and now is your chance.
• 27:47Now is your chance, both
• 27:48in person and online.
• 27:50So for anyone online,
• 27:53please look at this.
• 27:56You feel like you know
• 27:57this painting
• 27:59Thank you. But really
• 28:01look
• 28:02at this painting.
• 28:04It's on every t shirt,
• 28:06every mouse pad, every mug.
• 28:09Right?
• 28:10But
• 28:11stop and really look at
• 28:12it, and that's what we
• 28:13do during the program.
• 28:15And then we do these
• 28:17kind of simple activities. So
• 28:19my simple activity,
• 28:20don't be scared,
• 28:22is all I'm gonna ask
• 28:23you is to say one
• 28:25word,
• 28:25one word that comes to
• 28:27mind when you look at
• 28:28this painting.
• 28:30And if you want to
• 28:31put it in the chat,
• 28:32if you're online, please
• 28:34do. And maybe we can
• 28:35read them out. And we
• 28:36can do we can make
• 28:37a group poem.
• 28:39Oh, sure.
• 28:41Like, two volunteers. Right? Yes.
• 28:43So Volunteers like doctor Stan
• 28:45Posik.
• 28:46Swirls.
• 28:47Swirls.
• 28:51Illuminating.
• 28:59Home.
• 29:00Home?
• 29:01Oh.
• 29:04Melancholic?
• 29:06Melancholic?
• 29:07Oh.
• 29:09Movement.
• 29:10Movements.
• 29:16Colors.
• 29:17I didn't hear. Colors? Colors.
• 29:23Staple.
• 29:26The steeple.
• 29:27The steeple. I'll read some
• 29:28online.
• 29:29We have light,
• 29:31calm,
• 29:32blue,
• 29:33brush,
• 29:34glow,
• 29:35movement,
• 29:37village, mystery,
• 29:38waves.
• 29:40What was the last one?
• 29:41Waves. Waves. Linda.
• 29:46Infinite.
• 29:49Stars.
• 29:50Stars.
• 29:54Breeze.
• 29:54Breeze?
• 29:57Village.
• 29:58Village.
• 29:59Gift shop.
• 30:04Yellow.
• 30:07Serenity.
• 30:08I didn't hear that last
• 30:09one. Serenity.
• 30:11Serenity.
• 30:14Sleep.
• 30:15Sleep.
• 30:20Spooky.
• 30:21Spooky.
• 30:23Ominous.
• 30:25Ominous.
• 30:27Quiet.
• 30:28Quiet.
• 30:30It's gonna be a long
• 30:30poem.
• 30:34Calm.
• 30:35Calm.
• 30:36Timeless.
• 30:38I didn't hear that one.
• 30:39Timeless.
• 30:40Timeless.
• 30:44Flow.
• 30:45Flow.
• 30:48Texture.
• 30:50Texture.
• 30:53Grass.
• 30:56Grass. Grass.
• 30:59Ocean.
• 31:01Ocean.
• 31:03Pressure.
• 31:04Pressure?
• 31:05Pressure.
• 31:07Pressure.
• 31:07The last one, Alex.
• 31:09Wash Slumber.
• 31:11Slumber.
• 31:14Wow.
• 31:17No. Okay. Thank you. Thank
• 31:19you
• 31:20to everyone in the room
• 31:21for participating
• 31:22and for everybody online
• 31:24for,
• 31:25sharing your words and what
• 31:27wonderful,
• 31:29vivid,
• 31:30descriptive,
• 31:33words that
• 31:35I think make us think
• 31:36of of all different senses
• 31:38too.
• 31:40Slumber,
• 31:41stars,
• 31:42swirl,
• 31:44serenity,
• 31:45sleep,
• 31:47spooky,
• 31:50slow.
• 31:53Home,
• 31:55melancholy,
• 31:56movement,
• 31:59calm,
• 32:01village,
• 32:02waves,
• 32:04infinite,
• 32:06breeze,
• 32:09yellow,
• 32:10sleep,
• 32:13flow,
• 32:15texture,
• 32:16grass,
• 32:18ocean,
• 32:22pressure, gift
• 32:23shop.
• 32:28I do really love using
• 32:30this work, I must admit.
• 32:32I mean,
• 32:33I think it's kind of
• 32:35it's it's one of those
• 32:36where I'm sometimes embarrassed to
• 32:38say that this is my
• 32:40favorite painting,
• 32:41but it's honestly my favorite
• 32:43painting.
• 32:45It is so
• 32:47extraordinary.
• 32:48And when you're in front
• 32:49of it,
• 32:51you know, it's it's,
• 32:52it's so thickly painted, and
• 32:55it's so expressive, and it's
• 32:57so different than it is
• 32:59in reproduction. And I think
• 33:00all of those things
• 33:02come through,
• 33:03when a group
• 33:05of of us are in
• 33:06front of it. And,
• 33:09Van Gogh said it takes,
• 33:11you know, the the cypress
• 33:13tree is a symbol of
• 33:14death,
• 33:16and and Van Gogh said
• 33:18it takes
• 33:19death to reach a star.
• 33:23So sometimes we talk about
• 33:24that too.
• 33:26So
• 33:26thank you for,
• 33:28for playing along with me.
• 33:29But this gives you a
• 33:30sense of of what we
• 33:32do,
• 33:33during the program.
• 33:35And
• 33:38let's see.
• 33:40We did a study
• 33:42of this program with NYU
• 33:44Center of Excellence for Brain,
• 33:46Aging, and Dementia to study,
• 33:49the impact
• 33:50of of meet me at
• 33:51MoMA.
• 33:52We use self rating scales,
• 33:54observer rated scales, focus groups.
• 33:57And
• 33:59this
• 34:00slide shows some of the
• 34:01findings,
• 34:02that we learned.
• 34:04Participants
• 34:05reported fewer emotional problems,
• 34:08elevated mood,
• 34:10and elevated self esteem.
• 34:13And for the and that
• 34:14was for both in the
• 34:15dyad, the, person with dementia
• 34:18and their care partner. And
• 34:19the care partners
• 34:21also,
• 34:22reported an increase in the
• 34:24feeling of social support.
• 34:27And
• 34:28the findings
• 34:30were
• 34:31possible.
• 34:32It wasn't just the art,
• 34:33but it was these five
• 34:34conditions
• 34:35that made it made them
• 34:38feel this way. The educator
• 34:40and what, you know, what
• 34:41an important role that is
• 34:43in our programs,
• 34:44the intellectual
• 34:45stimulation
• 34:47and accepting environment,
• 34:49social interaction and shared experience,
• 34:52and what the researchers called
• 34:54emotional carryover, the sense that
• 34:56what happened in the program
• 34:58lasted beyond it.
• 35:02That research helped us see
• 35:04the older adult population more
• 35:06broadly.
• 35:08And the truth is that
• 35:10through that meet me at
• 35:11MOMA program,
• 35:12what happens is many of
• 35:14the same families come over
• 35:16and over.
• 35:17And
• 35:18what we were noticing
• 35:20was that when one person
• 35:22in the dyad
• 35:24passed away,
• 35:25the other person was so
• 35:27connected to our program that
• 35:28they wanted to keep coming,
• 35:30but they didn't want to
• 35:31come necessarily to a program
• 35:33for people with dementia. And
• 35:35so that was how we
• 35:36ended up
• 35:37launching
• 35:39something more broadly
• 35:40for people sixty five and
• 35:41up, which is called,
• 35:43prime time.
• 35:46And
• 35:48we we launched it also
• 35:50in direct response to the
• 35:51loneliness already documented among older
• 35:54adults in New York. At
• 35:55that time, ninety seven percent
• 35:57of older adults lived alone,
• 35:59and many were at risk
• 36:00of social isolation
• 36:01often because they lacked
• 36:03opportunities
• 36:05for dignified,
• 36:06joyful, meaningful engagement.
• 36:09Prime time programs take all
• 36:11different shapes and sizes,
• 36:13just like the older adults
• 36:14that they serve.
• 36:16They include art making
• 36:20and art looking
• 36:22and film programs
• 36:24and more.
• 36:26And with Primetime, we also
• 36:28launched our first social prescription
• 36:30programs.
• 36:33We partnered
• 36:34with social workers and health
• 36:36care professionals
• 36:37to identify older adults at
• 36:39risk of isolation
• 36:41who were then referred
• 36:43to participate in gallery based
• 36:45conversations
• 36:46in small groups at the
• 36:47museum.
• 36:49Time and again, we watched
• 36:50people leave MoMA more connected
• 36:53than they arrived and developed
• 36:54friendships
• 36:55that continued outside our programs.
• 36:59And here's a number I
• 37:00find remarkable.
• 37:02Sixty
• 37:03or sorry. Seventy
• 37:04six percent of US adults
• 37:07said they would be somewhat
• 37:08or very likely
• 37:11to follow a doctor's recommendation
• 37:13to engage in the arts.
• 37:16So the
• 37:17infrastructure of trust is already
• 37:20there. What's missing are the
• 37:21formal referral pathways
• 37:24between health providers
• 37:25and cultural institutions.
• 37:33Wanna do one more interactive
• 37:34thing? Yeah. Okay. So here
• 37:36is one more interactive. I'm
• 37:38sorry that for the people
• 37:39online, this is gonna be
• 37:41a challenge,
• 37:42but we'll tell you what
• 37:43we're doing. So we're going
• 37:45to,
• 37:46look at an artwork together.
• 37:48And this is because,
• 37:51I want you to think
• 37:51about when was the last
• 37:53time that you went to
• 37:54an art museum or sat
• 37:56at home and looked at
• 37:58a painting on your wall
• 38:00and had
• 38:01a conversation
• 38:02with someone,
• 38:04where you didn't know the
• 38:05answer and they didn't know
• 38:07it either, and you kind
• 38:08of figured it out together.
• 38:11Has it been a while?
• 38:13Because neither has it been
• 38:14a while for you. Has
• 38:15it been a while for
• 38:16anybody? This is something you
• 38:18do all the time. Yes.
• 38:19Some people are nodding yes.
• 38:21Some people no.
• 38:23Well, here's a worksheet that
• 38:25we use,
• 38:26in some of our programs.
• 38:28Primarily, I would say, a
• 38:30prime time program, we would
• 38:31use this. And what I'm
• 38:33gonna ask you to do
• 38:34is I'm gonna ask you
• 38:35to,
• 38:36look at the painting I'm
• 38:37about to put on the
• 38:38screen,
• 38:39and I want you to
• 38:40make a notch, just yourself,
• 38:43a notch on the worksheet
• 38:44of where you think this
• 38:46painting falls.
• 38:48Right? So,
• 38:50what's the top one, Linda?
• 38:51I can't remember. Oh, thank
• 38:52you.
• 38:54Oh, thank you. Figurative
• 38:55and abstract. And for people
• 38:57online,
• 38:58it the worksheet looks like
• 38:59this. This. It has,
• 39:01words on the left side,
• 39:02words on the right side,
• 39:03and a line across the
• 39:04middle.
• 39:05And the words are figurative
• 39:07and abstract,
• 39:08movement and calm,
• 39:10personal and universal,
• 39:12and loud
• 39:13and quiet. And so just
• 39:15take a moment and yourself
• 39:17make a notch of where
• 39:18you think this work of
• 39:20art fits for each of
• 39:22these cat these,
• 39:24words.
• 39:25Is that clear? Okay.
• 39:30Don't show it to the
• 39:31person next to you. Just
• 39:32write it yourself.
• 39:59Does anybody need a pen?
• 40:02Yes?
• 40:18And, of course, this is
• 40:19not a test. There are
• 40:20no right answers. There are
• 40:21no wrong answers.
• 40:23It's really just, you know,
• 40:25your
• 40:26your,
• 40:28your thoughts, your
• 40:30way of looking at the
• 40:31painting and thinking about it.
• 40:40Alright. Does anybody else need
• 40:42a pen? Alex has some
• 40:43pens. Okay.
• 40:54We'll spend, like,
• 40:56another thirty seconds
• 40:58doing this.
• 41:10And now what I'd like
• 41:11you to do is turn
• 41:12to the person next to
• 41:13you
• 41:14and compare.
• 41:17And
• 41:17ask the person why they
• 41:20they made their notch where
• 41:21they did and see if
• 41:22you have similar responses or
• 41:25different responses.
• 42:54Okay.
• 42:59So how did this
• 43:01I'm gonna
• 43:02why don't you wrap up?
• 43:03Thirty seconds more.
• 43:05I I don't wanna interrupt.
• 43:26Okay.
• 43:27So tell me, how did
• 43:29this
• 43:30how did this feel to
• 43:31you?
• 43:34Connective.
• 43:35Connective.
• 43:36Somebody said connective. Do you
• 43:38wanna say more about
• 43:39that? I felt connected, but
• 43:41first, I was.
• 43:44So I guess I'm participating.
• 43:45I didn't mean to be
• 43:46the how lame like the
• 43:48plant. No. But I I
• 43:50haven't done this activity before,
• 43:52actually, and it made me
• 43:53feel so connected with the
• 43:54person I was talking with.
• 43:55And ours really aligned in
• 43:57a funny way. And so
• 43:59I I felt connected with
• 44:01her. Yeah.
• 44:03It was eye opening for
• 44:04me. So I learned first
• 44:06of all, I learned a
• 44:06lot about Mike just in
• 44:08how you see things that,
• 44:10you know, we're both looking
• 44:11at the same time, but
• 44:12it made me see a
• 44:13piece of art in a
• 44:14way I wasn't seeing it
• 44:15just by talking about it.
• 44:17Thank you. Thank you. Anybody
• 44:19else wanna
• 44:21share what they felt? Yes.
• 44:28It made me feel very
• 44:29curious
• 44:30because,
• 44:31I feel like interpreting art
• 44:32doesn't come naturally to me.
• 44:33And whenever I go to
• 44:35art shows and talk to
• 44:36other people and hear their
• 44:37perspectives, it's really eye opening.
• 44:39And so it was fun
• 44:40to have these, like, very
• 44:41objective
• 44:42not objective, subjective measures, but
• 44:44then
• 44:45we had to interpret them
• 44:46based on these criteria and
• 44:47then to hear where people
• 44:49were coming from, especially on
• 44:50ones that we differed on.
• 44:53Yeah.
• 44:55Thank you.
• 44:56Anybody else?
• 45:00See, the conversation's still going.
• 45:02I love it. And what
• 45:03I was noticing was that
• 45:05the room got really lively,
• 45:07and people started talking to
• 45:09people that they knew and
• 45:10people that they didn't know.
• 45:11And there were a lot
• 45:12of heads nodding, and there
• 45:13was a lot of pointing.
• 45:16And, yeah, I felt that
• 45:18sort of, you know, the
• 45:19the
• 45:20the energy in the room,
• 45:22changed quite a bit, and
• 45:23I think that's another thing
• 45:25that,
• 45:26that art can do so
• 45:27well. It can connect people
• 45:29and,
• 45:30and
• 45:32change change the energy.
• 45:35So
• 45:37thank you
• 45:38for participating in that too.
• 45:40And,
• 45:42I'm gonna wrap up here
• 45:43soon because we're gonna be
• 45:45out of time. But I
• 45:46wanted to tell you
• 45:48about,
• 45:48another story, a a prime
• 45:50time program that I lead,
• 45:53that has really stayed with
• 45:54me. We run a virtual
• 45:56partnership with Holocaust survivors who
• 45:59are experiencing profound
• 46:01social isolation.
• 46:02Most are upwards of eighty
• 46:04five years old.
• 46:05They're individuals who, for the
• 46:07most part,
• 46:08never leave their houses. The
• 46:10only exception being visits
• 46:12to the doctor.
• 46:14And they're connected through a
• 46:15virtual senior center
• 46:17that they rely on for
• 46:19the basics of survival, case
• 46:21management,
• 46:22home care, and help navigating
• 46:24German reparations.
• 46:26But week after week, over
• 46:28the last several months, we've
• 46:29come together online for something
• 46:31else, and that is to
• 46:32look at and talk about
• 46:33art.
• 46:34Many of these participants carry
• 46:36experiences
• 46:37that very few people in
• 46:38the world share, and that
• 46:40kind of singularity
• 46:41is in
• 46:43is its own form of
• 46:44loneliness. It's not just the
• 46:46absence of people, but the
• 46:47sense that what you carry
• 46:49cannot be expressed to anyone
• 46:51who wasn't there.
• 46:53But art
• 46:54art gave us a way
• 46:56in. And,
• 46:57eventually,
• 46:58we invited,
• 47:00the group to come to
• 47:01MoMA
• 47:03in person.
• 47:04For many for many, it
• 47:06was the first time they
• 47:07had been in the same
• 47:08room together,
• 47:09and they came in the
• 47:10fall
• 47:11of twenty twenty five. We
• 47:13toured the galleries. We looked
• 47:14at starry night. We looked
• 47:16at Matisse's
• 47:17dance.
• 47:19And,
• 47:21then we shared lunch. And
• 47:22we even celebrated
• 47:24Henry's ninety eighth birthday right
• 47:26there
• 47:27at the museum.
• 47:30So think about that transition
• 47:32from a life spent almost
• 47:34entirely inside,
• 47:36leaving only for medical necessity
• 47:38to celebrating a ninety eighth
• 47:41birthday surrounded by art and
• 47:43peers.
• 47:44Today, some are able to
• 47:46meet monthly on their own
• 47:48at a Jewish deli in
• 47:49the Bronx called Liebman's.
• 47:52I don't know if any
• 47:52of you have been there,
• 47:53but I highly recommend it.
• 47:55It is it is worth
• 47:56the trip.
• 47:58So MoMA started this, and
• 48:00the community is sustaining it.
• 48:06And finally,
• 48:07where this needs to go.
• 48:11So
• 48:12what does the path forward
• 48:14look like? And I'm going
• 48:15back to doctor Sankey's research,
• 48:18because it doesn't stop at
• 48:19documenting
• 48:20the pathway. It points at
• 48:22where the work needs to
• 48:23go, and these are the
• 48:24three
• 48:26recommendations.
• 48:27First,
• 48:28build stronger
• 48:29structures and mechanisms for collaboration
• 48:32between the culture,
• 48:34social care, and health sectors.
• 48:37These three have operated in
• 48:39parallel
• 48:40for too long.
• 48:42Second, introduce
• 48:44or strengthen
• 48:45lines of referral
• 48:47from health and social care
• 48:49into arts programs,
• 48:51including formal social prescribing schemes,
• 48:55a doctor prescribing a museum
• 48:56visit or a community art
• 48:58class the way they would
• 48:59prescribe physical therapy.
• 49:01And third, bring arts and
• 49:03humanities
• 49:04education into the training of
• 49:06health care professionals themselves, not
• 49:08as decoration,
• 49:10but really to sharpen their
• 49:12clinical, personal, and communication
• 49:14skills.
• 49:16So this is the road
• 49:17map. All three are doable.
• 49:19All three are more powerful
• 49:21when child development
• 49:22expertise
• 49:24and museum expertise are in
• 49:26the room together.
• 49:29And I'd like to end
• 49:30where we began.
• 49:32A child in New York
• 49:33City drew their dad and
• 49:34called him their greatest strength.
• 49:36A room of older adults
• 49:37at MoMA found
• 49:39in front of Matisse that
• 49:40they weren't as alone as
• 49:42they'd felt.
• 49:43A group of Holocaust survivors
• 49:45began meeting each month at
• 49:47a deli in the Bronx
• 49:48after a virtual gallery program
• 49:50gave them a way to
• 49:52get started.
• 49:53Different ages,
• 49:55different circumstances,
• 49:57the same fundamental
• 49:58need.
• 50:00Art didn't solve anything. It
• 50:02created the conditions
• 50:04for a connection.
• 50:05And the question is what
• 50:07we build from here.
• 50:09Thank you.
• 50:25Question.
• 50:31Oh, Ari. That's nice. Hi,
• 50:33Ari. Can you hear me?
• 50:39Yes. I can. There you
• 50:40go. Maybe can we make
• 50:41her pin her? K. Hold
• 50:43on one second, Ari.
• 50:45Ari.
• 50:46From LA. Mhmm. Hi, Ari.
• 50:48Hello.
• 50:49I'd like to
• 50:51first of all, I'm blown
• 50:52away by this presentation.
• 50:54It's
• 50:55as wonderful,
• 50:57more wonderful than I expected.
• 50:59So thank you, Franchesca so
• 51:01much,
• 51:03for
• 51:04this and
• 51:05Linda, this is an incredible
• 51:07collaboration. It, it really hits
• 51:09on the nail while, while,
• 51:11why we started doing this.
• 51:13And I didn't realize it's
• 51:14been eight years until Andreas
• 51:16said that.
• 51:18And that's kind of,
• 51:20a rude awakening to,
• 51:22I think the MoMA people
• 51:24probably know about the Slifka
• 51:26family's connection
• 51:28to the museum.
• 51:30My mother-in-law
• 51:31donated
• 51:32quite a few of,
• 51:34important paintings.
• 51:36So we have a connection
• 51:37there and my own connection
• 51:39with the child study center
• 51:41and,
• 51:43and this program is very
• 51:45near and dear to my
• 51:46heart. And,
• 51:48every single thing that was
• 51:51portrayed here
• 51:52is so right on and
• 51:54and and
• 51:56illustrates why we we need
• 51:58to
• 51:58be more inclusive
• 52:00when we look at a
• 52:01patient,
• 52:03at a client.
• 52:04I also love that you
• 52:06took it throughout the lifespan
• 52:07that you that that you
• 52:09showed the
• 52:11children
• 52:12and how they benefit,
• 52:13but also the older people.
• 52:16Loneliness is definitely rising.
• 52:20Social isolation
• 52:21is too. I like the
• 52:22distinction between the two, and
• 52:25I think we find it
• 52:26a lot in certain groups
• 52:27of our patients. For instance,
• 52:30the autistic patients I've had
• 52:32throughout the years
• 52:33would so benefit,
• 52:35from something like that,
• 52:37a program like that. And
• 52:39who better to do it
• 52:40than MoMA and the Child
• 52:42Study Center together? That's
• 52:44a real whopping combination.
• 52:47I feel honored that,
• 52:49this happened
• 52:50in this particular venue,
• 52:53And I thank you and
• 52:55Linda,
• 52:56Andres,
• 52:57and my committee, our committee,
• 53:01for pushing through and and
• 53:03continuing to grow this program.
• 53:05I only wish we could
• 53:06have someone from MoMA in
• 53:08residence for a week a
• 53:10a year to
• 53:11to make this That is
• 53:12a good idea.
• 53:14Okay. If you're open to
• 53:15the idea, we can we
• 53:17can,
• 53:18you know, we can all
• 53:19talk.
• 53:20Mhmm. We know people. We
• 53:21know people. And, by the
• 53:23way, the the committee that
• 53:24you mentioned since they're here,
• 53:25I don't know if you
• 53:26can see them, but we
• 53:27have Lori Cardona and, of
• 53:28course, Stan Posik.
• 53:30Hello. Hi, Ari.
• 53:32Hi. Thomas. Those are my
• 53:34peeps.
• 53:36Ari, this is Laurie Cardona.
• 53:38I support the artist in
• 53:39residence from MoMA coming to
• 53:41the child study center and
• 53:42Winnie one and all our
• 53:44programs. I love that idea.
• 53:45Underline that.
• 53:47Underline. Good.
• 53:49Good. Good, Laurie. So I
• 53:50I'm sure Andreas will push
• 53:51it through.
• 53:54Great. I love it. And
• 53:55and I I don't really
• 53:57see Linda not loving it.
• 53:58So
• 54:00yeah. So I'm I'm very
• 54:02much aware.
• 54:04You know you know, Ari,
• 54:05we have and and I
• 54:06had mentioned to Francesca, we
• 54:08have some fellows
• 54:09who are, like, make not
• 54:10making eye contact with me
• 54:11right now,
• 54:13but who are artists
• 54:15and whose thoughts I really
• 54:16want to know.
• 54:18Doctor. Chopra.
• 54:20Yeah. Hi. That was amazing.
• 54:22I had a great time.
• 54:24Actually
• 54:26kind of especially like the
• 54:27lifespan situation that you mentioned.
• 54:31Whenever I hear things like
• 54:32this because I love like
• 54:33I love to practice art
• 54:34and then I love to
• 54:35practice psychiatry and child psychiatry
• 54:37so whenever I hear something
• 54:39like this it's I I
• 54:41keep thinking about how I
• 54:42can be more involved in
• 54:43that like
• 54:44middle space of providing
• 54:46both art and psychiatry
• 54:48because I feel like it's
• 54:50it's so linked and art
• 54:51is psychiatry as well in
• 54:53a way
• 54:54so I appreciate you and
• 54:56I appreciate I'm like thinking
• 54:57about things now so I'm
• 54:58excited to
• 55:00get the wheels moving. But,
• 55:01yeah, thank
• 55:02you. Maybe we could think
• 55:04of a child study center
• 55:05fellow at MoMA too. Or
• 55:07no. No. I thought about
• 55:07it. Okay. Anyway
• 55:09Well, I suppose it's love.
• 55:11That would be a waste.
• 55:12Any other questions or comments?
• 55:14I I can't see who
• 55:14else is. Yeah. Online?
• 55:18Nope. I have a question.
• 55:19Oh, hi, Bridget. Hi, guys.
• 55:21Hello. Hi. Thank you so
• 55:22much for this discussion. My
• 55:23name is Bridget Torres. I'm
• 55:25a clinician and supervisor at
• 55:26the Child Study Center.
• 55:28I was wondering because I
• 55:30think a program like what
• 55:32you guys provide at MoMA
• 55:33would be so
• 55:35so beneficial to the communities
• 55:37that we serve here.
• 55:39And one of the things
• 55:40that I think comes up
• 55:41as kind of a barrier
• 55:43can feel like a barrier
• 55:44is that there's this,
• 55:46sometimes feels like a distinction
• 55:48between the Yale community and
• 55:50the New Haven community
• 55:52and the level of kind
• 55:53of trust with our,
• 55:55institutions. And so I was
• 55:56wondering what it has been
• 55:58like to help people
• 56:00from the New York community
• 56:01come into MoMA, a place
• 56:03that could maybe feel not
• 56:04comfortable for everybody and have
• 56:05them feel like both that
• 56:08they are comfortable there, but
• 56:09also that they belong and
• 56:10that they can,
• 56:11create art.
• 56:13Francesca, before you answer, I
• 56:15just wanna say I see
• 56:16Linda Friedlander
• 56:17online. So, Linda, if you're
• 56:19comfortable, you'll go next. Okay?
• 56:20Because I I really wanna
• 56:21know what you're thinking about
• 56:23and to share about New
• 56:24Haven. So, Francesca, please, we're
• 56:25just gonna Thank you, Bridget,
• 56:27for that,
• 56:28very,
• 56:29very important question.
• 56:31We we absolutely have the
• 56:33same
• 56:34challenges.
• 56:35I feel like MoMA can
• 56:37be a very off putting
• 56:39place if it's not somewhere
• 56:40that you,
• 56:41you know, grew up going
• 56:43to.
• 56:45There
• 56:46it may not feel like
• 56:47it's for you. And, there's
• 56:49certainly
• 56:50economic barriers
• 56:52to,
• 56:53to visiting
• 56:54for some people and a
• 56:56whole host of reasons why,
• 56:59you wouldn't step foot in
• 57:01the museum. And so, yes,
• 57:02we,
• 57:04we do
• 57:05a lot of outreach.
• 57:07We do a lot of
• 57:09work in the community
• 57:11talking
• 57:12with,
• 57:13you know, with coordinators
• 57:16from,
• 57:17teachers,
• 57:18health care professionals, you know,
• 57:19sort of the point people
• 57:21from the outside communities,
• 57:23and
• 57:25really asking them what,
• 57:27what their
• 57:29clients, what their students,
• 57:31want. What and and what
• 57:33are they doing
• 57:35in those classrooms
• 57:36and in the community centers
• 57:38that,
• 57:39that we can build upon
• 57:41using art? And,
• 57:44we follow a model of
• 57:45cocreation
• 57:46where we're
• 57:47trying to,
• 57:49you know, bring whoever it
• 57:51is in as a real
• 57:52partner
• 57:53to work together to make
• 57:55sure that we're what we're
• 57:56going to offer the audience
• 57:58is,
• 57:59is of interest, is fitting,
• 58:02is,
• 58:03is is the right thing.
• 58:05And so and sometimes, you
• 58:06know, we'll do a program
• 58:08and, you know, parts of
• 58:09it were wonderful, but parts
• 58:10of it need to be
• 58:11improved on. And we are
• 58:13always, you know, surveying and
• 58:14assessing
• 58:15and,
• 58:16learning
• 58:17from from what we do.
• 58:19We see the museum as
• 58:20a lab,
• 58:21our own
• 58:22not a you know, different
• 58:24than a science lab, but
• 58:26in many ways, the same,
• 58:27where we're trying things out
• 58:29and,
• 58:30and learning.
• 58:31Always learning. And maybe one
• 58:33last comment. And Linda has
• 58:35run a lab here in
• 58:35New Haven for many years.
• 58:37It's incredibly special. Linda, do
• 58:38you wanna comment on your
• 58:39lab and your thoughts?
• 58:41Yes. Thank you for Franchesca
• 58:44for the wonderful presentation,
• 58:46for the work that you
• 58:47and all of your colleagues
• 58:48do
• 58:49and for everybody
• 58:51in the audience who supports
• 58:53helping
• 58:54individuals,
• 58:57no matter what we are
• 58:57doing with them. I think
• 58:59the issue of loneliness,
• 59:02is a really big one.
• 59:03It is one that is
• 59:05becoming
• 59:05more and more significant in
• 59:07the autism
• 59:08community.
• 59:10There've been a lot of
• 59:11studies done and when,
• 59:14individuals on,
• 59:16that are autistic
• 59:18reach their,
• 59:20age, their, their,
• 59:23late teens, early twenties, that
• 59:25the issue of loneliness,
• 59:27really does set in. There's
• 59:29been a lot of very
• 59:30interesting studies done,
• 59:34in Europe,
• 59:36tracking their feelings,
• 59:38having them recorded on some
• 59:40kind of a super duper
• 59:41gadget watch,
• 59:43where they,
• 59:44keep track of when the
• 59:46cells are feeling lonely.
• 59:48And I think,
• 59:50you're so right in terms
• 59:51of both ends
• 59:53of the spectrum in terms
• 59:54of age groups.
• 59:56And we all know what
• 59:59many things that are changing
• 60:00within our society are doing
• 01:00:01to younger people.
• 01:00:04I I think,
• 01:00:07you know, I I just
• 01:00:11the, the issue of getting
• 01:00:12people into the museum is
• 01:00:14one of trust.
• 01:00:16I have been working for
• 01:00:18a very long time now.
• 01:00:19I work at the Yale
• 01:00:20Center for British Art,
• 01:00:22and did a symposium in
• 01:00:24the fall just to help
• 01:00:25raise
• 01:00:26awareness.
• 01:00:27We did multiple
• 01:00:29audits of our space
• 01:00:31by different age groups of,
• 01:00:34people on the spectrum and
• 01:00:36what worked for them within
• 01:00:38the space and what didn't.
• 01:00:40I think that our,
• 01:00:42art institutions
• 01:00:43need to have a commitment
• 01:00:45to making the changes
• 01:00:47that make people feel safe
• 01:00:49and wanted
• 01:00:50and welcomed,
• 01:00:52in our spaces.
• 01:00:53I think the idea of
• 01:00:56looking at,
• 01:00:58art no matter what nationality
• 01:01:00or formation it is, is,
• 01:01:03something that is ubiquitously
• 01:01:06attractive
• 01:01:07to people.
• 01:01:08And I think we
• 01:01:11would love to have more
• 01:01:13conversations
• 01:01:14with,
• 01:01:15Doctor. Mayes and other folks
• 01:01:17at,
• 01:01:18the Child Study Center in
• 01:01:19terms of how to get,
• 01:01:22people within the museum,
• 01:01:24people to get to and
• 01:01:26in the museum
• 01:01:27to perhaps have more trust
• 01:01:30in
• 01:01:30our,
• 01:01:33our programming and what it's
• 01:01:34all about and how we
• 01:01:35best get the word out.
• 01:01:39Thank you, Linda.
• 01:01:41Any last words?
• 01:01:43Thank you, Linda, for those
• 01:01:44comments. I agree. It is
• 01:01:46it is about building trust,
• 01:01:48and,
• 01:01:48I hope that that you
• 01:01:50and I can talk more
• 01:01:52about this too.
• 01:01:53We went to the the
• 01:01:55British Museum,
• 01:01:57earlier this morning, and,
• 01:01:59and what a wonderful
• 01:02:01place, an incredible resource for
• 01:02:03the community. So,
• 01:02:06with that, I thank you
• 01:02:08all for being here today
• 01:02:10and,
• 01:02:11to more conversations
• 01:02:12in the future.