Art to Live: International Symposium Report

Talking about the art created by people with disabilities is challenging. This is probably due to the fact that the discussion is related not only to the artwork and the artists, but also to various fields and issues such as disabilities, welfare, social systems, and ethics. For this reason, in symposiums about art activities by people with disabilities, the “artist” and the “artworks” often fade into the background.
However, the Art to Live International Symposium proved these concerns to be unfounded. In particular, the presentation by Tom di Maria, Honorary Director of Creative Growth Art Center in Oakland, California, titled “50 Years of Creative Growth: From an Auto Repair Shop to the San Francisco Museum of Modern Art,” was an opportunity for us to become aware of the empowering potential of “art,” its ability to connect people and communities, and the possibilities of art centers in a tangible way. Below, I will highlight some key moments from Tom’s presentation in the first session that left a lasting impression. Then, I will examine the issues raised in the second session, which involved art professionals engaged in the artistic activities of people with disabilities in Japan.

An impression from the first session was how Creative Growth has consistently worked to “recognize the works of people with disabilities as contemporary art.” It is also a place where the term “Art to Live” is not abstract or conceptual, but truly comes to life.
Creative Growth began in 1974 when artist Florence Ludins-Katz and psychologist Elias Katz opened their garage in Berkeley as a space for people with disabilities to create art. In the 1980s, the center moved to its current location—a former auto repair shop in Oakland, California—which was transformed into a two-story studio and gallery space. Over the years, Creative Growth has supported 140 artists annually, including figures like Judith Scott, an artist with Down syndrome; Dan Miller; and William Scott, who incorporates Michael Jackson and pop culture into his paintings. In 2023, Creative Growth partnered with the San Francisco Museum of Modern Art (SFMOMA), resulting in the acquisition of over 100 works by its artists, two exhibitions, and a series of events spanning three years.
Creative Growth’s innovative approach is rooted in the philosophy of “person first.” This principle holds that, to truly listen to an artist’s voice, staff members themselves must also be artists. Consequently, the center employs staff with backgrounds in art school or as artists, rather than welfare professionals. In this model, the creation and exhibition of art are entirely driven by the decisions of the artists themselves, with no directives from the staff. At Creative Growth, “support” means assistance with artistic activities, not daily life.
Tom’s statement, “We are making art. We are part of the art world. It doesn’t matter whether someone is a student at an art university or a person with disabilities,” was particularly striking. It conveyed a sense of solidarity and respect that transcends roles or positions, uniting everyone as fellow “artists.” The partnerships and collections established with museums stem from the connections built through the “person first” philosophy over the past 50 years.

In contrast, during the second session, the challenges and shortcomings of evaluating works by people with disabilities as contemporary art in Japan were shared.
Yukiko Koide, a gallerist, noted that while international art professionals actively discover new values themselves, Japan tends to focus conservatively on works that are already recognized. Moderator Hiroki Yamamoto pointed out that critical discourse on works by artists with disabilities is still underdeveloped, reflecting the immaturity of such discussions. Kenjirō Hosaka, Director of the Shiga Museum of Art, remarked that although some museums collect Art Brut works, they rarely exhibit them. Additionally, he highlighted how the collection policies of Japanese museums often focus on regional and global art, leaving no framework or specialists for collecting Art Brut.
These comments reflect how Japan’s art world and cultural administration are entrenched in specialized and traditional systems and classifications, leaving no space for “Art Brut” or “Outsider Art.” This mirrors the invisible barriers that people with disabilities face in Japanese society.
Addressing this issue, Ms. Koide emphasized the need for advocates and supporters such as Tom who can speak about works by people with disabilities. Additionally, Kaoru Ōuchi, curator at the Shibuya Koen-dori Gallery in Tokyo, noted the growing interest in Outsider Art in fields like sociology and expressed hope for future talent development through collaboration with such disciplines.

As seen above, pessimistic remarks similar to those about the state of contemporary art in Japan—lacking criticism, funding, talent, and a market—were expressed. Moving forward, what kind of initiatives can be pursued in Japan?

There are various possible answers, but the evaluation of artworks and artists does not begin with systems or classifications—it starts with looking at each individual work itself. Just as the San Francisco Museum of Modern Art featured Creative Growth’s works in its permanent (special?) collection, there is no experience more valuable than seeing artworks firsthand through exhibitions. At the symposium’s outset, Koide remarked, “The art world and art history evolve with the times and social circumstances. Using exhibitions as a tool, it would be great if works by people with disabilities could be seen in a new light.” This underscores the need for innovative approaches in exhibitions.
Hosaka and Ōuchi also cited the practice of placing recorded footage of artists’ creative processes alongside exhibits as a way to convey their personalities and “stories.” This approach could effectively foster better understanding and connections.

In today’s social media era, where photos and videos dominate, what is needed may be “narratives.” The works of artists with disabilities often include compelling personal stories, unique techniques, or obsessions that resonate with people. By sharing and conveying those “stories,” perhaps it could lead to new connections and awareness?
Looking forward, how can art history and exhibitions in Japan redefine the way we see works by people with disabilities? Inspired by the spirit of “person first,” revisiting their voices and works might uncover untold stories and new perspectives that have long been overlooked. That narrative is bound to be more enjoyable than difficult.