Healing Through Art: Larissa Trinder on NYC Health + Hospitals

In this episode of Art Heals All Wounds, I sit down with Larissa Trinder, the Assistant Vice President for Arts in Medicine at NYC Health + Hospitals. Larissa shares the transformative power of art within healthcare, discussing how intentional art initiatives and community engagement can improve hospital environments, support staff, and promote wellness for patients—including those in marginalized communities.

Key Topics Covered

·       Larissa’s Path to Arts in Medicine:
Larissa shares her personal journey, starting with her son’s experience with dyslexia and the role of art in boosting his self-esteem, ultimately leading to his career as an animator. 

·       History of NYC Health + Hospitals’ Art Collection:
The hospital system holds over 7,500 works of art, one of the largest public art collections in NYC, originating from the 1930s Works Progress Administration. The collection includes iconic works like Abram Champanier’s Alice in Wonderland panels and a Keith Haring mural raising AIDS awareness.

·       Art as a Tool for Engagement and Healing:
Larissa explains how art programs serve not just to beautify spaces, but to foster community, support staff well-being, and highlight critical social issues like gun violence and support for asylum seekers.

·       Highlighted Projects:

o   Art programs in correctional health services at Rikers Island, including a mural at the reentry center co-created by incarcerated individuals and artist Dindga McCannon.

o   Guns Down, Life Up—an arts initiative embedded in hospital violence prevention programs.

Upcoming Events & Announcements

·       Documentary Premiere:
Hidden Art Healing Walls will air on WNET’s Treasures of New York and all PBS stations in early 2026, showcasing the Art in Medicine program.

·       Major Exhibition:
An exhibition of the Abram Champanier murals opens at the Museum of the City of New York, June–September 2026—the museum’s largest show of the year.

·       New Exhibitions:

o   We Belong Here (opens June 4, 2026): An exhibition highlighting immigrant support through NYC Care, with works by three immigrant artists displayed citywide.

o   Housing for Health/Street Health Outreach: In collaboration with NYU’s Healing Arts Week (fall 2026), featuring art created by patients experiencing homelessness.

How to Learn More

·       Bloomberg Connects App:
Search for NYC Health + Hospitals Arts in Medicine to view a digital collection and learn more about their programming.

·       Official Website:
NYC Health + Hospitals – Arts in Medicine
(Note: The site is being updated but contains extensive information.)

·       Book:
Healing Walls – Features photos and stories of the community mural program.

·       Therman Statom

·       Roger Ulrich

Connect with Art Heals All Wounds

Website: arthealsallwoundspodcast.com

Credits

·       Music: By Ketsa and Lobo Loco

·       Editor: Iva Hristova

Transcript

Pam Uzzell [00:00:12]:
Do you believe art can change the world? So do I! On this show, we meet artists whose work is doing just that. Welcome to Art Heals All Wounds. I'm your host, Pam Uzzell. How does someone find their way to working in arts and medicine? That's a question I've asked all of my guests this season. Today, I'm talking with Larissa Trinder, Assistant Vice President for Arts in Medicine in New York City Health + Hospitals. Like many people working in arts and medicine, Larissa's story starts in a personal place, when she discovered that art was a way for her son, who struggled with dyslexia, to maintain his self esteem. One summer camp claymation class led to a career as an animator for him.

Pam Uzzell [00:01:14]:
This experience in her own life informed her career choices, which eventually brought her to her current position. New York City Health + Hospitals treats over 1.6 million people every year, a huge safety net. It also has an art collection consisting of more than 7,500 works of art. This collection is considered one of the largest non museum public art collections in New York City. It all began in the 1930s through the Works Progress Administration, a New Deal program started by FDR. At this time, New York Health System saw the creation of many murals and other works. Among them is a series of paintings by the artist, Abram Champagnier depicting scenes of Alice in Wonderland for a children's tuberculosis ward. Fast forward to 1986 to the painting of a massive mural by the artist Keith Haring, who used it to raise awareness of AIDS.

Pam Uzzell [00:02:17]:
Both of these works, as well as the many others in the collection, demonstrate the underlying philosophy of Arts in Medicine at New York City Health + Hospitals, which is, having artists create works to illuminate some of the more complex things that this public safety net and the world are facing. This conversation with Larissa was from a few months ago, so stay tuned after the interview to hear some updates from her on new happenings with Arts in Medicine in New York Health + Hospitals. You wanna know how you can really help me keep this show going? Follow me on your favorite listening app. So easy. Right? And if you really wanna give the show a boost, leave me a five star rating or review. Hi, Larissa. Thank you so much for being on Art Heals All Wounds today. Can you introduce yourself? Just tell us your full name and what you do.

Larissa Trinder [00:03:20]:
Hi. Thank you for having me. I'm really delighted to be here and have this conversation with you. My name is Larissa Trinder. I am the Assistant Vice President for Arts + Medicine at New York City Health + Hospitals. In short, what that means is we oversee an art collection dating back to the 1930's with about 7,500 pieces that we distribute throughout the health system to contribute to health outcomes. And we also deliver pro evidence based programs, mainly focused on our staff and workforce.

Pam Uzzell [00:03:54]:
You know until, I'm not sure when, maybe a few months ago, and I read an article about the art collection that New York City hospitals have, I was shocked. It just never occurred to me. And I'm really fascinated to know how you found yourself here. What is your interest in arts in medicine? Where did you start? How did you wind up here?

Larissa Trinder [00:04:19]:
My journey was certainly, a little bit non circuitous to this point, but I, you know, I think that an early exposure to this kind of the the impact that art can have on one was really with my, middle son who's now 25, but at the time, struggled really terribly with dyslexia. And when he was diagnosed at about five or six, one of the things we were told was to make sure to, you know, help keep his self esteem intact. And one of the ways we did that was through what we believed he really loved, which was the arts. And at that time, we didn't realize he would ultimately, this would be his career path in his life or that he had any talent at the time, but, you know, I put him in a summer course in a claymation class at the Museum of Contemporary Art in Virginia Beach, and that was it. After one week, he was hooked, and I saw such a noticeable change in his spirit and his esteem and sort of the empowerment that the arts could have. And he, you know, just got his MFA and is an animator and and, has a master's in kinetic imaging. And so that was sort of one thing that was happening to me as a young mother, but I think the other thing was I was the director of principal giving at a children's hospital in Virginia and always thinking of different ways to sort of raise funding for different service lines and different communities, to expose them to the children's hospital. And the arts community was constantly sort of kind of overlapping a little bit, with what was happening, and we engaged an artist that was introduced to me from a donor to the system, and we created these glass fish with some children in the oncology unit with an artist, pretty famous artist from the Midwest and a well established artist, Thermon Statom.

Larissa Trinder [00:05:56]:
And that whole experience taught not only me or or exposed me to the idea of creative expression and integrating that into a health system, but it also really helped to educate the culture of the hospital I was in as well. And so cut to ten years later, we just we established a creative art policy, and then we built a pediatric mental health facility and integrated the arts there. And so it really burgeoned into this kind of amazing field. But even then, it was still something I was swimming upstream with, and it was not something that was really adopted well by the system. They they kind of tolerated it. They they too knew that this was a nice thing to do, but they didn't really see it as a system wide strategy to support wellness and to really define the culture of what the arts can do to augment medical interventions. So, anyhow, long story short, I went to NYU, got a master's in public administration, and it was there that I learned a lot about the different city agencies in New York City and then ultimately what landed this position about two and a half years ago. So I'm very honored to have this role and also very honored to be in a system that not only recognizes what arts in medicine can deliver, but actually made a very significant structural decision to place this department on the quality and safety cabinet.

Larissa Trinder [00:07:13]:
And that means that I sit among 14 other departments or entities that are looking out for the culture and safety of the entire organization. And just quickly to back up, Pam, you know, that this we are the largest public safety net. So we have 11 hospitals, five long term care, and over 70 clinics in all five boroughs, treating 1.6 million New Yorkers every year. So it's really a tremendous undertaking to consider the mental health of that kind of a workforce and to think about all of the different avenues and ways that we can be supporting their mental wellness so that they can then deliver care to some frankly very compromised populations.

Pam Uzzell [00:07:55]:
Wow. Well, first of all, I love that story about your son. That is such a, you know, lived experience. I find it fascinating talking about when you first started working at the intersection of arts and health, that it was challenging, that it wasn't really taken seriously. And then you found this place that really has integrated it into its idea of what health and well-being can be. I think you said their collections go back to 1930 or something like that. What can you tell me about the history of New York City's arts and health?

Larissa Trinder [00:08:35]:
Sure. No. It's it's a wonderful question, and it definitely helps to set the context for how this department really functions today. The collection began in the 1930s during the Works Progress Administration when FDR created this as not only a practical way to engage and employ artists during the Depression to give them a paycheck, but also, recognizing that a lot of these public municipalities could really be adorned with large scale murals and experiences that could distract and really engage the communities that they were in. And I don't think it was done in a way that we kind of scientifically have researched today to really further understand. But even there, there was just this sort of intrinsic knowledge that, hey. We wanna make your post office a little bit better looking or your public school and in my case, the public health system. So at that time, dozens and dozens of murals came into the system, and I think one of the most notable was an artist named Abram Champanier developed a 16-panel immersive experience for children in the long term tuberculosis ward at Gouvenir Children's Hospital.

Larissa Trinder [00:09:41]:
And those panels were massive, and they were there with these children that were there for months, sometimes years at a time, and they really were early exemplars of how these experiences could certainly distract and bring joy and some of them have even some poetry written into them. So the nurses were, we are assuming, engaging these children in some of these images. So there was really an early idea that this somehow was something we needed to have. And then you know, that arc continued into the 60s and 70s and there was an advisory council comprised of creatives and artists and philanthropists in the city that really thought again about the public system and how they could bring some art in. So, we have so many famous artists in our collection that cross pollinate with, the collections at MoMA and the MET and the Whitney Museum and the, you know, the Brooklyn Museum. I could go on. But what I always say to people is that in the sixties and seventies, a lot of these artists were not famous yet. So we received them.

Larissa Trinder [00:10:37]:
They they went a lot of them went to The Art Studio school that still is here flourishing in downtown Manhattan, and they went through these systems. They knew each other. A lot of them were in groups knowing one another that are famous, and Jackson Pollock and Lee Krasner, and and people from those generations really, you know, created a lot of pieces. And so a lot of them, you know, came our way. But, also, we have a lot of because we're New York, we, of course, had a lot of other opportunities to sort of acquire pieces. And and then in the eighties, of course, Keith Haring was very instrumental in developing a massive mural for us at one of our facilities in Brooklyn that's still there today. I think it was 1986, and he lived in the hospital for two weeks interfacing with staff and families and patients. And what was so fascinating about him, and he's another whole podcast, is that he was able to highlight and raise awareness for AIDS at a time where HIV and all of that was just so stigmatized and frankly, in many ways, still is, criminalized today, but he really highlighted that.

Larissa Trinder [00:11:39]:
So we now really understand that as part of our mission and ethos and we take our artists and think about how can they illuminate and highlight some of the more complex things that public safety net and, frankly, the world are are facing at the same time. So as far as the collection goes, and then, you know, that just carried through, and we are now in the process, frankly, of developing a new advisory council to sort of manage potential acquisitions and deaccessioning or taking pieces that are not appropriate, and finding other homes for them. So that's sort of the very short version of what happened with the history of this incredible collection.

Pam Uzzell [00:12:19]:
Wow. You're right. There are, like, three other podcasts we could do if we picked out some of the threads in there.

Larissa Trinder [00:12:26]:
Well, you know, I mean, Pam, just to to extend for a moment on that whole idea of how an artist using Keith Haring, you know, we have so many things that we are dealing with at this in this health system, but one of the biggest focus areas is our gun violence prevention program and hospital violence are called hospital violence prevention programs, and we have five of them. But we have one very prolific one in The Bronx that is there because it's one of the most difficult neighborhoods with the largest amount of gunshot and stabbings. And so, anyways, we have this whole system embedded where they have they're called credible messengers where they go to meet the patient in the within fifteen minutes of them coming in. They go out into the community after they determine where they came from, if it was gang related or not, and they help to deescalate. Well, we embedded an artist last year into that entire program. It's called Guns Down, Life Up, and he did tons of different programming to help to, illuminate this issue for us. So it's sort of like marketing in a way, and he worked with these amazing youth that created a mural. They did Shakespeare.

Larissa Trinder [00:13:28]:
They had their own art exhibition. So, you know, there was all sorts of ways, and this whole thing culminated at this beautiful kind of event at Carnegie Hall last year, and Carnegie Hall was amazing in giving us this space. And so, you know, there was a real coming together, but more importantly, this one artist and his kind of network were really able to help us meaningfully deliver more information on what we had as resources for, hospital violence prevention. So I just I'm sorry to jump in. I just want to say that's just another wonderful way artists can really play an essential role in helping to raise awareness.

Pam Uzzell [00:14:02]:
What I'm hearing is that the philosophy behind this is much more than just let's have some really nice or interesting artwork up in the hospitals. It sounds very much like there's a very significant component of community engagement. I'm just wondering, you know, I think you alerted me to this video about a mural that was made on Rikers Island as well that had not only it was artist led, but a lot of people within the community there worked on it. Do you know more information about that project and what it's a part of?

Larissa Trinder [00:14:42]:
Oh, yeah. I mean, that was a wonderful project with an artist named Dzinga McCannon, who's extremely prolific and well known and has done some incredible work. She's kind of known a lot for her textile work, but this was a mural. So she was engaged through our, correctional health services. So Health + Hospital oversees, as I just said, correctional health services, which are the patients that are incarcerated at Rikers Island. You know, we care for them. And so we have a creative art therapy program that is embedded there that works with them. And and as a quick aside, art therapists are, you know, identifying and looking for clinical outcomes.

Larissa Trinder [00:15:18]:
Art in medicine interventions are seeking distraction and joy and other sorts of outcomes. And so just to make that quick distinction. So she worked, through that program, but with a lot of the incarcerated individuals to develop a mural for a a center. A re it's called a reentry center, and it's like literally a trailer on Rikers. It's the very first thing one would see when they're leaving. And and and inside it, it includes a bunch of wraparound services, legal services, how to get your Social Security back, where you're gonna find housing, and, you know, all sorts of things to sort of help you navigate this next stage in your life. And she worked with and created this beautiful mural that they have hanging there now that really is a reflection of everyone involved's thoughts and shared experience. And so I think that that's you know, yes.

Larissa Trinder [00:16:06]:
She's this incredible artist, but the artists that we really work with in our community mural program are really tasked with being highly collaborative and recognizing they're sort of an aperture for these larger ideas and that they are really there to reflect kind of the what the community wants. And there's a lot of science and data around if you have a piece of art behind you that is developed either with your input or, you know, by a real artist or if you just simply have a poster hanging on the wall that nobody thought about. They just thought they're gonna like this poster of this flower floating in a, you know, river. So there's just a lot of intentionality behind it. But, anyways, the Dindga, the that partnership was just wonderful, and we we do a lot with the creative art. We do a lot rather with correctional health services as part of our arts + medicine health justice arm, which is another project.

Pam Uzzell [00:16:57]:
Well, I love that point you just made about the difference it makes when you have intentionality and community involvement, as opposed to just, oh, let's put some pretty pieces of some pretty images up. That's really profound. And I think that maybe it should be a no brainer, but I don't think it is.

Larissa Trinder [00:17:18]:
Yeah. It's so interesting because when you're in this space, you sort of think everybody thinks like this, but then when you don't, you don't you realize that's not happening. There has been for decades now some intentional design principles, and, you know, those were sort of developed by, a guy in the eighties and he, you know, Roger Ulrich, who really kind of defined what an evidence based defined environment should be. So there's been some work on that. And I think though recently, in particular, there's been a lot more emphasis on, you know, intentionally designed spaces, as I just said, with a collective input. And so we have this amazing collection, and because we have such a diverse patient and staff population and, frankly, range of services, we can't just pull pieces from our collection that we believe, even if we have well informed people on staff who know artwork and we've studied whether abstract or figurative or landscape will work better in certain settings, it still ultimately is a much better outcome, and we've started to evaluate and research some of these to learn more. We definitely see so much more value. I mean, here's a great example.

Larissa Trinder [00:18:26]:
We have a safety net clinic for people experiencing homelessness in one of our facilities in Brooklyn, and they wanted to curate the young doctor that just sort of took over the entire clinic who's wonderful, said, you know, I really need some artwork here. What should we have? And I made the assumption that we should pull art from our collection that did not reflect houses or home environments that that could be triggering. So long story short, after several focus groups and sessions, it was quite the opposite that the the patients that really were there wanted to see some images of homes and wanted to see certain things that I completely didn't think about. And so it's so important in that that it's now just this really warm clinic and we're studying how it's sort of enhanced trust and sense of belonging and potentially contributed to their experience. And once they can be clinically seen and and cared for, that will hopefully lead to better care for themselves and obviously the ultimate for most people wanting to get off of the streets. And so there's a real beautiful intentionality happening in the space and a lot of people thinking about it.

Pam Uzzell [00:19:34]:
Wow. That's an amazing example. You really are talking about how that it has to go beyond just our own limited knowledge of life experience and really, really you need that community input in order to create something that will have a meaningful impact. And I am wondering, I'm sure anecdotally, but are there other ways that, you know about the impact of these different projects are being studied? Or how do you collect that kind of information?

Larissa Trinder [00:20:10]:
We developed a research and evaluation arm about a year and a half ago to sort of think about these things. Because to your point, we sort of felt what we all intrinsically knew to be true needed some more quantitative value in order to, discuss this in an imp any impact reports we have with our funder for me to determine what that kind of cost benefit analysis could be for our CEO and our leadership for them to continue understanding the important value we're bringing. And so we started first because most of what we are focused on, as I mentioned, is our staff, and we have 42,000 of them. And so we started on how can we measure some of these things. And we use it, we we use the Maslach burnout index for a lot of the studies that we do, and we there are several components to that, but one of them is depersonalization, which is one that you're in a work in the workforce and you start to really feel detached from what you're doing. You've lost that sense of empathy. For others, you really are just honestly, for not in a better word, you're burned out. So, you know, there's a lot of people working on this, not just arts and medicine.

Larissa Trinder [00:21:06]:
As I said, I'm part of a system wide strategy. But one of the things that we deliver in those sit situations is art observation. And I know from your conversation with, I think, it was Meredith Heller talking about deep listening, you know, I thought that really resonated with me because we have this art and empathy building workshop where we partner with currently, it's the Whitney Museum and Brooklyn Museum where they bring an educator. They look at a piece from our collection, often as an artist they both we both have. And there's just all sorts of science behind this from the nineties that when you have, particularly in medical curricula, when you're looking at a piece of art, like, if you and I were looking at the same piece of art, we're gonna have very different kind of perspectives ultimately because of our different lives and different experiences. And then particularly when you're in sort of a, again, really diverse situation like this, it's really important. And so we've brought this kind of it's called Heart of Medicine, and it's an empathy building workshop, and we do often with just a mixture of people in the, hospital, clinical, nonclinical. But what's gotten more interesting in the last kind of year, and we're evaluating this, is more strategic teams.

Larissa Trinder [00:22:12]:
So looking at the team that oversees asylum seekers or this team that's looking at population health or the team, as I mentioned, the safety net. You know, what what is what do they need to feel supported and valued? And so one session of this is great. You feel good, and that there's, like, a sharing kind of a group therapy component at the end. It's run by the art educator and an art therapist. But what's gotten really neat is seeing four or five or six series you know, consecutive workshops, and those teams just really are suddenly seeing each other. They may work together all day long, but they're not learning these intimate details or they didn't know that somebody went through a divorce or their child was sick or something was happening in their life that was making them feel a certain way. So so, anyhow, that's sort of a wonderful I think that kind of active I think she calls it from the Whitney, deep looking. And then, you know, we're working on a music version right now with Julliard thinking about active listening and how you when you listen to a piece of music and then you journal and you listen again, you know, what that will mean.

Larissa Trinder [00:23:14]:
So all of these kinds of ideas and things are really starting to be we know they're really well received and that the staff love them, but we have to make sure that we're studying them in a way that correlates with impact and outcomes. And, you know, so we have some short studies happening and some longer ones. And right now, we're we're in a global research study with NYU's Jameel Art and Health Lab and the World Health Organization thinking and looking at large scale murals. And so we're working here at New York City Health + Hospitals. We're working with a system in Slovenia, Nigeria, and The UK, all that have these large scale murals, all that have kind of a variation of community collaborative approach to this, and we're learning along the way. We're just sort of on I got about a year into a two year study to get some really initial feedback, but we're really learning that that piece, that collaborative piece is incredibly important. And I just went way off.

Pam Uzzell [00:24:11]:
No. Everything you're saying is really inspiring and exciting, honestly. I think this thought popped into my head while you were talking that there's so much front page news, just as an example, about asylum seekers in or, you know, people who are undocumented arriving in New York City. Most of them are asylum seekers and kind of being dumped there and the city being overwhelmed. And I feel like that's very important news, but what you're talking about too should also be on the front page in terms of there are different organizations with different lenses looking at certain challenges in the city. And that's very inspiring. I I wish that this was much more prominent in terms of, of any news that we get out of any particularly you're talking about a lot of urban issues, which are very similar in many other places in The US, but New York City is the biggest place. So to have this all happening there is so inspiring.

Pam Uzzell [00:25:23]:
I'm really curious. So there are all these programs, all these different art pieces. Do you have a favorite among the programs, among the art pieces that really speaks to you?

Larissa Trinder [00:25:35]:
I mean, I get asked that a lot. I really, really love our community mural program because it's really fun to work with staff and the families and the communities and any of them. But we we have an amazing artist in residency program as well, you know, and I just shared the story this morning. We had an artist put herself in the elevator last week with a cart, and she rode the elevator all day and created these art things with people. It was this whole, like, thing, and it brought so much joy to so many different kinds of people that go through. So I love the artist in residency program as well. To be honest with you, on a more a broader level, I'm really just so proud of the progressive thinking that this system has around the essential role that arts and how art should play in health care and that I always say if you are not forming some sort of an approach or strategy like this, then you are not delivering the best kind of health care, whether you're in the most affluent system in the country or you're in the biggest public safety net. So, you know, these are not replacements for clinical intervention, but they certainly are important and that, you know, bleeds into this entire social prescriptive, you know, movement that's really happening where providers love these ideas.

Larissa Trinder [00:26:54]:
And, you know, social prescribing, has been happening in Europe for a decade and a half or so. But, really, it's just that idea of what brings you joy and what makes you happy in this life. And, you know, you could be treated for depression and have an SSRI, you know, prescribed to you. But if you're not making those greater social connections or you're not getting into nature or you're not getting back to the things that really bring us all joy, then you're gonna be only kind of solving the problem. There certainly is something addressing a chemical imbalance that's beneficial and can be helpful. But if you take it to the next level and you there's, like, all sorts of anecdotes out there to demonstrate this, then you're not really providing that. And our providers, particularly our behavioral health departments, you know, are really interested in this kind of framework. And, you know, we have a large, volume of community health workers who we are currently working on a strategy to highlight, but historically community health workers are that person that's taking the patient maybe to the dentist or taking the patient helping them work through a legal problem or connection.

Larissa Trinder [00:28:01]:
And so they play sort of all these amazing roles, but are really under the radar, and they can also really be a critical role in helping to, connect them to cultural activities and other art activities in the community and with other non government, organizations and things like that. So I think that social prescribing in some way, shape, or form is really, hopefully, taking off in a way that will be incorporated certainly at health and hospitals, but also in in other ways. And a lot of states in this country, not a lot, very few are really thinking about this, but some are very significantly, and California is one, Massacusetts and Rhode Island is one, they have a whole state art council that talks about how how can we get, you know, you're familiar with Rhode Island, how can we get Rhode Island School of Design involved with LifeNet? So they're thinking with the Nature Conservatory, like so there's all these different entities coming together to strategize public health. And I think until we really shift our thinking on how the arts and cultural interventions, again, are not just a nice thing to have, we know that. We've had those kinds of things for a while. But, you know, how they're actually really critical to supporting your and humanizing that whole health care experience, which as we know increasingly is getting more and more stressful.

Pam Uzzell [00:29:19]:
Well, yay for New York and California and Rhode Island and Massachusetts. Very proud of them. I think probably in a certain amount of time, you should come back on the show. That was a great overview, but there are so many things we could do a whole show on. But I'm wondering where can people find out more about New York City's Arts in Medicine work that's happening?

Larissa Trinder [00:29:45]:
So there's two very easy ways. One is we are on the Bloomberg Connect app. It is a free culture app that, actually was developed by Bloomberg Philanthropies during COVID to connect different cultural organizations that were shut down. So you could be home isolated and and look at a museum in Spain, you know, or or wherever. And we are proud of the fact that we were the very first health care organization to go on there. And so we currently have close to a thousand pieces of our art on there, but we also really try to, create and contribute to a larger discourse on, you know, why art and health care and why it matters and why it's important and how we intentionally kind of think about it. And so that's one, Bloomberg Connect, and then the other one is our website, Arts in Medicine at New York City Health + Hospitals. You can Google, and we're actually working on kind of updating it a little bit, but it certainly has enough information to give large scale perspective on what we're doing.

Larissa Trinder [00:30:45]:
Those are two two good ways. And then we do have a we did come out a couple years ago with a beautiful book called Healing Walls that we're about to do another edition over that talks a lot and shows some beautiful images of our community murals and has some wonderful, introductions that talk a little bit again about the importance of these, experiences in health care.

Pam Uzzell [00:31:06]:
That sounds wonderful. Well, it has been so great to talk to you this morning. It's like a great way for me to start my day. A Monday, we're talking. And I just appreciate your wealth of knowledge and all this information you shared. You definitely should come on the show again.

Larissa Trinder [00:31:25]:
I would love to. And, I mean, thank you for really helping to define this space a little bit more. It's really, really important that the podcast world and just the world in general understands, and you bring on such an interesting and diverse group of people. I just honestly never know, and I find I learn so much from all of the different kinds of participants that you have. So thank you.

Pam Uzzell [00:31:46]:
Oh, yeah. Thanks for saying that. I learn a lot too. All right, Larissa. Take care and we will talk again soon.

Larissa Trinder [00:31:55]:
Ma'am, appreciate it. Bye bye.

Pam Uzzell [00:32:00]:
You're listening to Art Heals All Wounds. Wow. It was so great to have this conversation with Larissa Trinder about arts and medicine at New York City Health and Hospitals. Here are a few upcoming events for them. Larissa sent me the news that the film, Hidden Art Healing Walls, which focuses on the arts and medicine program at New York City Health and Hospitals, will air on an episode of WNET's Treasures of New York series and on all PBS channels in early 2026. Also, an exhibition of the Champanier murals, which we talked about in the episode, will be at the Museum of the City of New York from June through September 2026. It will be their biggest exhibition of 2026 and highlight the importance of visual arts in hospitals, particularly public hospitals. Finally, Larissa writes, "we find ourselves in unprecedented times with a deluge of attacks on art and culture in our society by the current administration."

Pam Uzzell [00:33:29]:
This is only too true. To counter this, Arts in Medicine of New York City Health + Hospitals will be ramping up their exhibition strategy to include two upcoming shows. The first show, June 4, "We Belong Here", highlights New York City Cares, a resource for immigrants through the hospital system. For this exhibition, they engaged three immigrant artists from the community mural program to develop three incredible works, which will appear all over the city on bus shelters and kiosks. The second exhibition will be for Housing for Health, Street Health Outreach and Wellness Mobile Units, New York City Health and Hospitals. This exhibition will coincide with the United States Healing Arts Week in the fall at NYU, featuring a project that includes patients that are unhoused working with an artist all summer. I will put many, many links in the show notes so that you can find out more about not only these upcoming events, but some of the things we talked about in this episode. Thank you so much to Larissa for sharing all of this with us.

Pam Uzzell [00:34:35]:
You know, I'm not on social media too much anymore, but if you want to get in touch, please reach out through my website, arthealsallwoundspodcast.com. Thanks for listening. The music you've heard in this podcast is by Ketsa and Lobo Loco. This podcast was edited by Iva Hristova.