Massachusetts College of Art and Design - Palette and Pen Yearbook (Boston, MA)

Text from Pages 1 - 140 of the 1964 volume:

forewitrd One of the most fascinating metaphysical phenomena in life is the passing of time. Time is a sort of motion unlike any other and yet so similar it is difficult to separate without a great deal of discontent. The world of art is an area of study which illustrates in part movement or motion — progress or procedure — culminating in mental growth through a skillful talented personal interpretation. This physical universe is composed of many elements beyond our control. Because of the impossibility to control time, the human being attempts to grasp and obtain this element in a manner resulting in personal satis- faction. An individual grasping, fighting, absorbing, and obtaining is one of such intelligence and character that he is constantly trying to broaden and improve. He desires that amount of ability and recognition suitable to his mature stature. A pushing or pulling of the mind develops emotions into physical attributes and time cannot escape without being successfully used To further one’s education is to take advantage of certain opportu- nities available and to grow by using elements derived from the so-called impossible. Thus, it has been proven through our endeavors that we are partially fulfilled in our growth as individuals and in our attempts to control a minute dimension of the universe — aesthetically as w ' ell as intelligently. As mature people we should realize that the growth of the mind is a continuous process in which we will always improve and be rewarded. This can never be removed from us or considered invaluable. dedication It is with respect to those of the past and present that we dedicate this Annual in the celebration of the Ninetieth Anniversary of the Massa- chusetts College of Art. Without these individuals and their faith in the world of art, the college, which is still the only state supported art institution in America, would not be in its present standing. pr€� sid4 ni heriolli Each year the Massachusetts College of Art Annual marks an anniversary in the life of each of us and in the history of the College. An anniversary is always a serious occasion. It can be a joyous one only if it is accompanied by vistas of expand- ing horizons involving greater success and fulfillment. The Ninetieth Anniversary of the Massachusetts College of Art is, therefore, a most happy and auspicious one. For all those who appear within the pages of this Annual it becomes a symbol of another long step toward personal greatness and individual accomplishment. dean steeger These pages bind together congeries of experience in which the faces of your classmates and faculty will stimulate memories of classwork and homework, of formal lectures and informal conversation, of pleasures and displeasures, of competing painting styles and conceptual differences, of friendships, of days of difficulty and days of outstanding achievement, and perhaps most of all, of an happiness inherent in a restless, intensive striving to meet the demands of a challenging taskmaster . . . art. But these events, each of them important, are only symptomatic of the changes that have occurred within you. A heightened maturity and confidence of expression has been demonstrated in your capacity to call upon a diversity of visual styles and symbols; an increased awareness and understanding of the worth of the individual has been shown by your desire for unfettered personal expression. I trust the coming years will provide further comprehension of the values you choose to exemplify in your work. dean coghlan As we review the past year, we are inclined to examine and assess our achievements. Most of us discover that we have made great progress in developing our potential and that we have expanded our areas of interest and pleasure. We know that the dull, impoverished mind finds little to enjoy in life, but that the mind opened and enlarged by learning finds endless delights everywhere. Music, drama, books, and the various fields of art are the exciting aspects of the world of the educated person. And yet it is not these externals alone but a change wrought within us ourselves that will enable us to measure our educational advance. Have we acquired the ihost precious gift that any college can offer, a flexible and inquiring mind? For it is this gift that determines the quality of our inner life, that provides the cultural consciousness which gives us true wisdom. Our years at college have truly been of value if we have followed the advice given in Proverbs: “Wisdom is the principal thing; therefore get wis- dom; and with all thy getting get understanding.” ALF BRACONIER CHARLES E. ABBOTT HARRIS BARRON ZULMIRA ALMEIDA DAVID BERGER THOMAS M. BURKE MURIEL COOPER FLOYD COVERT JOHN BUTLER KATHRYN A. COGHLAN ARTHL ' R COPPLESTONE CHARLES DEMETROPOULOS MARY S. COLLINS ANNE ESKRIGGE JOHN A. GREPP JAMES F. KENNEY CARL GIBSON SANFORD R. GREENFIELD ARTHUR HOENER LAWRENCE KUPFERMAN BRUCE C. HAWTHORNE ROBERT E. LARTER I DANIEL A. KELLEHER THOMAS C. o’hARA EVELINA VON LADAU EMMA LENNON PREST 1 EDWARD MOVITZ JULIA SHEEHAN MARION WOODWARD Administrative Staff VIRGINIA BETHANY HANNAH M. RYAN ALICE ALCONADA ARLINE REARDON MILDRED WHITE PAUL MULLER 1 senior rlass I advertising design IP The graphic designer is an important bridge between the everyday world and the art world. He spans the gap between the practical and the idealistic, being personally involved with the realistic problems of contemporary life as well as the creative freedom of the world of aesthetics. To make a meeting of these diverse worlds possible, complete self expression must be subordinated to the reality of the situation until the two elements are compatible. For the designer to fulfill his function, communication is essential. With the visual language of the artist he seeks his personal solution. The choice of approach to any given design problem is infinite and many solutions would be adequate. It is the goal of the designer to achieve within the restrictions of any problem the ultimate solution. Good design thus becomes exact and absolute. Equipped with creative imagination, heightened sensitivity and skill in visual comunication, the designer begins his work, knowing that the result will be judged by both aesthetic standards and the degree in which it fulfills its purpose. Phil Paris! PHYLLIS C. GOWEN GAIL FRANKLYN PHILIS A. MONDOR PHILIP J. PARISI STEPHEN A. RESNICK f MARILYN A. PETERS DAVID S. PORTER CURRIE LACASSE RANKIN fashion df sign With a complete understanding of the past we are able to know the present and predict the future. This fact is important to the fashion designer. As history continually repeats itself, and as this cycle is never without innovation, it is necessary to be constantly aware of these subtle changes. Fa.shion is concerned with enclosing and ornamenting space for a mobile three- dimensional figure. The designer utilizes line, proportion, form, color, and texture to interpret an idea or mood. The limitations of the human figure should never hamper creativity in design. Carol GofT CAROL L. GOFF ,U..lL.JUli MARGERY M. CRAWFORD SHIRLEY K. PRICE DOROTHY F. FREDERICK I i ELIZABETH R. HOLLOWAY I MIRIAM E. STERNAGLE STERNAGLE EDNEY GOFF -► -I epramii design The individual integrates the emotions of his unified self into a piece of work which embraces creativity with control, and truth unto the self, and a love for the creation. The motion of the creating process involves not only the physical, but the spiritual. The artist or craftsman ceramicist treats clay as if he possessed its own spirit or soul with the result being wholeness. Even when the clay is wedged or kneaded, we see the human element involved — the print of the knuckles and the finger marks. The hypnotic circling of the potter’s wheel creates a motion on which to center the clay and “throw” a pot. Here the elements of the earth and the atmosphere are transformed into a freshness and truth of the emotion — a product of the self. The quality of the slab is the same as any other technique which will reflect in the product a feeling of wholeness, a feeling of motion, and above all, the mood of the artist. If it is motion with which we are to deal, we must involve not only movement in the finished piece, but vibrancy. A greater concern here is toward the emotion which one uses to see and feel that motion which is in the work. Thus, by seeing the artist’s work we are able to comprehend the feeling within the finished piece. For example, we want to see how that slip was applied, how that glaze was splashed, or how that coil was pinched. We must be able to feel the finger marks on the thrown pot to see how the motion was used in the creating process. We then can see both sensitiveness or brutality in the clay, perhaps some frustration, or perhaps a peaceful feeling of contentment. Charles Chamberlain DAVID P. DAVISON CHARLES F. CHAMBERLAIN MARIETTA B. PARCO VALERIE A. SMITH JANE E. MCLAUGHLIN BARRY W. SCHILLER LOUISA A. WISEMAN DAVISON SMITH GASPER painting and illustration We have become aware of the existence of a truth, and with this awareness comes an inexplicable understanding. This understanding raises a splendid vision of the “unattainable”. In the search for the unattainable, creativity unfolds. Creativity reveals the whole of experience and being. In this way a new life is born and the world is richer with the fortune. At the beginning of this awareness we are weak, sensitive, and easily broken at the first jolt of life’s experience. Yet, we should not be protected from these jolts, but rather strengthened by them. The way to the unattainable ... to inner truth . . . to final meaning and existence ... to life itself ... is a long and difficult one. The goal remains, however, and this is the miracle for which the original awareness has caused us to search. We continue this search into life, for herein lies complete being. “If we were on the right road, having to leave it would mean endless despair. But we are on a road that only leads to a second one, and then to a third one, and so forth, and the real highway will not be sighted for a long time — perhaps never — and we drift in doubt, but also in an inconceivably beautiful diversity; so the accomplishment of hopes remains an always unexpected miracle, but in compensation, the miracle remains forever possible”. ( Kafka) Gail Heidel PETER S. FRASER ROBERT A. MCDONALD JOHN G. BUTKE ELEANOR T. DOHERTY ELEANOR J. DONOVAN BARBARA DEMAS WINONA J. TAYLOR DENNIS E. DICARLO DEMAS POOLE DONOVAN PERRON AMELIE M. PRESCOTT JUDITH A. FALARDEAU JOAN HIRSHON MCDONALD WILLIAM E. MAHAN THOMAS C. BOWLING IRMA M. SACHS JUDITH R. CLARK ANITA NOVACK MAHAN FRASER KAFKERTY HEIDEL produ€ i design Product Design combines aesthetic and functional ideals in the development of a product. There must be a perfect union of ideals in order to insure a successful design. The designer’s prime concern is man, subordinated by technical knowledge of materials and processes of manufacturing. Modern technology (or the machine) has a tendency to dictate the actions of man. A designer must realize and overcome this, and he must not arrange the ways of man into concise patterns which must be followed. This principle not only applies to product design but also to all other aspects of our society, whose main purpose is to serve man. Lee Keith ARTHUR P. VENDITTI KEITH VENDITTI RUSSELL JAMES A. RUSSELL VENDITTI teaeher edu€ ation Our democratic society depends on educated citizens, for existence. Art education provides an atmosphere conducive to the growth of mature citizens. The Art Educator must possess a knowledge of human behavior and the role which guidance plays in the development. In Art Education maximum mental growth is achieved and developed through the creative process. “Art is a vehicle for aesthetic experience; art is essentially creative because it is based on personal factors; art activity refines emotional and intuitive perception; art activity involves not only intelligence but imagination and capacity for experi- mentation. It is benefits such as these that lift an individual’s life from a base existence to that of the enlightened man. Man is changed by aesthetic experiences, his horizons are broadened, and his spiritual resources are deepened.” (Edwin Ziegfeld) Brian Jefferson ELAINE P. TAVELLA NAOMI D. JUST ROBERT F. GRIFFITH SUSAN E. MAJOR JUDITH M. KAZUNAS lANNE D. LAVIGNE AUDREY A. RICCI CHARLOTTE H. GLADDING ROSEMARY DEMAR CAROL J. HEATH CHRISTINE E. GARVEY SPAULDING ) 1 KERRY M. BROWN CLIFFORD S. WRIGLEY BRIAN T. JEFFERSON CECILY BENOIT HOWELL MARY ANN o’DONNELL NANCY A. SPAULDING ALAN B. PEARSON B. JEAN CADDELL ELIZABETH FOURATT m -ir NORMAN J. RIZZI JUDITH A. SLECZKOVVSKI JANET AUSTIN in memoriam Gone from our midst is a laughing, friendly face. “Nice” she would say, and continue to listen. Because she understood; deep sensitivity and kindness were virtues truly hers. Still stand, however, her line of elephants : black, ebony, silver, pink papier mache. Orange and yellow, happiness colors, remind us so much of her. The gaily colored purses she always had remain in our memory. November claimed the life of Janet Austin last year. But death cannot be an end. Her love of life will always be present in the hearts of those who knew her. Betsy Fouratt HEATH student hod if seniors Senior Class Officers President — William Poole Vice-President — David Gricus Secretary — Susan Major Treasurer — Alan Pearson V •yjTf Junior Class Officers President — Daniel Gibbons Vice-President — David Pimentel Secretary — Jacqueline Winsor Treasurer — Paul Regan juniors r sophomores Sophomore Class Officers President — Frederick Lawrence Vice-President — Mary Cowhig Secretary — Kathleen Lopez Treasurer — Katherine Murray Freshman Council Richard Lizza Barbara Vignoni Marie Lapre Louise Celidonio Edith Timberlake freshmen ai tU itU� s student association Student Association Officers President — Brian Jefferson Vice-President — Dianne Hanchay Secretary — Betty Stack Treasurer — Tracy VanTilburg Advisors — Mr. Calvin Burnett Mr. Russell Doucette Student Association Delegates Paula Murphy Patricia Coomey Caroline Cogswell Sandra Doucette Kathleen Connors Eileen Carmody John Orlando William Skurski Sandra Salem Marsha Cohen Michael Zolli Kathleen Lopez Naida Blanchard David Lapier Robert Poitras Judith MacKinnon Daniel Gibbons Karen Lee Kathleen Zehnter Charlotte Trozzi Caroline Davis Rosemary DeMar John Shea Cecily Howell Nicholas Cruz Joan Currie Barbara Winsor David Porter Diane Guay Dorothy Frederick Janice Wall Florence Stickney Carol Flaherty Ronald Ghiz Barbara Webber Carol Kredenser Howard Chansky Joan Hirshon Marilyn Cowan Peter Fraser Ernest Lussier Marietta Parco Ann Marran Louisa Wiseman Melinda Bradford James Russell John Oszajca Arthur Venditti Christmas spread bashetbait Kerry Brown Warren Goldberg Richard Leonard Edmond Gaudet William Zych George Shaw Charles Sorrento Ronald Costa Paul DeCoste Arthur Moniz Paul Ashton David Pimentel Coach — Alf Braconier cheerleaders Florence Stickney Cynthia Sheret Susan Stevens Susan Smith Nancy Huntington Peggy Spinney Jane Gatineau Gail Burwen Mary Fernandes Carol Blake eeramies sale u ff 9c staff Editors — Phyllis Gowen Bernard LaCasse Art Director — William Gustat Photography Editors — Gail Franklyn Philip Parisi Photographer — David Porter Photographer’s Staff — Nicholas Cruz ’65 Russell Mroczek ’65 Literary Editor — Philis Mondor Production — Joan Currie Roberta Rankin Marilyn Peters Business Manager — Stephen Resnick Advisors — Mr. Arthur Hoener Mr. Lawrence Webster Miss Muriel Cooper Mr. Paul Muller advertisements A-i MODERN ART 9 u ' est 51th St., neiv york 125 newbury st., boston With the best wishes of ART SCHOOL ASSOCIATES INC. your college store. 169 WAVERLY ST , CAMBRIDGE 39. MASSACHUSETTS A DIVISION OF CALIFORNIA PRODUCTS CORPORATION . ' XJ! E.J. Ardon Co., Inc, Since 1937 specializing in Graphic Arts, Drafting, Silk Screen Supplies and equipment. The following are a few of the major brand name products on display at Ardon ' s. •ACS Chart Tapes • American Blueprint, Stacor, and Anco Drafting Tables • Artype and Modulart • Bainbridge Illustration and Matte Boards • Bourges and Cellotak Color Films • Color-Aid Papers • Craftint Double-Tone Boards • Goodkin Cameras and Visualizers • Grumbacher, Winsor and Newton, and Morilla Artist ' s Materials • Instant Lettering Sheets • Strathmore Papers and Illustration Board • Zipatone Shading .Films EXPERT PICTURE FRAMING SERVICE IS OUR BEST PRODUCT CXC =: E. J. ARDON Co. Inc. 176 Brookline Ave. Boston 15, Mass. Ample Parking ★★★ KEnmore 6-5120 s- Pa ' .