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Page 10 text:
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RISD In an ever-changing world, surrounded on the one hand by international pressures from all corners of the globe, and on the other by new domestic tensions and crises we sometimes wonder whether the only permanent values are those implicit in the aims of the Rhode Island School of Design. All around us we are being asked to accept inferior products and standards of mediocrity and planned obsolescence in design and artistic taste. RISD is an oasis in a barren wasteland, a society unto itself which has set out to raise these standards of taste and design, to produce designers and artists whose aesthetic values and artistic competence extends beyond the mere grasp of technique and manipulative skill, to produce responsible designers capable of relating their aims and ideals to the world that surrounds them. Located in the great cultural milieu of the Northeast, a few hours traveling time separates the student from the magnificent cultural opportunities available in the megalopolis that extends from Washington and Philadelphia to New York and Boston. The Metropolitan Museum and the Museum of Modern Art in New York comprise two of the greatest facilities imaginable for a close study of art and design ranging from the oldest European cultural he ritage to the ever-changing and in- numerable forms of contemporary art. New York is also the focal point for com- mercial and advertising art, where the “gray flannel’ advertising executive at- tempts to mold the opinions and purchasing power of the consumer world. The School of Design has a subtle yet pervasive effect upon the city of Providence. In the few years that we have lived and worked here, the city has moved forward in great strides in both redevelopment and restoration. Perhaps a great deal of this increasing civic and social awareness can be traced to the influence of the School of Design, which lists among its patrons and faculty some of the leading citizens and
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Page 11 text:
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opinion-makers of the city. The Museum of the School of Design houses a magnif- icent collection that can be looked upon with pride by every citizen of the state. And what citizen or visitor to Providence is not impressed by the architecture of the new structural complex that sits on the hill, overlooking and dominating the city? When a visitor of the School of Design attempts to penetrate into the Society itself, he is confronted with an image of fantastic panoply that operates on innumerable levels of artistic endeavor and design. The areas and activities run the gamut from unlimited artistic freedom and expression of forms in the fabled sculpture pit to the measured, ordered and categorized discipline of the Architecture Department. With a guide, the visitor may begin his series of visual impressions with the chaos of clay and metal forms emerging from the dust and noise of the sculpture pit. If he is not already overwhelmed by this, he can move on to intrude upon the clay-covered student intently absorbed over a revolving potters wheel or working with the kiln in the Ceramics Department. On this level of work, he cannot overlook the stu- dents who are completely immersed in the physical realities and properties of the materials they work with. Moving on, he comes upon the quiet concentration of a drawing class, where a walk between the easels of the students causes little notice, since each student is bent on applying his personality and ability to a sheet of news- print. The atmosphere of quiet and intense concentration in a painting class differs only in that it is presented to us in the complete spectrum of colors, on the canvases as well as on the jeans, hands, and faces of the student. These are the areas of ac- tivity that the visitor traditionally associates with his image of an art school. However, changing his direction of movement, he can move across yet another level, that of the area of the liberal arts. Here the school attempts both to acquaint
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