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Full text of "Circular"

Swain School of Design 



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Location 

Swain School of Design 19 Hawthorn Street New Bedford, Mass 02740 



From Boston: 

Route 3 South 

Route 128W to 24 South 

Exit 24 to Route 140, New Bedford 

Last exit 

From Providence: 

Route 195E to New Bedford 

First exit 



From Cape Cod: 

Route 6 to County St., New Bedford 
Left on County St. to Hawthorn St. 







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Hawthorn St. 




Digitized by the Internet Archive 

in 2012 with funding from 

Boston Library Consortium Member Libraries 



http://archive.org/details/circular7274swai 



Swain School 
of Design 
19 Hawthorn St. 
New Bedford 
Massachusetts 

02740 
Phone 

(617)997-3158 






■ ^*** J ""' 















Contents 



4 


Introduction 


6 


History and Growth 


7 


William Crapo Gallery 


10 


Admissions 


12 


Tuition 


12 


Adult and Childrens Classes 


12 


Medical Care 


13 


Financial Aid 


13 


Housing 


14 


Academic Requirements 


17 


Foundation Program 


19 


The First Year 


22 


Second Year 


24 


Note on Photography 


27 


Major Program 


38 


Liberal Arts 


46 


Calendar 


48 


Faculty 


48 


Administration 


50 


Trustees 


50 


Advisors 


53 


Map 



Swain School 
of Design 

The Swain School offers professional training in 
painting, design, sculpture, and printmaking. It is a 
small school, intimate, and capable of closely directing 
and encouraging a student's growth as an artist. 



Our size permits us to see ourselves as a community 
of artists. We think of teachers as persons who have 
been artists longer, have trained their hands and their 
judgement, know techniques and know the lay of the 
land. We recognize the value of this relationship and 
intend to remain a small school. We do not plan to grow 
beyond an enrollment of two hundred students though 
that makes us one of the smallest colleges in the 
country. 

We believe that the young artist develops as he learns 
the basic concepts and skills which all visual arts 
share. In the freshman year our studio curriculum is 
rigorous; we concentrate on the problem of seeing the 
contour and volume of objects and the problem of 
organizing an interesting page. Once these skills are 
mastered the student is encouraged to use them. The 
senior is expected to be an artist responsible to himself. 

In the beginning we teach the grammar of art, that when 
you speak you speak clearly. It is a discipline intended 
to increase the variety of what you are able to say, what 
you are able to see. 

As an art school we are a professional school, more 
like a school of medicine or a school of accounting than 
a liberal arts college. But we realize that the arts are 
a most unusual profession, one more often misunder- 
stood than understood. Recent tradition sees the artist 
as only a painter or a sculptor, we respect that defini- 
tion, but would argue that the designer is also an artist, 
and an artist whose audience is less remote. A society 
as complex as ours needs and must employ 
responsible designers for industry, creators of new 
materials for education and original thinkers in 
environmental projects. 

A medical student becomes better as his curiosity 
becomes narrower, contracts from mankind to the 
body to the spleen. The reverse is true of the painter, 
sculptor or designer. Only as his interest broadens 
does he deepen. If an artist heals it is not by surgery 
but by seeing things whole. 



A map maker who knows nothing but old maps is either 
a criminal or a comedian; he must go see land. The 
painter, sculptor or designer makes maps of moods 
or moments some of them lost in fog. He too must move 
to see them clearly. To grow, an artist must 
acknowledge that he has not invented the world, 
respect the ways experience was seen before him. It 
is for this that we ask the student who would grow as 
an artist, to study art history and literature and the social 
sciences. And more important ask him to observe 
himself, other people, the town around him. 

Convinced that the artist does not exist to create luxury 
for a prosperous society, we attempt to bring our- 
selves, faculty and students, into immediate contact 
with our surrounding society. This underscores our 
belief that the work of the artist is a moral or an ethical 
act. We expect our student to effect reform through the 
responsible use of his talents. 



Our History 

In 1881 . the will of William W. Swain established a non- 
profit educational institution whose Trustees and 
Faculty were charged with the responsibility to "qualify 
the pupils for the practical duties of life in the spheres 
they will be probably called upon to act in". Originally 
named the Swain Free School, a variety of subjects 
were taught including courses in language, 
mathematics, science, history, logic and art. With the 
development of other educational facilities in the 
community and the rise of New Bedford as one of the 
largest textile centers in the United States, increasing 
emphasis was placed on instruction in design. Today the 
the Swain School of Design is a co-educational 
professional art school offering a four year program in 
the visual arts, leading to a Bachelor of Fine Arts 
degree. 

Surrounding the site of the original William W. Swain 
residence, the School is located in an area of New 
Bedford noted for important examples of the 18th and 
19th century architecture. In close proximity to the 
campus is the New Bedford Public Library and the 
Whaling Museum. Southeastern Massachusetts 
University is located in North Dartmouth, hardly ten 
minutes by car. This new university offers vast 
opportunities in both cultural and recreational 
activities. The Public Library is of particular value to the 
School for its fine collection of paintings illustrating the 
unique artistic tradition of the city. New Bedford was the 
birthplace of Albert Ryder and home of Alfred Bierstadt 
and Dwight Tryon. The Museum of the Old Dartmouth 
Historical Society records another aspect of the city's 
history, that of the whaling industry. Across the street 
from the museum is preserved the Seaman's Bethel 
which Melville describes in his classic novel Moby 
Dick. The cultural life of the city is further augmented 
by its advantageous position between Boston, 
Providence and Cape Cod. 

and Growth 

A recent consultant to the School noted that "The 
generosity of the Trustees has visibly blessed the 
School with a number of charming buildings of rare 
human scale organically related to a delightful 
community locale". By conscious effort and happy 
accident our campus expresses the distinct character 
of the School and supports the way in which we go 
about our educational purpose. 



The Swain School of Design is affiliated with the New 

England Association of Schools and Colleges, Inc., 

in the category of Recognition of Candidacy for 

Accreditation. 

Division III member of the National Association of 

Schools of Art. 

Charter Member of the American Federation of Art. 

Member of the American Association of Museums. 

The School is licensed by the Massachusetts Board of 
Higher Education to grant the degree of Bachelor of 
Fine Arts; Approved by the Veterans Administration; 
by the U. S. Department of Justice for the training of 
foreign students. 

William Crapo 
Gallery 

The William W. Crapo Gallery was founded in 1925 to 
provide Swain students and the community with an 
opportunity to view original works of art. Each year the 
Gallery offers approximately ten exhibits including such 
diverse achievements as primitive art, nineteenth 
century painting and the more contemporary efforts of 
the avant garde. In order to fulfill its educational 
function more completely, lectures and panel 
discussions are regularly scheduled and often 
re-broadcast for the television audience. The Crapo 
Gallery is a member of the American Association of 
Museums. 



\ 




Admission 

Our School is small. We do not do our admissions on 
a statistical basis. Because we are in search of visual 
skills and the promise of professional commitment we 
rely to a great extent on the portfolio and an hour-long 
interview. We look for that particularly revealing 
passage in a drawing or an exciting organization of 
shapes in a design project. Our policy is one of well 
considered madness, in which neither high academic 
rank nor impressive college board scores are any more 
than interesting bits of information about an applicant. 

An applicant must be a high school graduate or have 
acceptable equivalent preparation. However, a 
candidate who evidences special interest, unusual 
ability or promise, may be considered for admission as 
a special student at the discretion of the admission 
committee. Each applicant is considered on the basis 
of his aptitude as well as his character and personal 
qualifications. 

Portfolio 



terview 



Applicants must complete the School's application 
form and submit it together with a $10.00 application 
fee (not refundable and not credited to any school bills) 
to the Registrar, Swain School of Design, 19 Hawthorn 
Street, New Bedford, Massachusetts. The applicant 
should request the principal of his secondary school 
to forward a transcript of grades at the time of 
application. He should file two letters of 
recommendation. It is advised that the applicant visit 
the School and arrange for a personal interview with 
the Director of Admissions, preferably no later than 
April 1st. 

A school medical form is furnished to all applicants but 
need not be submitted for admissions review. It is to be 
completed, signed by a physician and returned to the 
School by all successful applicants before August 1st. 

Transfer Students An applicant requesting advanced 
standing should, with two exceptions, follow the 
procedure as outlined above. In addition to high school 
records, a transcript of college grades is required. In 
considering a portfolio, the student should consider 
work that would substantiate the request to exempt 
specific studio courses. 



10 



All correspondence and requests for information 
should be directed to: David L. Smith, Dean of the 
School and Director of Admissions, 19 Hawthorn 
Street, New Bedford, Massachusetts 02740; telephone 
(617) 999-4436. 

Each applicant must submit a portfolio of original work 
(slides may be accepted if some pieces are exception- 
ally large or if the portfolio is sent by mail) clearly 
marked with your name, address and the name of your 
school. Pieces can be done either independently, or 
under guidance, but should be so designated. Work 
executed from photographs is not acceptable. The 
following items are requested: 

Self portrait in pencil or charcoal to be done from life. 

Interior in pencil or charcoal to be done from a room 
in your home. 

Still-life that includes at least four objects. 

An abstract design in 3 colors. 

Design using geometric shapes in black and white. 

A three dimensional object which you have made. 

Three drawings, paintings, sculpture, designs, prints 
or photographs of your choice. 

You are encouraged to submit examples of work other 
than visual art (writing poetry, music, etc.) which are 
important to you. 



11 



Tuition 



1972/73 


1973/74 




$1050.00 


$1250.00 


Per year 


$200.00 


$250.00 


Per year for one day weekly 


$400.00 


$475.00 


Per year for two days weekly 


$600.00 


$700.00 


Per year for three days weekly 


$10.00 


$10.00 


First Year Admission Application 


$55.00 


$60.00 


Lab Fee 


$2.50 


$2.50 


Locker Fee 



A deposit of $50.00 is required of all new students 
within two weeks following notification of acceptance 
for admission. It is applied to the charges of the 
academic year and it is not refundable after May 1st. 
All fees must be paid at the time of registration, unless 
special arrangements are made with the Registrar. Any 
student with a bill not paid by the second Monday of 
the semester will not be allowed to continue in classes. 
Since School operating expenses are planned on a 
yearly basis, no refunds can be made. 
The School store maintains a supply of materials 
required for classes. Prices are kept at a minimum. 



Adult 



Children^ 
Classes 

In addition to the degree program the School offers 
art instruction in its Saturday School, the Evening 
School and in the six week summer program. A 
separate bulletin is issued describing these courses 
and listing fees. 

Medical Care 

The services of a school appointed physician are available 
to all students. Charges are made directly to you. All 
students are urged to avail themselves of low-cost Health and 
Accident Insurance policies. Forms for the Blue Cross-Blue 
Shield student policies are available through the School. 



12 



Financial Aid 

Parents and students should be fully aware that today, 
scholarship awards, from nearly every source, are 
based almost entirely upon need rather than academic 
performance. 'Grants in Aid' would be a more precise 
term. Nearly all awards are made on a four-year term 
because most agencies do not wish to leave you 'high 
and dry' midway through your studies. A final point is 
that there are many sources and a considerable 
amount of money available in scholarship assistance, 
enough that no person genuinely desiring higher 
education need be turned away for lack of funds. 

Federal Programs The Swain School administers three 
federal student aid programs; National Defense 
Student Loans, Educational Opportunity Grants and 
the College Work Study Program. All awards are made 
by the School. 

Swain Funds The School provides funds, both as 
matching portions of federal grants and outright grants 
from the Clement L. Yeager Trust. 

Guaranteed Loans Most states provide guaranteed 
loans for educational purposes, usually with a maxi- 
mum of $1 ,000 per year for five years, 
administered by banks. Interest rates and repayment 
periods vary from state to state; for further information 
contact your local bank. 

State Scholarships Many states make significant 
scholarship awards, usually on the basis of need. For 
further information contact your guidance counselor, 
appropriate state agency or the Swain School. 

Placement The school provides a placement service 
which offers assistance in finding interesting employ- 
ment for graduating students and alumni. The service 
will also be as helpful as possible in applications for 
graduate study and special projects for interested 
Foundations. 



Housing 



The School does not maintain dormitories. A diversified list 
of accommodations is available. It is suggested that any 
student wishing to make housing arrangements apply well 
in advance of the opening of school, stating type of accom- 
modations and price range desired. 



13 



Academic 
Requirements 

B.F.A. Degree Requirements A total of 122 credits, 86 
in studio courses and 36 in liberal arts, and submission 
of acceptable work for the Senior Show are required 
for the Bachelor of Fine Arts Degree. 



Diploma Requirements Recognizing the fact that some 
students wish to forego the liberal arts to concentrate 
on studio work, Swain offers a four year studio program. 
120 credits, 108 in studio courses and 12 in Art History, 
are required for the Diploma. 

Grades A grade scale of A B C D and F is used to 
designate the students' standing. The letter grades are 
considered the equivalent of the following percentage 
scale: A = 90-100, B = 80-89, C = 70-79, D = 60-69. 
The grade I for Incomplete is a substitute grade for 
situations in which students could not complete 
required assignment due to circumstances beyond 
their control. The required work must be completed by 
a designated time for a student to be awarded credit. 
For the computation of scholastic averages, reported 
grades have the numerical value of A = 4.0, B = 3.0, 
C = 2.0, D = 1.0, F = for each credit hour. 

Credit Hours Studio credit hours in all courses are 
based on a ratio of one credit for every two hours of 
scheduled studio time. Credit hours for academic 
subjects are based on a ratio of one credit for every 
one hour of class attendance. 

Probation A first year student earning a semester 
average of less than 1.7 and an upper class student 
earning less than 2.5 in his major field is placed on 
probation. Any student who is on probation for two 
consecutive semesters will be reviewed by a special 
faculty committee. 

Absence Absences are considered permissible only in 
case of illness or for other reasons of necessity. It is 
your responsibility to notify the School immediately of 
an absence and its cause. Missing work must be made 
up whenever you have been absent. 

Registration Students already in the School are 
required to register and make out tentative schedules 
for the following year by June 1. Students enrolling after 
School opening date are required to pay a five dollar 
late registration fee. 



14 



Grade Reports Grade reports will be given out at the 
end of each semester. All freshmen and other students 
whose grade average is D or less will receive a grade 
report at midsemester. 

Transcripts Graduates and students in good standing 
are entitled to one complete statement of their school 
record without charge. One dollar will be charged for 
each additional copy. 

Student Work The School reserves the right to retain 
two works of each student for exhibition purposes. All 
other property must be removed from School premises 
at the end of the academic year. At no time does the 
School have responsibility for student property. 

Reviews Our policy of formal reviews for second, third 
and fourth year students is an important part of the 
educational program and a unique expression of a 
small professional school at work. Individually you will 
have a yearly opportunity to discuss your work, your 
ambitions and your problems with all of the faculty: 
Studio and Liberal Arts. 

Sophomore Reviews take place at the end of the year. 
Representative examples of work from all of your studio 
courses are discussed in the form of a general critique and 
as an open exchange in helping you select your field of 
major concentration. 

Junior Reviews take place in the middle of the second 
semester. You will submit work mainly from your Major field 
and the theme of the discussion will be 'work in progress': 
Suggestions are made with regard to broadening your point 
of view, emphasizing strengths and planning the next year's 
projects which also include application for graduate study 
and/or other career possibilities. 

Senior Reviews take place at the end of the first semester. 
Directions taken since the previous review are considered 
most carefully but attention is given to firming up plans after 
graduation. 



15 



Foundation 
Program 

The Foundation Program, involving the first and second 
year, is directed at six goals considered necessary in the 
mastery of the artist's craft. 

An ability to translate the volumes and rhythms of the 
human figure onto a flat page, and to understand the 
structural problems that exist within the random appearance 
of a landscape or a group of still-life objects. 

A knowledge and understanding of traditional theories of 
color and composition. 

An ability to analyze and resolve a variety of problems in 
two and three dimensional design. 

A view of civilization as an evolving process in which clear 
relationships exist between the arts and man's other 
accomplishments. 

An introduction to reading and writing as a craft of finding 
your own convictions, testing them and shaping them. 

An exploration of a sufficient range of disciplines to allow 
you to choose your particular field of interest. 

The emphasis on basic skills and concepts in the first two 
years makes it possible to maintain instruction in the Major 
Programs on a highly professional level. Furthermore, you will 
have to face many unexpected and unplanned challenges 
within the full span of your career. The Foundation Program 
assures you of having a wide frame of reference and skills with 
which to meet these problems. 



17 



The First Year 

Art History (1 semester) It is very easy to see your 
reaction to another person's work, but hard to see the 
work itself, hard to see what he has seen. Each visual 
work is a map describing a way to see the world, use 
the world, live in the world. Each visual style describes 
and even shapes a life style. Believing is seeing. But 
it is possible to be blinded by the reflex of taste. 

This course investigates the connection between style 

in art and beliefs about the world. Works are studied 

topically rather than chronologically and are arranged 

under such headings as. the mask, the effigy, the 

mirror, the masquerade, the meeting, the narrative, the 

transformation, the scared grove, the landscape, the 

map, the cup. Throughout this sequence we explore 

the process of looking at works of art and finding ways 

to see them. 
3 

Design I, Two Dimensional The goal of Design I is 
understanding the grammar of design and organizing, 
through a keen sensitivity and awareness, ones visual 
habits. Problems begin dealing with black and white 
spatial organization and progress into a more complex 
investigation of color theory. 

Basic design is approached as a form of enquiry, not 
an art form in itself. It is important to learn and 
experience the greatest possible variety in solutions 
by the exploration and manipulation of line, shape, 
and space, in combination with color, value, and 
texture. This course suggests directions in which you 
explore these interrelationships while simultaneously 
achieving limitless variations. It is through these 
experiences that you develop visually and verbally, a 
sense of judgement concerning your growth and carry 
this attitude on to a more concentrated area of your 
particular interest. 
2 - 2 



First Year 

Foundation Drawing 

Design I — 2-D and 3-D 

English I 

Problems of Western Civilization I 

Art History I 



Credits 



5 
5 
3 
3 

16 



5 
5 
3 

3 
16 



19 




i»~*^ " ^*_«£&ii-.-~tw : 



20 



Design I, Three Dimensional This course is basically 
concerned with the organization of space, and the 
expansion of your vocabulary of form through various 
methods of exposure. "The whole of Nature is an 
endless demonstration of form, and it surprises me 
when artists try to escape from this" — Henry Moore. 
Emphasis will be placed on developing technical skills 
so that you will be capable of translating abstract ideas 
into tangible reality with reasonable facility. Establish- 
ing respect and affection for a tool as an extension of 
the hand, hence the mind, will be one of the goals. The 
practice of critical examination of your own work as well 
as others will be initiated. 
3-3 

Drawing I This course is planned to contrast with the 
more abstract orientation of the accompanying design 
courses. It presents some of the basic problems, 
techniques and references of the figurative artist. 
Emphasis is placed upon the observation and under- 
standing of natural forms and their translation through 
line, form, light and shade. A complete study of the 
human skeleton and muscle structure is included. 
Media used are pencil, charcoal, crayon, silver point, 
and wash. 
5-5 

English I Writing is the craft of finding your convictions, 
testing them, shaping them. This course will explore 
that craft. There will be reading from recent fiction, 
poetry, drama and autobiography. 
3 -3 

Problems of Western Civilization I This course will study 
the rise and fall of a great nineteenth century industrial 
city and the monumental burdens it carries into the 
twentieth century. The specific community developed 
as a thoroughly American microcosm and clearly 
demonstrates a rule by oligarchy, the destructiveness 
of the American success ideal allowed to run 
unchecked, the avoidance of deeper community 
responsibilities and the existance of a rigid class 
system. Some or all of this nineteenth century heritage 
affects most cities across the land and indeed, the 
nation itself. 

The students will be required to study their own 
communities or others that interest them and prepare 
term papers copiously illustrated with photographs 
and drawings. 
3-0 



21 



Second Year 



Life Drawing is the concentrated study of the model 
in different environments and situations of light and 
movement. The approach is essentially descriptive, 
but with an emphasis on certain formal principles. A 
consideration of the classic view of the figure as a 
perfectly organized structure is contrasted to more 
expressive possibilities. 
3 - 

Figure Modeling The basic purpose of the course is 
to begin analysis of the proportions of the human body, 
to experience a form in space — a three-dimensional 
reality, as opposed to the two-dimensional illusion of 
drawing. It will be an experience in seeing, a truly 
analytical examination. Drawing will be an integral part 
of the course — to establish it as a way of thinking, of 
organizing, and as a valuable tool for the mind. Reliefs 
will also be dealt with, providing a bridge between 
drawing and sculpture. 
0- 3 

Introductory Painting is based on the drawing, design, 

and color experiences gained in the previous year. 
Traditional methods of representation and composition 
are studied in a series of studio problems and seminar 
type criticisms. You work from nature (still life, figure, 
landscape) in order to provide an objective basis 
against which you may measure your success in 
dealing with concepts of space, light, form and color. 
Introductory Painting includes perspective, anatomy, 
color theory and basic oil techniques. 
2 - 2 

Note: 

Liberal Arts Electives may be chosen from those 
described in the Liberal Arts section beginning on 
page 38. 

Studio Electives: Choose any two of Introductory 
Painting, Design or Sculpture. 



Second Year 

Life Drawing-Figure Modeling 

Printmaking 

Studio Electives 

Studio Electives 

Liberal Arts Elective 



Credits 



3 
4 
2 
2 
3 
14 



3 

4 
2 
2 
3 

14 



22 





23 



Introductory Sculpture This Sophomore course is aimed 
toward students more seriously considering a major in 
sculpture. You will further examine basic materials, try 
more specialized methods of application and become 
more aware of the forms which surround you in the 
natural and man-made environment. Drawing will be 
used as a vital means of recording and testing these 
ideas. Your participation in class critiques wii! be 
encouraged as a means of exchanging information 
and developing a better critical judgement. 
2 - 2 

Introductory Design is a more complex investigation of 

visual organization and visual communication. It is a 
continuation of the previous course, dealing in both two 
two and three dimensional problems and the 
exploration of color as an aid to the designer. Critiques 
of classroom projects relate the specific directions of 
student work to a variety of design oriented situations. 
For example, both two and three dimensional problems 
may be discussed in terms of toy design, creative 
educational materials, development of interior and 
exterior environments, parks, playgrounds, etc., as 
well as the concern with the visual impact of the printed 
page. This course attempts to inform you of the 
diversity within the design field, and offers you the time 
and opportunity for research and experimentation of 
problems and materials as a basis for continuation in 
the major program. 
2 - 2 

Introductory Printmaking gives you an opportunity of 
experiencing the many techniques of Printmaking. 
Through scheduled critiques and discussions, 
familiarity with the tradition of Printmaking and working 
in the many media, an understanding of its functions 
and character is developed. 

Required Sophomore Printmaking Media include: relief 
printing, photography, drypomt. engraving, etching 
aquatint, lithography and silk screen. 
2 - 2 

A note on Photography Photography does not appear 
as a separate course in our catalog because it is as 
much a printmaking medium as lithography or etching 
and should be understood as such. You have noted 
that photography is required of all second year 
students. The highly motivated student who wishes to 
concentrate in photography as a printmaking medium 
may discuss his wishes with a committee of the faculty. 



24 




25 






I 



Major 
Program 

The Major Studio Programs offered are Design, 
Painting, Sculpture and Printmaking. The Major 
Program, which comprises the last two years at Swain, 
is a radical departure from the Foundation Program. 
The Program, built around your specific needs, is more 
individual in nature since you, instead of taking formal 
courses, spend the principal part of your time in your 
major workshop. Essentially this program most 
resembles the tutorial or honors program in a liberal 
arts college. The weight of responsibility for organizing 
research materials, equipment and time is gradually 
transferred to you. The teacher's role becomes that of 
the critic, approximating, as clearly as possible, a 
professional situation. 

Since the Major Program is essentially individual in 
nature, imposing no specific standards or require- 
ments on you, the problem of guidance and evaluation 
of your achievement becomes particularly important. 
During the third year the advisor plans a program of 
studies with you. At the beginning of the fourth year you 
present to the faculty an outline of your plans, a first 
draft of sketches, layouts or models. Periodically you 
will meet with the committee to present work done and 
discuss revisions and projected plans. Though no 
school can program into being an independent and 
responsible individual, such a curriculum does set up 
a situation in which the student can achieve genuine 
maturity as an artist and as a person. 



27 





28 



Painting 
Workshop 1|2 

Painting Workshop develops from materials first 
presented in the introductory drawing and painting 
studios. In conjunction with the Workshop, a study of 
traditional and contemporary art theory is made in 
group and individual criticism. 



You are introduced to painting techniques in which the 
history and practice of a variety of basic painting media 
is studied. Along with a thorough familiarity with the 
tools and crafts of painting, emphasis is placed on the 
development of an attitude and a commitment that is 
at least as important as a knowledge of technique. 

Through assigned and student initiated problems, a 
number of possibilities are made accessible and you 
are enabled to develop as a serious painter. 



Third Year 

Painting Workshop I 

Life Drawing — Figure Modeling 

Studio Elective 

Liberal Arts Electives 



Fourth Year 

Painting Workshop II 
Liberal Arts Elective 



Credits 



Credits 



6 


6 


2 


2 


2 


2 


6 


6 


16 


16 


12 


12 


3 


3 



15 



15 



29 




30 



Design 
Workshop 1 1 2 

The design workshop is a concentration of specific 
projects with emphasis on your ability to creatively 
solve a variety of problems, originating the concepts 
and developing them to completion. Photography is 
incorporated within the program as an extension of the 
design potential. It is explored as one method in which 
the student might solve a given problem, and is used 
in conjunction with both two and three dimensional 
assignments. Photography, color, and illustration are 
further explored through photo silkscreen. 

As a part of our program, we try to focus attention on 
our community. Projects direct creative talents toward 
making that environment more pleasant and functional, 
and to communicate information in a more coherent 
manner. These projects not only bring the school into 
closer harmony with the community, of which it is a part, 
but envolve the more advanced students in situations 
dealing with real limitations, real information needs, 
and real budgets. 



Third Year 

Design Workshop I 

Life Drawing-Figure Modeling 

Studio Elective 

Liberal Arts Electives 



Fourth Year 

Design Workshop II 
Liberal Arts Elective 



Credits 



Credits 



6 


6 


2 


2 


2 


2 


6 


6 


16 


16 


12 


12 


3 


3 



15 



15 



31 




32 



Sculpture 
Workshop 1|2 

The Sculpture Workshop requires the basic information 
in problem solving and use of materials gained during 
the two previous years. The firm course structure of the 
foundation period will give way as the urgency of your 
own need for personal statement becomes more 
intense. At this point in your career you should be 
forming a commitment and a sense of discipline as you 
concentrate more deeply and narrowly upon those 
sculptural problems and materials which you find most 
compelling. Frequent discussions with instructors and 
regular group criticisms with students will help you 
keep an open mind and think out your direction more 
carefully. 



Third Year 


Credits 






Sculpture Workshop I 




6 


6 


Life Drawing — Figure Modeling 




2 


2 


Studio Elective 




2 


2 


Liberal Arts Elective 




6 


6 




16 


16 


Fourth Year 


Credits 






Sculpture Workshop II 




12 


12 


Liberal Arts Electives 




3 


3 



15 



15 



33 





34 



Printmaking 
Workshop 1 1 2 

Printmaking centers around the Print Room and Dark 
Room which functions as a laboratory and machine 
shop containing the equipment that is essential for the 
training in the many diverse techniques of making 
prints. The Print Room, through its very nature, is 
capable of fulfilling the philosophical and social need 
of the artist to 'get his work out', which is the core of 
this medium of the multi-original. It is apparent that 
most artists, whatever their major field, are going to use 
Printmaking as part of their artistic expression, finding 
in it a source for realizing the need for distribution of 
their work. 

The major student is expected to work with problems in 
all areas of Printmaking with a view to understanding 
their relevence as ways of realizing his creative ideas. 
Only the motivated student, dedicated to developing 
an aesthetic in keeping with such a field, is encouraged 
to major in Printmaking. 



Third Year 


Credits 






Printmaking Workshop I 




6 


6 


Life Drawing — Figure Modeling 




2 


2 


Studio Elective 




2 


2 


Liberal Arts Electives 




6 


6 




16 


16 


Fourth Year 


Credits 






Printmaking Workshop II 




12 


12 


Liberal Arts Electives 




3 


3 



15 



15 



35 





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Liberal Arts 
Courses 

Besides the crafts of the hand and the eye there are 
crafts of the imagination. Good visual work does what 
good writing does, it makes experience more vivid. A 
place is ignored, invisible, until it has been painted, or 
used in a story, or mapped, or gardened, or in some 
other way imagined. There is the danger of time sliding, 
of events which seem as if they had never happened, 
of people dying as if they had never been. The deepest 
craft of any artist is that of falling in love with the world, 
of knowing that what he has seen is worth seeing. It is 
a craft shared by architects, anthropologists, novelists, 
psychologists, poets, designers, illustrators, map- 
makers, painters, gardners, sociologists, sculptors, 
and photographers. 

The liberal arts courses describe that craft, presenting 
it in some of its many disguises, that you might re-invent 
it for yourself and bring it to your own visual work. It is 
a craft to be seen in many separate acts: finding what 
you actually feel within that inward noise; telling the 
difference between those things you are sure of and 
those other things you are just in the habit of saying; 
discovering what your experience can be compared 
to, measured against; locating the present, realizing 
how wide it is, how deep it is, how long it has been 
this way. its drift; recognizing others as themselves and 
not simple variations of you; finding what contradicts 
your uniqueness, what all persons, all societies, all 
times, have in common; learning to find sustainance in 
the marrow of events whose bones seem complicated; 
learning how to ask questions which are worth 
answering, and how to answer them. It is the craft of 
learning to live well, 

The liberal arts courses take the work of art historians, 
poets, travelers, novelists, historians, sociologists, 
anthropologists, biologists, psychologists, philosophers 
and put them in a form designers, painters, 
photographers and sculptors can use. 

In the freshman year there are four required liberal arts 
courses, two a semester; in the remaining three years 
you choose eight courses from a list of sixteen electives. 
But you must choose carefully. Of those eight courses; 
three must be courses in Visual Studies, two must be 
courses in Social Studies, three must be courses in 
Humanities. 

Because the department is small it is impossible for us 



38 



to provide the diversity ot courses available in a larger 
liberal arts college — We offer no course in 
"Shakespeare" or "The Biology of Fishes". However, 
the faculty is able to encourage individual students 
to pursue their particular interests, at S.M.U., for 
credit. 

Note 

Freshman Year: (all four courses are required). 
Sophomores, Juniors and Seniors 
These eight electives should include: 
Three electives in Visual Studies 
Two electives in Social Studies 
Three electives in Humanities 

First Year Credits 

Two Semesters English 6 

One Semester Art History 3 

One Semester Problems of Western Civilization 3 

12 

Second Year Credits 

Two Electives 6 

Third Year Credits 

Four Electives 12 

Fourth Year Credits 

Two Electives 6 



39 



Humanities 

Humanities 1: Poetry Workshop Here you will write 
poems, re-write them, tame them, perform them, look 
at the things poetry can do, learn to see poetry as an 
act rather than a product. You will do what people 
writing poetry always do: explore the ways in which you 
can be moved, look for ways to make experience 
matter, invent some way to tell your good poems from 
your bad poems. 

Much of what is read in the course will be written there; 
there will also be some reading from published poets. 
The point will be to give you poetry as a lens to focus 
experience and as a tool to change it. 
3 

Humanities 2: Creative Writing The purpose of this 
course is to investigate, by practice, examination and 
discussion, writing as a fine art. Students will read and 
criticize each others work, as well as the work of 
commercial outsiders. 
3 

Humanities 3: Children's Books The course is designed 
to provide a background in children's classics, as well 
as to consider the nature of children as an audience. 
The use of books in the education of children will be 
considered. Students enrolled in the course will write 
one long work for children. 
3 

Humanities 4: The Structure of Theatrical Composition 

An inquiry into the nature of the theater, of acting, of 
presenting a story publicly by action. Students will 
write, act, and direct, enough to have some first hand 
knowledge of these occupations; however a primary 
aim of the course is to provide a thorough familiarity, 
by reading with important works that have been made 
for the theater. 
3 

Humanities 5: History Workshop History is a human act, 
a way of reflecting on those things which have been 
lost from human experience, a way of exploring themes 
or shapes which keep recurring, a way of thinking about 
the present as a moment which began ten or ten 
thousand years ago. This course will be an opportunity 
to write history, reconstruct a story, the way people 
build mosaics from broken chips. 
Participants in the course will work from the fragments 
and traces that have been preserved, from paintings, 
photographs, maps, novels, poems, letters, diaries, 
biographies, statistics, fossils. We will make something 
of the difference between these questions: What did 



40 



they think was happening? What do we think was 

happening? 

3 

Humanities 6: Philosophy As Means (offered on 
request, limited to four students) A philosophy is not a 
collection of beliefs, it is a method, an approach to 
experience. Reading philosophy is a way of seeing the 
different styles available for facing some important 
questions. There are many such questions; we will work 
with these: 

What can I be sure about? (Are there different ways of 
being sure?) 

What limits me? (What is fate like? What is freedom like?) 

How shall I amplify my awe? 

We will work with these philosophers: Pascal, 
Kierkegaard, Nietzsche, Wittgenstein. 

The purpose of the course is to illuminate the actual 
kinship between style in philosophy and style in the 
visual arts. 
3 



41 



Visual Studies 

Visual Studies 1: Twentieth Century Art Twentieth 
century visual art has not one style, but many. This 
suggests fundamental changes in the relationship of 
an artist to his work and to his audience. The artist is 
forced to these questions: How shall I choose a style 
when there are so many 9 How shall I find a style whose 
emotional significance is not obscured 7 
To clarify these questions we will examine the work of 
twentieth century artists from four perspectives: 
original work, slides, the writing or remarks of the artist, 
the critics' attempt to offer other explanations. 
3 

Visual Studies 2: About Time and Movies This will 
be a reflection on some of the things movies do or can 
do, considering also some of the ways they shed light 

on the art of making still pictures or the art of story- 
telling. Because movies mimic the flow of experience 
they permit us to reconsider the acts of wrenching a 
motionless image from that flow, and of imitating that 
flow by using words which evoke it. We will explore 
ways of experiencing time, ways of giving psycho- 
logical weight to time, ways of giving time coherence. 
Some of the evidence will be drawn from movies, some 
from painting, novels, photographs. 
3 

Visual Studies 3: Aesthetics and Anaesthetics This will 
be a discussion of meaning in art. Among the questions 
to be considered are these: 

How does a work of art mean something 9 How is it able 
to open us to experience 9 

When is art superficial, when is it empty, when does 
it disclose depth? 

What is the value of tempering personal taste? What 
kinds of criticism are valid? What kinds arbitrary? 

To investigate the position of the arts in a mass culture. 

Although the questions are drawn from the philosophy 
of art, discussion will center on real visual objects: 
paintings, shoes, boxes, photographs. 
3 

Visual Studies 4: On Vision The world of science and 

the world of ecstacy come together in the eye. Vision 
is our closest contact with actuality, closer than touch 
or hearing. Visions are those odd moments in the life 
of seers. 

In this course we will talk about the relationships 
between seeing and envisioning, between the familiar 



42 



world of ordinary sight and the strange one of scientists 
or mystics. In general we will examine some of the 
implications of having eyes, and some of the options 
the eye offers. 
3 

Visual Studies 5: Landscapes is an exploration of 
different ways in which men and the land co-exist. The 
goal of the course is the invention of a new way to 
consider the painting of landscape. Topics to be 
studied include: Gardens, Tactics, Cartography, City- 
building, Roads, Creation Myths. Students will be 
expected to execute one significant piece of research, 
and to maintain a careful written journal. 
3 

Visual Studies 6: Symbols of Transformation A study of 
the visual symbolic content of psychological change 
as recorder in art and literature. The processes 
involved in the creation of fantasy are examined 
through the mediums of fiction and the visual arts. 
3 



43 



Social Studies 

Social Studies 1: Technological Society The industrial 
city, the assembly line, efficiency, standardization, the 
expert: such things dominate our ability to imagine 
society or imagine alternatives. There is the danger of 

technological society becoming a given, a fate, a back- 
ground: a danger of imagining the only options to be 
acquiescence or flight to the country. It is difficult to 
imagine, deal with, make peace with technological 
society. This course is an attempt to develop a 
student's sociological imagination. Much of the course 
examines the consequences of excessive social 
planning and excessive social control. The rest is a 
search for alternatives. 
3 

Social Studies 2: The History of the Future Here we will 

look at the variety of ways of imaging a future, of 
imagining what is possible, of imagining what will 
happen, of imagining what could happen, The course 
will be an examination of the value and perils of the 
Utopian imagination. 

It will be arranged as a series of case studies: 

Medieval expectations of the end of time. 

Renaissance versions of the perfect society. 

Nineteenth century Utopian thought. 

The personal future of nineteenth century Americans. 

Twentieth century revolutionarys, 

The future of the future. 

3 

Social Studies 3: Worlds and Cosmologies The course wil 
follow a sequence of written attempts at discovering, 
arranging, defining, or controlling, the nature of the 
universe. Our interest is not only in the act of the 

individual, the philosophical act of definition — but also 
in the social implications of these acts, and their origins 
in historical phenomena. Required texts will include the 
following: The Crock of Gold, The Rule of St. Benedict, 
Sun Chief, Beowulf. One Hundred Years of Solitude, 
Yanoama, Women and Their Bodies, Heraclitus. 
3 

Social Studies 4: Travelers Our interest is principally 
in first hand, narrative accounts, by witnesses or 
participants in campaigns or discoveries of historical 
or scientific importance. We will study the influence of 
the event on the witness. Possible readings: Travels of 
Marco Polo: Travels of William Bartram: History of 
Herodotus. Caesar, or Tacitus: Mailer's Armies of 
the Night. 
3 



44 



W W 







Calendar 

Registration: Freshman & Sophomores 

Registration: Juniors & Seniors 

First Semester begins 

Columbus Day 

Veterans Day 

Thanksgiving Recess begins 

Classes resume 

Christmas Recess begins 

Classes Resume 

Classes End 

Exam Week begins 

First Semester ends 

Second Semester begins 
Washington's Birthday 
Spring Recess begins 
Classes resume 
Good Friday 
Classes End 
Exam Week begins 
Exam Week ends 
Commencement 



46 



72 73 73 74 



Thursday September 14 
Friday September 15 
Monday September 18 
Monday October 9 
Monday October 23 
Wednesday November 22 
Monday November 27 
Friday December 15 
Tuesday January 2 
Friday January 12 
Monday January 15 
Friday January 19 



Thursday September 13 
Friday September 14 
Monday September 17 
Monday October 8 
Monday October 22 
Wednesday November 21 
Monday November 26 
Friday December 14 
Wednesday January 2 
Friday January 1 1 
Monday January 14 
Friday January 18 



Monday January 22 
Monday February 19 

Friday March 16 
Monday March 26 

Friday April 20 

Friday May 11 
Monday May 14 

Friday May 18 
Saturday May 26 



Monday January 21 
Monday February 11 

Friday March 15 
Monday March 25 

Friday April 12 

Friday May 10 
Monday May 13 

Friday May 17 
Saturday May 25 



47 



Faculty 

David Loeffler Smith, Dean of School and 
Instructor of Painting and Drawing; B.A.. Bard 
College; M.F.A. Cranbrook Academy of Art 

Leo Kelley, Instructor of Liberal Arts; B.S. and 
M.S.. M.I.T. 

Nicholas J. Kilmer, Instructor of Liberal Arts; B.A. 
Georgetown University; M.A. Harvard University 

Janyce Lapore, Instructor of Liberal Arts; M.A.; 
Johns Hopkins University 

Benjamin R. Martinez, Instructor of Painting and 
Drawing; B.F.A. Cooper Union 

Russell Mroczek, Instructor of Design and 
Photography; B.F.A. , Massachusetts College of Art 

Ronald Myers, Instructor of Sculpture, B.F.A., 
Syracuse University 

Bruce W. Naftel, Instructor of Design; B.S. in Art 

and M.A. in Graphic Design, Western Michigan University 

L. John Osborne. Instructor of Printmaking; M.F.A. , 
California College of Arts and Crafts; 
Undergraduate; Medway College of Art and Kent 
College (England) 

Sean Wilkinson, Instructor of Photography, B.A. 
Antioch College, M.F.A.. Rhode Island School of Design 

Administration 

William J. Finn, Director and Instructor of Sculpture, 
University of Toronto; B.F.A., Rhode Island School of Design 

Eleanor R. Peckham. Office Manager 

Betty Bryant. Bookkeeper 

Jacqueline Block, Special Services Director, 
B.F.A. Cooper Union 

Diane B. Cambra, Administrative Assistant 

Gerald S. Coutinho, Financial Aid Consultant 
B.S. Southeastern Massachusetts University; 
Director of Financial Aid, Southeastern 
Massachusetts University 

Fred Gomes, Buildings & Grounds Superintendent 

Marion H. Hanford, Librarian, Harvard; State College, 
Boston 



48 



• V 



Trustees and 

George C. Perkins, President 

David B. Titus, Vice President and Treasurer 

Richard A. Pline, Secretary 

Mrs. John M. Bullard 

George L. Considine 

Mrs. William E. Coykendall, Jr. 

Mrs. Daniel E. Finger 

Jack P. Hudnall 

Mrs. William K. Russell 

Mrs. Paul A. Schmid 

Mrs. Richard P. Waters 

Cecil C. I. Wylde 

Advisors 

Robert L. Bertolli, Professor ot Art — Boston State 
College 

Joseph A. Coletti, Sculptor 

Gilbert Franklin, Chairman, Sculpture 
Department — Rhode Island School of Design 

Bartlett H. Hayes, Jr., Curator of the American 
Academy. Rome 

Philip Hofer, Curator-Emeritus of Printing and 
Graphic Arts, Houghton Library, Harvard 
University 

Boris Mirski, Director, Boris Mirski Gallery 

Oliver Prescott, Jr., Attorney 

Perry T. Rathbone, Director-Emeritus, Boston 
Museum of Fine Arts 

W. Knight Sturges, Architect 

S. Morton Vose, Director, Vose Galleries of 
Boston 



50 



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Design Direction: Bruce Naftel 

Lithographed by: Reynolds-DeWalt Printing, Inc. 



52 



Application 

for 

Admission 



Date of Application 



Name 



Street 



City, State, Zip 



Phone 



Social Sec. No. 



Date of Birth 



Place of Birth 



Sex 



Educational Background 



Years Completed Graduation Date 



lilitary Service Draft Classification Veteran 



Name of Parent or Guardian 



Address 



Phone 



Desire Enrollment at School as: 



Full Time Student 



Part Time Student 



Transfer Student 



Will you be applying for scholarship aid? 



Transcripts being forwarded separately 



Letters of Recommendation will follow 



Portfolio being sent 



Portfolio being delivered at time of interview 



$10.00 Application Fee enclosed (This form cannot be processed without fee) 

Address: 

Admissions Office 
Swain School of Design 
19 Hawthorn Street 
New Bedford, Mass. 02740 



Bulk Rate 
Non-Prof it Org. 
U. S. POSTAGE 

PAID 

New Bedford, Mass. 
PERMIT No. 103