by Emily Richardson, Lang ’15

Our search ended in 1967, not a bad year considering that it appeared to wrap a few things up nicely, and shows us the moment when the administration finally seemed to have pulled everything together because there are more things going on–projects added to the initial efforts of getting logistics settled. The first one was the exhibition of the faculty artwork in January. Another administrative success from this year was creating the summer catalogue. They seemed to have fixed a lot of the problems addressed at the beginning of the decade regarding course advertisement. A letter of invitation to teach for summer ’67 was sent out that informed faculty that this summer would be radically different from previous ones. The summer terms of the art courses used to be on a different timing than the rest of The New School, and registration was low in part because of that. Therefore this summer was to follow the same scheduling as the rest of the school. This shows that The New School’s typical student would want to take classes in various topics because it was important that the beginning and end of terms were similar across departments. Not only was the catalogue more put together, and the faculty more organized, the department was integrating itself with the rest of the school too.
This year also reflected stagnations as well as changes. For example, the freedom to keep a career as an artist was still available at The New School as evidenced by Julian Levi’s year-long leave-of-absence. Dean Austill sent out a memo to the Art Workshop faculty notifying that Levi would be in Europe for the academic year of 1967-68, and that John Ross would be Acting Director of the Art Workshops. Another document stated that some faculty still had not submitted their course proposals, signifying that it was still hard to get the artist faculty on board with administrative responsibilities. Some probably still considered themselves employees by the hour who are completely relieved of responsibility when the class ends. Then a proposal for a monitored painting class showed how a tighter administration helped to create some integration between the classes for the cultivation of student skills. This class was $25 and offered no credit. It would be for both fall and spring terms in the 1967-68 academic year. There was no specified instructor, so maybe faculty would take turns monitoring the students working. If that were the case, it would introduce students to the different teachers while also giving a more well-rounded critique of their work. Even without any truth in these assumptions, it would still hold up that this class addresses the earlier desire to guide students along a path towards mastery. [1, F. Art Workshops, NSPE Executive Dean’s files, NSA.]