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Kamarck, Edward (ed.) / Arts in society: tenth anniversary issue

[We are ten years old],   pp. [1]-6 PDF (6.1 MB)

Page 4

4       dedicated the first issue of Arts in Society
to him "our first citizen in the arts,"
as we put it. We wanted to make clear
that he was from Wisconsin.
I shall never quite forget one line from the
article, a comment which says that just
as a building is a space within, to be
lived in, a man was a space within, in
which a philosophy must live. The "space
within" image was beautifully mystic and
reflected Wright's abiding commitment to
some of Lao Tse's ideas.
I think we might say that something similar
is true of the journal as it stands. It is a
space within which an unrepentant
philosophy of excellence in the arts should
live. That philosophy cannot be something
neat and articulate, like the constitution
of a civil servant's association. But it
should be a spirit that breathes itself onto
every page, an attitude that insinuates itself
every time a question of quality comes
up, a presence that haunts each issue.
To a great extent that is what has happened,
and we can all be very proud.
a better mousetrap
by Eugene Kaelin
Mr. Kaelin was an associate editor of Arts
in Society for six years, 1959-65, and
is now a contributing editor. He is a writer
on aesthetics and the arts (author of the
book, An Existentialist Aesthetic), and is
currently Professor of Philosophy at Florida
State University.
The vision has concretized in the years of
the struggle, and today it is the quality
of the product that makes both contributors
and subscribers beat a path to the door.
And if the institution is to continue to
grow, only the maintenance of that quality
will keep them coming back for more.
What started out as an attempt to create
a field of interdisciplinary inquiry into the
social phenomena of the arts, uniting/the
work and writings of artists, administrators.
social scientists and philosophers, may
today lay claim to having succeeded.
Arts in Society lost its resident philosopher
in 1965, when the present author accepted
the invitation to build a graduate program
in aesthetics at the Florida State University.
The grass is greener here, true; but upon
my arrival I was a bit surprised, and
greatly pleased, to learn that my
extradepartmental colleagues had thought
of me not as a philosopher of the arts,
but as a former associate editor of
Arts in Society. One of them who had read
every issue of the magazine, and continues
to do so, added a further laurel. "I
couldn't teach my classes any more," she
claimed, "if there were no Arts in Society."
We knew that it was going to be hazardous,
but such tributes as these make better
mousetrap building a rewarding task to
a testimonial
by Warren Bower
Mr. Bower has been a member of the
advisory board of Arts in Society from
inception and has contributed a number of
pieces. He is a prominent literary critic,
Professor of English at New York
University, and Consulting Editor at Funk
and Wagnalls.
I have watched closely the development of
Arts in Society from its very first issue
ten years ago. It had a measure of
distinction even then as a University-based
magazine reporting on the ferment and
experimentation in the arts finding
expression on campuses around the country.
Those who directed it were alert to the
signs which came back to them that they
had staked out a significant area for
discussion and probing of what the
University's involvement in the arts might
be at a time when youth felt itself ready
to take responsibility for new attitudes,
new ideas, and boldly fresh responses to
That process of finding its voice and its
audience has continued until now
Arts in Society has a firm standing among
the serious magazines of the country
concerned primarily with the arts. It has
won particular distinction for its advanced
design, and for its reaching out toward
creative expression through new resources
in typography, illustration, and color

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