ATLA - April 2016
Look Who's Talking
Phebe Wahl 2016-03-23 04:22:44
WORK OF ART SCAD founder and President Paula Wallace begins a new chapter with the release of her new memoir, The Bee and the Acorn. "The Bee and the Acorn (Assouline, $35) is about so much more than me,” offers Savannah College of Art and Design founder and President Paula Wallace of her recently released memoir. With four locations on three continents, 1,800 staff and faculty members and more than 100 degree programs, Wallace’s passion project has blossomed from a school started in 1978 into one of the most comprehensive art and design universities in the world. “To think that we started with just 71 students, eight majors and one building,” she reflects. The 200-plus page memoir is a SCAD-community labor of love featuring illustrations by fibers graduate Emily Isabella, design by graphic design graduate Rosa Triolo and even packaging by Design Press Books, a division of SCAD. “A book is the garment that a story wears, and I thought it only fitting the narrative of SCAD be attired by someone who knows it best,” Wallace offers. With a title that nods to the university’s crest, Wallace shares the story of the school’s fortuitous origin. Ever the busy bee herself, while both an elementary teacher and a graduate student, Wallace helped her mother pen a language arts textbook aptly titled Serendipity. The royalties from that text serendipitously led to SCAD and kicked off a lifelong passion project for Wallace and her family. Wallace dedicates the book to “all the dreamers who came to SCAD and found their people, and for the dreamers yet to come.” The woman who built an arts education empire admits, “Dreamers are definitely my people.” WALLACE’S HOTS Vintatge dictionaries, springtime in Savannah, the latest exhibition at SCAD FASH WALLACE’S NOTS The day after SCAD commencement (it is so very, very quiet when the students leave), too much—or too little—reverence for tradition BY THE BOOK SCAD President and founder Paula Wallace in the Savannah campus’ Morris Hall next to an installation of her own design
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