For those of you following my posts on college and college visits, thank you for your public and private comments. I hope this post will resonate with many of you and spark even more debate and discussion, so load up my comment box.
After our visits to Case Western Reserve, Carnegie Mellon University and the University of Pittsburgh, my house became somewhat of a house divided. The heated discussion perhaps at this point of the game was maybe pointless. We were at the beginning phases of the college search. My daughter has high grades but had yet to take those multiple college entrance exams. She hadn’t even applied.
But what if she applies to places like CMU, or my husband’s alma matter, an Ivy League institution, and gets in? My mother-in-law (don’t worry, she never reads my blog) has this crazy idea that my daughter should apply to Yale because they have a fantastic graphic and visual arts program. With tuition at these colleges averaging around $64,000 a year, for a field that is super competitive and mostly employed by freelancers who have to pay their own way for health insurance and retirement funds, I hope that my mother-in-law has a huge college fund set aside for her grandchildren that she has not yet told us about.
Granted, private universities have large endowments and are more likely to bestow deserving students with a generous financial aid package. Let’s look at CMU’s 2012-2013 financial aid profile:
Nearly 70 percent of incoming freshman applied for financial aid and of that group, 77 percent of them were found to have financial need and were awarded an average financial aid package of $35,000 per year.
That same week we visited Pittsburgh-area colleges, the New York Times published a troubling article that said that the elite colleges were becoming even more elite. This might be in part because of the new common application process, where students can fill out online a common application, tweak it just a bit according to each school’s requirements, and with a click – and an extra fee per college – can apply to numerous colleges all at once.
The article stated “….Deluged by more applications than ever, the most selective colleges are, inevitably, rejecting a vast majority, including legions of students they once would have accepted. Admissions directors at these institutions say that most of the students they turn down are such strong candidates that many are indistinguishable from those who get in.”
This article, plus the media coverage that has been pointing to a troubling trend for years that college debt is crushing a generation who can’t find work outside of becoming a barista at Starbucks upon graduation, made me pose the question to my husband – is that private university price tag truly worth it. Isn’t it fiscally responsible to get a great education at a quality state school over an expensive private school?
One take on that outlook is this: When looking at job applicants fresh out of school, those with the Ivy League or private colleges get looked at first, and those graduating from a state school have a greater chance of being overlooked.
For those of you who are graduates of a public state university, like me, that answer can really sting.
I posed this question and put it up for debate on my Facebook status. Got a slew of comments.
Some, who were Ivy League graduates in their 40’s, wondered if they would be accepted by their alma mater if they applied today. A fine arts graduate from CMU said she was accepted based on her portfolio and that parents need to “chill out.” There are “best schools” out there as far as status, but there is a school out there for every student which will serve them the best, and that may not necessarily be an Ivy League school.
Graduates of public state schools stood proudly by their alma mater and said from a regional standpoint, companies know the reputation of state schools in their area. Many managers are, in fact, products of those state schools. However, the grooming and the connections one gets at an Ivy League are clear advantages, some said.
So, there is no clear and dry answer.
My husband and I were still mulling this debate over when we went for breakfast at Pamela’s, in the lovely Shadyside neighborhood in Pittsburgh. As if by some cosmic fate in the academic universe, an older couple was watching us from a nearby table. They were admiring our three children as they wolfed down their pancakes and waffles and listened to our conversation about getting into college.
As it turned out, the gentleman was a mathematics professor at the University of Pittsburgh.
“Listen to me. Don’t waste your money if you have a great in-state public university at your doorstep.”
Which we do.
“I’ve seen so many kids burn out at places like CMU in the undergrad years. The University of Pittsburgh is a fine, fine university. Don’t go into debt,” he said, then turned to my oldest. “If you want the elite private school status, wait for graduate school, where if you get in, they will most likely pay your way through grants and scholarships.”
And with that, he paid his bill and the couple bid us a good day and good luck.
The issue: still up for debate. And I welcome your comments.
Here is my article on Susan Ferrari Rowley’s Rochester exhibit which ran in the November 11, 2012 Living Section of the Democrat 7 Chronicle:
In the male-dominated world of art, it’s tough to be a woman sculptor. Women artists seldom get the space they deserve in the pages of an Art History 101 textbook.
The exclusion of works by women is further evidenced in the inventory of American museums, where only about 5 percent of museum collections include works by women artists, according to the Museum of Women in the Arts in Washington, D.C. An even smaller percentage include sculptures by women.
That is why Robin Muto, who is the co-curator of one of Rochester’s newer galleries, AXOM Gallery & Exhibition Space, jumped at the opportunity to show the work of Rochester-based minimalist sculptor Susan Ferrari Rowley in an exhibit specifically designed for the studio’s airy, high-ceilinged space.
“New Directions,” on exhibit at AXOM, 176 Anderson Ave., through Saturday, offers the viewer a range of human emotions in stark white fabrics, stretched and sewn onto soldered aluminum frames. The works will head to New York City’s OK Harris gallery in December.
Contrast in form
“New Directions” reveals Rowley’s current migration from creating larger outdoor and public sculptures to works scaled for private residences. Asymmetric pieces likeInseparable, Centered and Off-Balance exude an edgy tension as they balance precariously on pedestals Rowley custom designed to be just big enough for their footprint.
The “living on the edge” quality of these smaller works also suggests anatomical elements of a body, legs and arms. A calming, translucent glow that seems to start from within the sculptures hints at an inner soul.
Rowley’s sculptures are a contrast of materials and moods. They are large and imposing, yet they invite the viewer to come closer. Through cloth and metal and angular and curved lines, the exhibit of about a dozen abstract pieces can be experienced by stepping around, over and through them.
Outside the main gallery is the story of the art through photos of Rowley making them in her Scottsville studio.
The dominating work in “New Directions” is 4-2-2, a 10-foot composition of three geometric forms. This construct of three white, billowy shapes gives off a peaceful, translucent glow made possible by the carefully placed overhead track lighting. At the same time, three enormous metal poles that extend from the floor to the 14-foot ceiling impale the composition. The very moment of this piercing appears to be captured within the tension of the cloth.
Though abstract and stark in composition, 4-2-2 was created out of a very human emotion: the heartbreak of impending loss. Rowley says it was inspired by the death of her dog Tu-Tu (pronounced tiyu-tiyu), who was a loyal companion for almost 14 years.
Rowley melds techniques like sewing, traditionally regarded as a feminine skill that she learned from her grandmother, with the more masculine crafts of soldering metal and machine tooling. The combined media make each sculpture confrontational in its large scale, yet lightweight and vulnerable in overall appearance.
“I like to work in opposites,” says Rowley, associate professor of fine arts at Monroe Community College. “Metal is hard, and poly fiber fabric is soft. There are male and female qualities, a vulnerability yet strength in my work that are emotions I needed to embrace in my own life as I evolved as an artist.”
A cause in jewelry
“New Directions” also includes Angular Extremes, wearable bracelet art that is the result of Rowley’s tenacious three-year campaign to convince American machine tooling factories and other manufacturers that they can make art and jewelry.
The aluminum bracelets are cast in a Milwaukee factory that did not think they were cut out to manufacture jewelry until Rowley talked them into it. The bracelets are shipped to Rochester, where another company provides the black-and-white nickel color coating.
She then designs the boxes, made from post-consumer recycled materials, with New York’s Jamestown Container.
It is a company where her late mother-in-law spent most of her working life. The label for the packaging was produced by another American company.
These bracelets are also part of the AXOM exhibit and available for purchase at Shop One2 Gallery on the Rochester Institute of Technology campus and the Memorial Art Gallery Store.
Influences on work
Growing up on Long Island, Rowley developed an appreciation for the arts by making treks into New York City. She found art in museums, but also in the windows of Macy’s or in the hand-drawn fashion advertisements in the Sunday New York Times.
On a sixth-grade field trip to the Museum of Modern Art, Rowley fell for a sculpture of abstract feminist sculptor Louise Nevelson. Rowley had found her calling.
“I remember on the train ride home thinking, ‘Making sculptures and placing them on pedestals, that’s what I want to do with my life!’ ” she says.
Later in graduate school, Rowley wanted to find additional 20th century female sculptors to emulate. She had studied the work of Constantin Brancusi and Marcel Duchamp. Then she found fiberglass artist Eva Hesse and sculptor and printmaker Nancy Graves.
“When I read about their lives and how they struggled as women sculptors, their drive inspired me. I knew if I was driven, I would be OK,” Rowley says. “I had to live up to my potential; I had to produce and show as a woman sculptor.”
More than 30 years into her career, Rowley still possesses that drive. She sometimes works alone in her studio. Sometimes she is “making it happen” on group collaborations. In 2004, she proved to be a quick study on zoning and construction codes when she designed relief art for noise-barrier panels placed along Rochester’s western highways for the New York Department of Transportation.
Rowley also made a suspended sculpture for the set of Garth Fagan’sLight Night and Melanin.
The diversification of work, trying to make it fit in several situations, is what she tries to impart to her MCC students, says Rowley, who received the 2011 SUNY Chancellor’s Award of Excellence in Scholarship and Creative Activities.
“I tell my students that our brains have tremendous capacity to diversify,” she says. “Artists today have to have communication and business skills as well as artistic talents, especially when they are commissioned on a piece and will need to work with those with non-artistic backgrounds.”