{"id":2618986,"date":"2025-07-13T22:57:37","date_gmt":"2025-07-14T02:57:37","guid":{"rendered":"https:\/\/sites.gsd.harvard.edu\/specialcollections\/?page_id=2618986"},"modified":"2025-09-16T14:15:54","modified_gmt":"2025-09-16T18:15:54","slug":"connection-visual-arts-at-harvard","status":"publish","type":"page","link":"https:\/\/sites.gsd.harvard.edu\/specialcollections\/connection-visual-arts-at-harvard\/","title":{"rendered":"Connection: Visual Arts at Harvard"},"content":{"rendered":"\n
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Connection: Visual Arts at Harvard<\/h1>\n\n\n\n

Years: <\/strong>1963-1969<\/p>\n\n\n\n

Frequency:<\/strong> Relatively Regularly, 2-4 Issues per Year<\/p>\n\n\n\n

Number of Issues: <\/strong>24<\/p>\n\n\n\n

Format: <\/strong>Mimeographed Journal (Issues No. 1-4), Print Journal (Issues No. 5-24)<\/p>\n<\/div><\/div><\/div>\n\n\n\n

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Click on the Issue No.22\/23 and 24 covers to access the full issue on the Harvard Viewer.<\/p>\n\n\n\n

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\"Publication
Issue No.1<\/strong>
November 1963<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Issue No.22\/23<\/strong>
April 1969<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Issue No.24<\/strong>
April 1969<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Issue No.24<\/strong>
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CONNECTION<\/strong> was launched in 1963 <\/em>by graduate students of the GSD as a forum for voices from the GSD, the Department of Fine Arts, and the Visual Arts Center (Carpenter Center). The mimeographed first issue \u2014initially published biweekly\u2014 outlined its aims: to \u201cstimulate involvement with issues of importance, breakdown barriers between the schools and departments, provide a current review of visual arts activities in the Boston area.\u201d <\/em>Charles Jencks, motivated by creating critical debate, served as the editor of the first eleven issues and was instrumental in establishing an ambitious publishing schedule that was attuned to the intellectual energy, political aspirations, and social upheavals of the 1960s.<\/p>\n\n\n\n

Collaboration at this time extended beyond Robinson Hall to embrace the visual arts, understood as a closely related field of inquiry to the design disciplines engaged with the physical environment. Reflecting this broadened he journal not only proposed improvements to the jury system and the inclusion of courses in painting and sculpture, but also sought to situate students within the cultural life of the city through reviews of exhibitions, lectures, and events. This outward looking orientation coincided with the landing of the Carpenter Center by Le Corbusier on Quincy Street, which was the subject of an essay by Eduard Sekler published in one of the early issues, alongside Hideo Sasaki\u2019s outline of a program foe landscape architecture, organized around five interrelated threads of instruction\u2014design, construction, history and theory, planting, and drawing\u2014 whose content and connections were represented in graphic form.<\/p>\n\n\n\n

The journal was deliberately polemical, exemplified by Jencks\u2019 editorials such as \u201cSpecialization and Dyspepsia\u201d, \u201cGSD Juries Judged\u201d,<\/em>\u201cVacuum at the Top\u201d,<\/em>\u201cExhortation to the Unreasonable Planner\u201d,<\/em> and \u201cPolar Attitudes in Architecture.\u201d <\/em>As the journal became more established, its scope expanded to include contributions from beyond the student body and, at times, beyond Harvard, with essays and commentary by others such as Jerzy Soltan, Marcel Breuer, Naum Gabo, Denise Scott-Brown, Gordon Cullen, John Cage. Special issues addressed broader topical concerns, including environmental design education<\/em>, <\/em>architectural theory and criticism<\/em>, <\/em>and urban housing and high density living<\/em>.<\/em> It<\/em>also became the venue to publish the Gropius Lectures.<\/p>\n\n\n\n

For the final issue, produced in April 1969, Alex Tzonis joined as guest editor and, as he noted, was \u201cput together by a group of friends.\u201d Reflecting on the cultural and political climate, he recalled: \u201cIt was only four years ago that one of the most prominent architectural historians declared \u2014during a symposium at Yale dedicated to urban aesthetics\u2014 that ours were times of mild manifestos <\/em>and that revolutions were over. Four years later, revolts and confrontations are a common phenomenon in both cities and universities.\u201d<\/em> The issue included a visual record of the student protests and clashes with police at Harvard that spring, its back cover depicting a violent image of a student in Marimekko pants thrown to the ground surrounded by baton-wielding police officers. This marked the last edition of Connection<\/em>.<\/p>\n<\/div>\n\n\n\n

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GSD STUDENT PUBLICATIONS<\/em><\/strong><\/p>\n\n\n\n

Frances Loeb Library<\/strong><\/p>\n\n\n\n

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Curated by Ines Zalduendo, Special Collections Curator at the Frances Loeb Library, M.Arch \u201995<\/p>\n\n\n\n

Designed by Ashleigh Brady, Archival Collections Website Editor, M.Arch \u201926<\/p>\n\n\n\n

With collaboration from Priscilla Mariani, FLL Access Services Specialist<\/p>\n<\/div><\/div>\n\n\n\n

An Opinion on Architecture <\/em>| Task: A Magazine for the Younger Generation in Architecture <\/em>| Synthesis<\/em> | Connection: Visual Arts at Harvard <\/em>| for’m <\/em>| The Harvard Architecture Review <\/em>| re\/alignment <\/em>| APPENDX: Culture\/Theory\/Praxis <\/em>| isthmus <\/em>| Gamut<\/em> | Trays: A Student Journal of the GSD<\/em> | New Geographies <\/em>| Platform <\/em>| Harvard Real Estate Review <\/em>| Open Letters <\/em>| Very Vary Veri <\/em>| MASKS, the Journal: Journal of the Dissimulation in Art <\/em>| Process: Journal of the GSD Design Research Forum<\/em> | OBL\/QUE<\/em> <\/em>| WID Bibliography<\/em> | Pairs <\/em>| Translations<\/em><\/p>\n<\/div>\n\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

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