Each year DesignIntelligence honors excellence in education and education administration by naming 30 exemplary professionals in these fields. The 2013 class of education role models was selected by DesignIntelligence staff with extensive input from thousands of design professionals, academic department heads, and students. Educators and administrators from the disciplines of architecture, industrial design, interior design, and landscape architecture are considered for inclusion.

Randall Wilson, Assistant Professor of Sculpture in Art and Art History has received this prestigious distinction. For more than 30 years, Wilson has made significant contributions as an innovator of curriculum and pedagogy. There is excellence in every studio he teaches and he is always testing the periphery of design.

Professor Wilson received his MFA from Otis College of Art and Design in Los Angeles. Prior to coming to UNM, he taught at Art Center College of Art and Design, Pasadena, CA, Otis College and the Southern California Institute of Architecture, both in LA, beginning in 1986 through 2012. He received the esteemed American Institute of Architects AIA|LA Excellence in Education award in 2003.

Randall Wilson reflects:
“During my career in the teaching of art, in course levels ranging from entry to graduate level, my intent is to develop a creative athlete; there are no simple art objects, just simple ways of looking at them. The vital art curriculum that explores and develops each individual’s ability to express their personal cultural context in the objects produced is central to my approach to education. My desire is to teach the seamless relationship between content and built form, to establish an artist’s unique and individualistic art is paramount.

This ability is developed through a strong foundation in materials and methods of forming and manipulation of numerous material groups. If the primary material is wood, then hardwoods, soft woods, plywood, and composites will be presented and explored to find qualities and properties so that each individual could determine what is expressed and how that expression is embraced or conveyed in the material in relation to meaning.

The cultural subtext is in the course outcomes, a source of content in creative making of sculpture. In a recent course of mine, an exploration of the culture from Japan and the philosophies that determine material selection and use was the site for built form. The field trips and guest lectures were critical to engage a dialogue and discover form relationships that cross cultures in both similarity and differences. The Wabi – Sabi and Sheba philosophies were defined in art production and relating objectives. The Bon –Sai and Ikebana, the use of natural materials and built vessels with distinctive cultural expressions were cited forms of production to further illustrate this imbued cultural production. Complex joinery in wood, with ceramic elements, was the basic palate with hand-made paper elements. Through the study of other cultures, we can understand our own. There are numerous sculptural outcomes, large scale public work designed and student built, to a more personal scale, poetic and personal. My philosophy is to enable the student with an extensive command of material groups, a respect of the cultures of others, and a poetic sensibility to reach and convey the rich history each student makes.”

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