| the history of wake forest
he said, for the Foundation’s support of the University: Wake For-
est’s accelerating academic excellence, its posture in times of adver-
sity, its stance on academic freedom, the growth of the graduate
school in strength and stature, the high quality of the library, increas-
ing alumni support, and continued efforts to improve the minority
presence on campus. In response to the Foundation’s record of
more than three decades of gifts to the University, President Scales
presented the Medallion of Merit to Nancy Susan Reynolds, the
only one of R.J. Reynolds’ children still living and a woman of
modesty and rare insight who had on many occasions given her
own personal support to Wake Forest causes that pleased her. She
was dedicated, Scales said, to “the highest ideals of public service.”
The sesquicentennial campaign, off to such a promising start,
was further strengthened by the appointment of former President
Gerald Ford as honorary parents’ chairman and Arnold Palmer as
honorary chairman and by the report in the next several months of
three additional gifts to the University: $1.5 million from R.J. Reyn-
olds Industries, $200,000 from Wachovia Bank and Trust Company,
and $100,000 from Burlington Industries.
With such expectations for continuing success, the Trustees had
meanwhile endorsed the administration’s plan for proceeding with
the construction of the music wing of the Scales Fine Arts Center.
The cost, now estimated at $5,300,000, was already well above all
earlier assumptions, but the Reynolds Industries’ gift of a million
and a half was designated specifically for the building, and there
seemed little doubt now that the goal could be reached. By the fall
of 1982, it was hoped, the Department of Music would at last move
to a new home.
The theatre and art wing of the Fine Arts Center acquired a
new neighbor this year: an eight-ton sculpture created by Robert
Maki of Seattle and placed on the southwest side of the Center.
Maki had been Artist-in-Residence in 1978-1979 under a Rocke-
feller Foundation grant, and he described his sculpture, a three-di-
mensional triangular configuration, as invoking the concept of the
pentagon as a geometric structure. It was twelve feet high and
fourteen feet wide, and it cost fifty-two thousand dollars, mostly
paid for by the National Endowment for the Arts.
Campus reactions to the Maki sculpture ranged from what Old
Gold and Black called “biting sarcasm” to “complete bafflement” to