When Larry R. Thompson assumed the presidency of Ringling College of Art and Design in 1999, the institution was a small, regional school with a single-minded focus on the arts. Twenty-six years later, Ringling is a nationally recognized leader in art and design education—a transformation largely attributed to Thompson’s vision and leadership.

His time at Ringling has been marked by a series of ambitious expansions: new academic programs, state-of-the-art buildings and a student body that has grown in both size and diversity. He and the college have also faced challenges, including allegations of mishandling legal issues, cultural tensions surrounding enrollment amid current politics, and the rise of AI in the art and design world.

As Thompson—who has a law degree and was CEO of the Rock and Roll Hall of Fame prior to joining Ringling—prepares to retire at the end of the 2025-2026 school year, he spoke with us to reflect on the highs, the lows, and the legacy he leaves behind. 

You’ve led Ringling College from a small art school to an internationally recognized institution. When you look back, what accomplishment are you most proud of?

“Going international. We have far more international students now than when I began. I remember when I came here for my interview. I came to campus on my own to get a better feel for the place. I sat down with some students and just talked with them.

“At that time, the school was very small—maybe 600 or 700 students. There weren’t many buildings, and it felt a bit run-down. But the energy and creativity those students was incredible. They told me how much they loved it here, that it was the best. I’d never heard students talk that way before.

“So to now see the institution become what it was meant to be—one of the premier art and design colleges in the world, with an outstanding reputation—that’s meaningful. I’ve overseen the addition of 14 new buildings. We’ve expanded to about 1,700 students, launched new academic programs, and we’re now considered one of the most tech-advanced colleges in the world. We were early adopters of digital tools—when the computer became the paintbrush, we embraced it.”

Can you elaborate on the significance of the Sarasota Art Museum project and its impact?

“It’s a great story. There were two groups in the community trying to create a modern and contemporary art museum. One group had raised money and even hired a firm to design a museum on the bay, near the Van Wezel. But when they got the cost estimate—$100 million to $200 million—they were deflated.

“Someone from that group called me and said, ‘Give me 30 minutes, just don’t kick me out of your office.’ I said, ‘What are you talking about?’ He said the school district was seeking proposals for what to do with the old Sarasota High School. He said, ‘What if Ringling put in a proposal to turn it into a museum and refurbish it?’

“That conversation was on a Thursday, and proposals were due Monday. I didn’t have time to take it to the board, but I drafted a proposal with contingencies—being a lawyer helped. The committee saw the college was behind it and accepted it."

How difficult was it to start the museum?

“Some board members weren’t happy. ‘What’s wrong with you?’ they said. ‘Museums eat money.’ But I told them: ‘How do other colleges connect with their communities? For many, it's through athletics. So I thought this museum could be our version of a football field, a way to engage with the broader community beyond education. It could bring people into the college like our OLLI or Town Hall series, help preserve a historic building and provide a shared gathering space.

“But we had to raise money for about 10 years to make it happen. Turning the old high school into a cultural space was difficult. It wasn’t on campus, so it felt separate. As we were preparing for construction, the school system offered us the Paul Rudolph building in the back. We said yes, but had to revise plans and raise more money.

“Most colleges raise funds from alumni, but ours weren’t necessarily wealthy yet. We’re fortunate to live in a generous community, and I kept trying to connect the museum and the college with that community. The Sarasota Art Museum is now part of who we are.”

The college is nearing its $175 million capital campaign goal for a new academic building on campus to serve as a welcome center, event space and hub for academic labs and faculty offices, digital arts, game design and virtual reality programs. Why the delay, and what’s the timeline now?

“We weren’t sure exactly when construction would begin. Like with the museum, I won’t start until all the funding is secured. We’ve raised $158 million so far, with a large portion dedicated to that building.

“We had to relocate the sculpture program first, which meant redoing another facility. A lot of steps have to fall into place. It’s a 100,000-square-foot building—do we need it? Do we have the students? What’s the economy like? All that factors in. I’d love to see it happen soon, but realistically, it’s probably one or two years away.”

AI is reshaping creative industries. How is Ringling adapting?

“We’ve always been on the edge of what’s next. AI is a real concern in art and design education, and we’re positioning ourselves as thought leaders, not running from it. 

“We created an AI undergraduate certificate open to all majors. It gives students an extra credential. We host an annual AI symposium, bringing people here from all over to discuss its impact on design.

“We’re also looking at launching an AI-focused major. Faculty are being trained, and the curriculum is adapting. No one knows exactly where this is going, but it’s not going away. We need to embrace it like we did with computers.”

Future enrollment projections are down nationally. Ringling had a 20.6 percent international student body in 2023-2024. Has Florida’s political climate impacted international enrollment?

“It’s a national issue. The enrollment cliff is real—fewer college-aged people, especially males. When I started, our student body was 70 percent male. Now it’s 75 percent female.

“Politics has played a role. We’re in Florida, and that creates concerns for international students. But we try to convey that while we’re located here, we’re not of that environment. Ringling is very welcoming, and we work hard to keep our brand strong. Still, it’s an issue—one we’ll keep facing.”

If federal financial aid is reduced, how will that affect Ringling?

“It will be a major factor—especially for private colleges like ours. Our tuition is high [$54,400 a year for American students], and that’s tough. Without that aid, many students can’t afford to come. That’s the scary part.

“We’re not talking about it enough. Undermining Title IV would devastate access to education. It’s disturbing, and it would have major consequences.”

How do you define success for Ringling College?

“It’s outcomes. It’s our students being able to turn their passion into a profession. That’s our tagline, and we mean it. They’re getting great jobs. We’ve shattered the myth of the starving artist. But it’s also about connection—with the community, with the world. We need more scholarships. We believe in diversity and inclusion, and we need to make sure the opportunity is there for more students.”

A lawsuit filed by former students in 2022 alleges the college mishandled sexual assault and stalking complaints made against faculty and staff. Looking back, could it have been handled differently?

“The case is ongoing and has gone through a lot of motion practice. It’s been split into five lawsuits by individual students.

“I can’t say much, but I’ve reviewed it—I’m a recovering lawyer. It’s a nuanced case. In my view, it lacks merit, but that doesn’t stop people from filing suits. We’ve won many motions, but it’s still active.”

What’s a single moment from your tenure that sticks with you?

“The Collaboratory—now called INDEX. I saw students landing internships and thought, 'What about the ones who don’t?'

“We partnered with the Patterson Foundation in 2012 to give students real-world experience while still in school. They worked on projects for companies—General Motors came and asked our students to design cars of the future. They hired seven or eight students from that.

“We’ve worked with the Smithsonian, wineries and all kinds of organizations. These are real projects. At orientation, I tell parents: This helps solve the 'no experience, no job' dilemma.”

When did you know it was time to step down?

“I’ve struggled with it for years. I’m probably older than people think—I’ll be 78 in October. I love what I do, but I’ve got a new grandchild on the way and a couple others across the state.

“I’ve spent my life doing what I love here. But now it’s time to spend some of it doing what I want, not just what the college needs. I’m not leaving because of challenges—it’s just time.”

What advice would you give your successor that they won’t find in the job description?

“Focus on the board. We’ve got the best board, primarily made up of people from this community. Keep that connection strong. You don’t need to look to L.A. or New York. The support is right here. This board has backed even the craziest ideas.”

Now that you’re retiring, what’s next?

“I’m staying local. I love Sarasota—this is home. I’ve had enough of winters. I’ll travel, play golf, and enjoy being a grandparent. And I’ll probably stay involved in some way in the community.”

What do you hope people will remember about your tenure?

“That I helped bring Ringling from a really good art school to a world-renowned art college—with a lot of help from others, of course. ”