GOLDSTEIN MUSEUM OF DESIGN FALL 2013
E x h i b iti o ns
|
Co l lec ti o n
|
E v ents
Say it with Snap! Motivating Workers by Design, 1923-1929 Danish Modern Design for Living
New Acquisitions
Art Pottery
Happenings
director’s message Annual Report FY13
PRINTED TEXTILES: PATTERN STORIES was on display
What a diverse year of design! Thanks to the College of Design and to generous supporters, GMD has presented thoughtful exhibitions and facilitated design experiences for students and life-long learners. We’d like to share some of the highlights of Fiscal Year 2013 (July 1, 2012 - June 30, 2013). We look forward to another exciting year of design!
in Gallery 241 this summer from June 15 to August 25, intriguing and inspiring guests of all ages.
Yours in design, Lin Nelson-Mayson
Income & Expense
Membership
Programs & Classes
General & Program (minus grants): Income: $406,207 Expense: $403,271
180 members (60% increase) 57 new (340% increase)
Research Center use: 962 (includes classes & individuals)
Grant Funded Projects: (grant funds used in FY13; many grants are multi-year) Income/Expense: $91,682
Thanks to the Membership Committee’s efforts, new membership is the highest since the College of Design was formed.
Gallery 241 tour visitors: 1,096 (number included in total exhibition visitors below)
Exhibition Sponsors: 21
Volunteer support
curatorial Tour With Jean McElvain and Kathleen Campbell, june 27
over 2100 hours
Exhibitions
HGA program attendees: 130
New Acquisitions: 81 Photography: 6,000 items to-date 1,200 items in FY13
Total visitors: 11,373 (counted + estimated)
Gallery 241, McNeal Hall: 3,950 (counted)
HGA Gallery, Rapson Hall: 7,000 (estimated)
Touring Total viewers: 423 (counted)
Printed Textiles: Pattern Stories 86 (through 6/30) June 15-August 25, 2013
Jens Jensen: Celebrating the Native Prairie March 23 -May 12, 2013
Redefining, Redesigning Fashion: Designs for Sustainability 1866 January 18 - May 26, 2013
Rural Design: A New Design Discipline January 12 –March 17, 2013
Rural Design: A New Design Discipline June 3- July 3, 2013 Rural Art and Culture Summit, UMN Morris 260 visitors
We the Designers: Art in the Age of Obama 414 September 29 –December 30, 2012 Search for the World’s Best Baskets 911 June 8-September 9, 2012
Gopher camp printing activity & curatorial tour July 9 & 11
Collection
Circumstantial Evidence: Italy through the Lens of Balthazar Korab October 29 - December 15, 2012 Pickard Chilton: Designing Relationships September 24 - October 21, 2012
The Importance of Drawing: Ralph Rapson’s Legacy The exhibition was presented at alumni events held as part of the School of Architecture’s Centennial celebration.
VJAA | 2012 AIA National Architecture Firm Award June 2 - September 16, 2012
Boston Society of Architecture, Boston, MA (2/7), 50 attendees; HGA Architects and Engineers San Francisco, CA (3/21), 31 attendees: HGA Architects and Engineers, Sacramento, CA (4/245/31), 27 visitors; Kohn Pedersen Fox Associates, NYC, NY (6/25), 55 attendees.
UPCOMING EXHIBITIONS Danish Modern: Design for Living
Signed by Vera: Scarves by an Iconic Designer
Gallery 241, McNeal Hall February 1 – April 27, 2014
Gallery 241, McNeal Hall
Opening party: Friday, January 31, 6-8pm
May 17 – August 17, 2014 Opening party: Friday, May 16, 6-8pm
Danish Modern furniture and housewares were immensely popular in America in the middle decades of the 20th century. “Danish design” came to be synonymous with a design aesthetic that emphasized simplicity, quality, and craftsmanship and included a thoughtful orientation to utility and materials. Organized by the Danish Immigrant Museum in Elk Horn, Iowa, the exhibition includes furniture designs by Arne Jacobsen, Hans Wegner, Finn Juhl, Jens Risom, and Verner Panton, housewares by Dansk, and decorative ceramics by Bjorn Winblad. Exhibition sponsors include Rockler Companies, Inc., Blu Dot, and Danish Teak Classics.
Metro Sketchers Drawing in Gallery 241, August 4 2
Goldstein Museum of Design
FALL 2013
Featuring examples from the prolific designer’s 40-year career, this exhibition will draw from the Goldstein’s collection of approximately 550 Vera Neumann scarves. From humble beginnings in a New York City kitchen, Neumann’s designs captured the zeitgeist of the tumultuous postwar years and propelled the designer to international fame. Her decision to sign her colorful scarves transformed them from simple accessories to “Veras,” coveted by women the world over.
3
Happenings
director’s message Annual Report FY13
PRINTED TEXTILES: PATTERN STORIES was on display
What a diverse year of design! Thanks to the College of Design and to generous supporters, GMD has presented thoughtful exhibitions and facilitated design experiences for students and life-long learners. We’d like to share some of the highlights of Fiscal Year 2013 (July 1, 2012 - June 30, 2013). We look forward to another exciting year of design!
in Gallery 241 this summer from June 15 to August 25, intriguing and inspiring guests of all ages.
Yours in design, Lin Nelson-Mayson
Income & Expense
Membership
Programs & Classes
General & Program (minus grants): Income: $406,207 Expense: $403,271
180 members (60% increase) 57 new (340% increase)
Research Center use: 962 (includes classes & individuals)
Grant Funded Projects: (grant funds used in FY13; many grants are multi-year) Income/Expense: $91,682
Thanks to the Membership Committee’s efforts, new membership is the highest since the College of Design was formed.
Gallery 241 tour visitors: 1,096 (number included in total exhibition visitors below)
Exhibition Sponsors: 21
Volunteer support
curatorial Tour With Jean McElvain and Kathleen Campbell, june 27
over 2100 hours
Exhibitions
HGA program attendees: 130
New Acquisitions: 81 Photography: 6,000 items to-date 1,200 items in FY13
Total visitors: 11,373 (counted + estimated)
Gallery 241, McNeal Hall: 3,950 (counted)
HGA Gallery, Rapson Hall: 7,000 (estimated)
Touring Total viewers: 423 (counted)
Printed Textiles: Pattern Stories 86 (through 6/30) June 15-August 25, 2013
Jens Jensen: Celebrating the Native Prairie March 23 -May 12, 2013
Redefining, Redesigning Fashion: Designs for Sustainability 1866 January 18 - May 26, 2013
Rural Design: A New Design Discipline January 12 –March 17, 2013
Rural Design: A New Design Discipline June 3- July 3, 2013 Rural Art and Culture Summit, UMN Morris 260 visitors
We the Designers: Art in the Age of Obama 414 September 29 –December 30, 2012 Search for the World’s Best Baskets 911 June 8-September 9, 2012
Gopher camp printing activity & curatorial tour July 9 & 11
Collection
Circumstantial Evidence: Italy through the Lens of Balthazar Korab October 29 - December 15, 2012 Pickard Chilton: Designing Relationships September 24 - October 21, 2012
The Importance of Drawing: Ralph Rapson’s Legacy The exhibition was presented at alumni events held as part of the School of Architecture’s Centennial celebration.
VJAA | 2012 AIA National Architecture Firm Award June 2 - September 16, 2012
Boston Society of Architecture, Boston, MA (2/7), 50 attendees; HGA Architects and Engineers San Francisco, CA (3/21), 31 attendees: HGA Architects and Engineers, Sacramento, CA (4/245/31), 27 visitors; Kohn Pedersen Fox Associates, NYC, NY (6/25), 55 attendees.
UPCOMING EXHIBITIONS Danish Modern: Design for Living
Signed by Vera: Scarves by an Iconic Designer
Gallery 241, McNeal Hall February 1 – April 27, 2014
Gallery 241, McNeal Hall
Opening party: Friday, January 31, 6-8pm
May 17 – August 17, 2014 Opening party: Friday, May 16, 6-8pm
Danish Modern furniture and housewares were immensely popular in America in the middle decades of the 20th century. “Danish design” came to be synonymous with a design aesthetic that emphasized simplicity, quality, and craftsmanship and included a thoughtful orientation to utility and materials. Organized by the Danish Immigrant Museum in Elk Horn, Iowa, the exhibition includes furniture designs by Arne Jacobsen, Hans Wegner, Finn Juhl, Jens Risom, and Verner Panton, housewares by Dansk, and decorative ceramics by Bjorn Winblad. Exhibition sponsors include Rockler Companies, Inc., Blu Dot, and Danish Teak Classics.
Metro Sketchers Drawing in Gallery 241, August 4 2
Goldstein Museum of Design
FALL 2013
Featuring examples from the prolific designer’s 40-year career, this exhibition will draw from the Goldstein’s collection of approximately 550 Vera Neumann scarves. From humble beginnings in a New York City kitchen, Neumann’s designs captured the zeitgeist of the tumultuous postwar years and propelled the designer to international fame. Her decision to sign her colorful scarves transformed them from simple accessories to “Veras,” coveted by women the world over.
3
Exhibitions EXHIBITIons
Gallery 241, McNeal Hall September 13, 2013 – January 5, 2014 This exhibition presents graphically-dramatic 1920s posters that featured catchy slogans meant to shape worker attitudes and behavior in the workplace.
B
y the 1920s, industrial America was being transformed by the rise of the assembly line, technological advances, and social change. In 2013, it is challenging to imagine the very different workplaces of factories and offices in the decade after World War I. Manager-worker relationships were evolving, sometimes uneasily. The concept of “corporate culture” did not yet exist, but psychology was an emerging discipline with growing influence. Sigmund Freud’s theories were finding their way into popular culture, providing a new vocabulary for understanding our inner selves and our relationships with others. Theories about behavior modification (shaping behavior by providing motivation) were just starting to impact management theory.
Urging workers to adopt appropriate workplace behavior via persuasive messages was based on new theories of psychology, but the maxims presented by the posters reflected long-held American values, such as teamwork, self-discipline, using time well, and thrift. The dynamic graphic appearance of the posters, which have a visual similarity to World War I posters and 1920s circus and travel posters, evolved over time but always adhered to a standard format: a threepart message, lots of color, and a single image. Don’t miss this engaging exhibition of 1920s posters, whose appeal presents a lesson in the timelessness of successful graphic design but whose historic context includes a workplace that has changed forever. Organized by Hagley Museum and Library, Wilmington, DE and Samuel P. Harn Museum of Art, University of Florida, Gainesville.
opposite page: William Frederic Elmes, Mather & Company, Worry Bags No Game, 1929, color lithograph, 44 x 36 inches, collection Hagley Museum and Library, Wilmington, DE. above (clockwise): Artist Unknown, Mather & Company, Say It With Snap! Get ToThe Point., 1925, color lithograph, 44 x 36 inches, courtesy Ronald, Elizabeth, and Lauren DeFilippo. William Frederic Elmes, Mather & Company, Bull’s-Eye, 1929, color lithograph, 44 x 36 inches, collection Hagley Museum and Library, Wilmington, DE. William Frederic Elmes, Mather & Company, He Merely Struts!, 1929, color lithograph, 44 x 36 inches, collection Hagley Museum and Library, Wilmington, DE. right: Artist Unknown, Mather & Company, You Are Working for Yourself. You Can Succeed Here!, 1924, 44 x 36 inches, courtesy Ronald, Elizabeth, and Lauren DeFilippo.
Chicago entrepreneur Charles Mather saw an opportunity to profit from this time of rapidly-changing work environments and evolving relationships between workers and management. Between 1923 and 1929, Mather & Company supplied colorful, large-scale workincentive posters to over 40,000 firms nationwide. The stock market crash of 1929 put an end to his business. 4
Goldstein Museum of Design
FALL 2013
5
Exhibitions EXHIBITIons
Gallery 241, McNeal Hall September 13, 2013 – January 5, 2014 This exhibition presents graphically-dramatic 1920s posters that featured catchy slogans meant to shape worker attitudes and behavior in the workplace.
B
y the 1920s, industrial America was being transformed by the rise of the assembly line, technological advances, and social change. In 2013, it is challenging to imagine the very different workplaces of factories and offices in the decade after World War I. Manager-worker relationships were evolving, sometimes uneasily. The concept of “corporate culture” did not yet exist, but psychology was an emerging discipline with growing influence. Sigmund Freud’s theories were finding their way into popular culture, providing a new vocabulary for understanding our inner selves and our relationships with others. Theories about behavior modification (shaping behavior by providing motivation) were just starting to impact management theory.
Urging workers to adopt appropriate workplace behavior via persuasive messages was based on new theories of psychology, but the maxims presented by the posters reflected long-held American values, such as teamwork, self-discipline, using time well, and thrift. The dynamic graphic appearance of the posters, which have a visual similarity to World War I posters and 1920s circus and travel posters, evolved over time but always adhered to a standard format: a threepart message, lots of color, and a single image. Don’t miss this engaging exhibition of 1920s posters, whose appeal presents a lesson in the timelessness of successful graphic design but whose historic context includes a workplace that has changed forever. Organized by Hagley Museum and Library, Wilmington, DE and Samuel P. Harn Museum of Art, University of Florida, Gainesville.
opposite page: William Frederic Elmes, Mather & Company, Worry Bags No Game, 1929, color lithograph, 44 x 36 inches, collection Hagley Museum and Library, Wilmington, DE. above (clockwise): Artist Unknown, Mather & Company, Say It With Snap! Get ToThe Point., 1925, color lithograph, 44 x 36 inches, courtesy Ronald, Elizabeth, and Lauren DeFilippo. William Frederic Elmes, Mather & Company, Bull’s-Eye, 1929, color lithograph, 44 x 36 inches, collection Hagley Museum and Library, Wilmington, DE. William Frederic Elmes, Mather & Company, He Merely Struts!, 1929, color lithograph, 44 x 36 inches, collection Hagley Museum and Library, Wilmington, DE. right: Artist Unknown, Mather & Company, You Are Working for Yourself. You Can Succeed Here!, 1924, 44 x 36 inches, courtesy Ronald, Elizabeth, and Lauren DeFilippo.
Chicago entrepreneur Charles Mather saw an opportunity to profit from this time of rapidly-changing work environments and evolving relationships between workers and management. Between 1923 and 1929, Mather & Company supplied colorful, large-scale workincentive posters to over 40,000 firms nationwide. The stock market crash of 1929 put an end to his business. 4
Goldstein Museum of Design
FALL 2013
5
Exhibitions
100 Years of Student Drawings: Selections from the College of Design Drawing Archives By Jane King Hession (M.Arch, ‘95)
F
or 100 years, students at the School of Architecture at the University of Minnesota have been learning through drawing. Although modes of representation, media, tools, aesthetic preferences, and prevailing styles have changed over the decades, the fundamental importance of drawing as a means of conveying the power and beauty of architectural concepts has not.
far left:
Dudley Chamberlain Bayliss, A Country House, 1928-1929, ink wash and watercolor on paper, 61.2 x 96.8 in.
above right: T.J.
Schlink, Visual Art Center, date unknown, graphite, ink, watercolor, and plastic on board, 76 x 101 in.
HGA GALLERY, RAPSON HALL Showcase of Architecture Faculty and Adjunct Research and Creative Production October 19 – January 4, 2014 Members of the current faculty and recent adjunct faculty will be profiled in conjunction with the School of Architecture Centennial, 1913-2013, A Century and Building.
The goal of the exhibition, organized for the School’s centennial celebration, is to showcase— as broadly as possible—the range of architectural problems tackled by students over the last ten decades, the myriad design solutions proposed, and the diverse methods of representation used to communicate those ideas. Due to space limitations, a mere one hundred drawings were selected from several thousand compelling works in the archive.
THE 2014 MARGOT SIEGEL DESIGN AWARD
Collectively, the drawings tell the story of 100 years of visual representation at the School of Architecture -- from the Beaux-Arts traditions of the early 20th century, to the “Minnesota Style” of the Rapson era at midcentury, to the shift to digital drawing tools in the new millennium. A companion exhibition, “Early Works from the College of Design Drawing Archive,” on display in Architecture and Landscape Architecture Library, features a selection of original drawings, from the early years of the School. Only in its original form—where line weight, brush strokes, and the hand of the craftsman or craftswoman are visible—can a drawing, in all its dimensions, be appreciated.
6
above left:
The drawings in the exhibition “100 Years of Student Drawings” were selected from the College of Design Drawing Archives, a repository of student work dating back to the formative years of the School.
Each drawing on display communicates a fundamental architectural idea, but each also stands alone as a work of art. All speak to the quality of architectural education at the School. Each is testament to the talent, proficiency, and artistry of its originator.
Milton V. Bergstedt, A Fishing Lodge, 1930-1931, watercolor and pencil, 72 x 50.5 in.
The Goldstein Museum of Design is pleased to announce a call for nominations for the second annual Margot Siegel Design Award. The Siegel Design Award honors emerging designers who demonstrate design excellence, innovation, and enhancement of the quality of life. The recipient of the Siegel Design Award will receive an allexpense-paid trip to the Twin Cities to present a public lecture and accept a $2,000 award.
• Individuals may nominate themselves, and College of Design alumni are eligible for nomination.
ELIGIBILITY AND GUIDELINES
• The selection will be made by a committee of GMD’s Advisory Board, whose decision is final.
• Nominations for the 2014 awards will be accepted by email (gmd@umn.edu) through December 30, 2013. • The Siegel Design Award is given for a body of completed work, not for a specific project. • Individuals from any design field are eligible.
On view on the second floor of Rapson Hall, October 25-27 during the School of Architecture Centennial. Goldstein Museum of Design
• Nominees must have been practicing professionally for a minimum of seven years but not been the recipient of a major award. • Eligibility is restricted to citizens or long-term residents of the United States. There is no age criterion for nominees.
FALL 2013
• College of Design employees, Advisory Board members, and their families and household members are not eligible, but may nominate.
SELECTION
• All Selection Committee deliberations will be kept confidential. • The winner will be personally notified. Names of those nominating will not be made public. • In keeping with the College of Design’s mission to foster design that advances the quality and value of designed and social environments, the Selection Committee will base decisions primarily on the core criteria of excellence, innovation, and enhancement of the quality of life.
Myrick Hixon EcoPark interior atrium designed and built by WholeTrees Architecture + Structures. Roald Gundersen of WholeTrees was the 2013 winner of the Siegel Design Award.
ABOUT THE AWARD Margot Siegel (University of Minnesota School of Journalism 1944) had a long career as a fashion journalist and marketing professional. She was founder of the Friends of the Goldstein and a significant contributor to GMD’s collection. In 2009, she received the University’s Distinguished Alumni Award. Email all nominations to gmd@umn.edu by December 30, 2013. Visit http://goldstein.design.umn.edu/ support/events/margot_siegel_call_for_ nominations_2014.html for nomination details.
7
Exhibitions
100 Years of Student Drawings: Selections from the College of Design Drawing Archives By Jane King Hession (M.Arch, ‘95)
F
or 100 years, students at the School of Architecture at the University of Minnesota have been learning through drawing. Although modes of representation, media, tools, aesthetic preferences, and prevailing styles have changed over the decades, the fundamental importance of drawing as a means of conveying the power and beauty of architectural concepts has not.
far left:
Dudley Chamberlain Bayliss, A Country House, 1928-1929, ink wash and watercolor on paper, 61.2 x 96.8 in.
above right: T.J.
Schlink, Visual Art Center, date unknown, graphite, ink, watercolor, and plastic on board, 76 x 101 in.
HGA GALLERY, RAPSON HALL Showcase of Architecture Faculty and Adjunct Research and Creative Production October 19 – January 4, 2014 Members of the current faculty and recent adjunct faculty will be profiled in conjunction with the School of Architecture Centennial, 1913-2013, A Century and Building.
The goal of the exhibition, organized for the School’s centennial celebration, is to showcase— as broadly as possible—the range of architectural problems tackled by students over the last ten decades, the myriad design solutions proposed, and the diverse methods of representation used to communicate those ideas. Due to space limitations, a mere one hundred drawings were selected from several thousand compelling works in the archive.
THE 2014 MARGOT SIEGEL DESIGN AWARD
Collectively, the drawings tell the story of 100 years of visual representation at the School of Architecture -- from the Beaux-Arts traditions of the early 20th century, to the “Minnesota Style” of the Rapson era at midcentury, to the shift to digital drawing tools in the new millennium. A companion exhibition, “Early Works from the College of Design Drawing Archive,” on display in Architecture and Landscape Architecture Library, features a selection of original drawings, from the early years of the School. Only in its original form—where line weight, brush strokes, and the hand of the craftsman or craftswoman are visible—can a drawing, in all its dimensions, be appreciated.
6
above left:
The drawings in the exhibition “100 Years of Student Drawings” were selected from the College of Design Drawing Archives, a repository of student work dating back to the formative years of the School.
Each drawing on display communicates a fundamental architectural idea, but each also stands alone as a work of art. All speak to the quality of architectural education at the School. Each is testament to the talent, proficiency, and artistry of its originator.
Milton V. Bergstedt, A Fishing Lodge, 1930-1931, watercolor and pencil, 72 x 50.5 in.
The Goldstein Museum of Design is pleased to announce a call for nominations for the second annual Margot Siegel Design Award. The Siegel Design Award honors emerging designers who demonstrate design excellence, innovation, and enhancement of the quality of life. The recipient of the Siegel Design Award will receive an allexpense-paid trip to the Twin Cities to present a public lecture and accept a $2,000 award.
• Individuals may nominate themselves, and College of Design alumni are eligible for nomination.
ELIGIBILITY AND GUIDELINES
• The selection will be made by a committee of GMD’s Advisory Board, whose decision is final.
• Nominations for the 2014 awards will be accepted by email (gmd@umn.edu) through December 30, 2013. • The Siegel Design Award is given for a body of completed work, not for a specific project. • Individuals from any design field are eligible.
On view on the second floor of Rapson Hall, October 25-27 during the School of Architecture Centennial. Goldstein Museum of Design
• Nominees must have been practicing professionally for a minimum of seven years but not been the recipient of a major award. • Eligibility is restricted to citizens or long-term residents of the United States. There is no age criterion for nominees.
FALL 2013
• College of Design employees, Advisory Board members, and their families and household members are not eligible, but may nominate.
SELECTION
• All Selection Committee deliberations will be kept confidential. • The winner will be personally notified. Names of those nominating will not be made public. • In keeping with the College of Design’s mission to foster design that advances the quality and value of designed and social environments, the Selection Committee will base decisions primarily on the core criteria of excellence, innovation, and enhancement of the quality of life.
Myrick Hixon EcoPark interior atrium designed and built by WholeTrees Architecture + Structures. Roald Gundersen of WholeTrees was the 2013 winner of the Siegel Design Award.
ABOUT THE AWARD Margot Siegel (University of Minnesota School of Journalism 1944) had a long career as a fashion journalist and marketing professional. She was founder of the Friends of the Goldstein and a significant contributor to GMD’s collection. In 2009, she received the University’s Distinguished Alumni Award. Email all nominations to gmd@umn.edu by December 30, 2013. Visit http://goldstein.design.umn.edu/ support/events/margot_siegel_call_for_ nominations_2014.html for nomination details.
7
Collection
New Acquisitions:
clockwise
Art Pottery from Ruth Hanold Crane
S
ome people collect paper clips, others collect Picassos. Ruth Hanold Crane collects art pottery. Many donors have made significant contributions to the Goldstein’s pottery collection, but in recent years Ruth has been a notable supporter. She has generously relinquished many lovely pieces to the Goldstein Museum of Design. About 25 years ago Ruth was inspired to begin a collection after perusing a friend’s assortment of Red Wing Pottery. Also prompting her personal collection is a Rookwood vase that was given to her mother as a wedding gift in 1939. Ruth did not, however, begin acquiring pieces willy-nilly. Her sophisticated selections are based on both a keen eye and research that was furthered by involvement in the Minnesota Art Pottery Association. She and her husband, Doug, entered onto the scene at a time when there was growing interest in art pottery from the 1920s and 1930s. These eras, as well as earlier American Arts and Crafts pieces, appealed to Ruth both in shape and glaze. One of Ruth’s favorite pieces from this era is a two-handled vase from Roseville Pottery in Zanesville, Ohio.
from right:
Hampshire Pottery, Candleholder, 1900-1920. Hampshire Pottery, Pitcher, early 20th Century. Fulper Pottery, Vase, 1922-1928. Roseville Pottery, Bowl, 1920-1929. Becky and Steve Lloyd, Bowl, c. 2000.
Although she began with a focus on early to mid-20th century pottery, Ruth also enjoys collecting works from contemporary potters. Some of her favorites are Will Swanson, Janel Jacobson, Colleen Riley, Donovan Palmquist, and Jeff Oestreich. When selecting contemporary pottery Ruth says that “…the tactile quality is important to me, whether the surface is smooth as silk or ridged and carved. The shape and glaze help me decide whether a piece is a ‘must have’ or can be appreciated but not purchased.” She also notes the satisfaction in having pieces on her dinner table that were made by ceramicists that she has met. Ruth notes that “…it must be this personal connection that I have with current ceramicists that I prefer to my earlier collecting of beautiful pieces that were made by unknown individuals in a factory setting.” Ruth admits that a significant challenge for collectors is space. To this point, we at GMD are in full agreement. It is with great enthusiasm that we do all we can to make room for these lovely additions to our collection.
Several of these and other items donated by Ruth Crane can be seen in our mini exhibition in the GMD office (McNeal 364). Paul Revere Pottery – Saturday Evening Girls, Assorted Dinnerware, 1909-1925. Jeff Oestreich, Oestriech Pottery, Bowl, c. 2000. right: Roseville Pottery, Two-Handled Vase, 1930-1939. above:
above right:
8
Goldstein Museum of Design
FALL 2013
9
Collection
New Acquisitions:
clockwise
Art Pottery from Ruth Hanold Crane
S
ome people collect paper clips, others collect Picassos. Ruth Hanold Crane collects art pottery. Many donors have made significant contributions to the Goldstein’s pottery collection, but in recent years Ruth has been a notable supporter. She has generously relinquished many lovely pieces to the Goldstein Museum of Design. About 25 years ago Ruth was inspired to begin a collection after perusing a friend’s assortment of Red Wing Pottery. Also prompting her personal collection is a Rookwood vase that was given to her mother as a wedding gift in 1939. Ruth did not, however, begin acquiring pieces willy-nilly. Her sophisticated selections are based on both a keen eye and research that was furthered by involvement in the Minnesota Art Pottery Association. She and her husband, Doug, entered onto the scene at a time when there was growing interest in art pottery from the 1920s and 1930s. These eras, as well as earlier American Arts and Crafts pieces, appealed to Ruth both in shape and glaze. One of Ruth’s favorite pieces from this era is a two-handled vase from Roseville Pottery in Zanesville, Ohio.
from right:
Hampshire Pottery, Candleholder, 1900-1920. Hampshire Pottery, Pitcher, early 20th Century. Fulper Pottery, Vase, 1922-1928. Roseville Pottery, Bowl, 1920-1929. Becky and Steve Lloyd, Bowl, c. 2000.
Although she began with a focus on early to mid-20th century pottery, Ruth also enjoys collecting works from contemporary potters. Some of her favorites are Will Swanson, Janel Jacobson, Colleen Riley, Donovan Palmquist, and Jeff Oestreich. When selecting contemporary pottery Ruth says that “…the tactile quality is important to me, whether the surface is smooth as silk or ridged and carved. The shape and glaze help me decide whether a piece is a ‘must have’ or can be appreciated but not purchased.” She also notes the satisfaction in having pieces on her dinner table that were made by ceramicists that she has met. Ruth notes that “…it must be this personal connection that I have with current ceramicists that I prefer to my earlier collecting of beautiful pieces that were made by unknown individuals in a factory setting.” Ruth admits that a significant challenge for collectors is space. To this point, we at GMD are in full agreement. It is with great enthusiasm that we do all we can to make room for these lovely additions to our collection.
Several of these and other items donated by Ruth Crane can be seen in our mini exhibition in the GMD office (McNeal 364). Paul Revere Pottery – Saturday Evening Girls, Assorted Dinnerware, 1909-1925. Jeff Oestreich, Oestriech Pottery, Bowl, c. 2000. right: Roseville Pottery, Two-Handled Vase, 1930-1939. above:
above right:
8
Goldstein Museum of Design
FALL 2013
9
A Warm Welcome to our Newest Board Members
GMD Donors Fall 2013
Since 1988, Linda Hersom has been CEO of SHO, Inc., a marketing and graphic design studio in the Minneapolis area. She has been a member and supporter of GMD since 2002. She served on the GMD Advisory Board from 2005–2011, and was Advisory Board President from 2008-2010.
Christopher Spong is a social media strategist and community manager in Minneapolis.
Shanthini Logendran has been involved in the Minneapolis design and fashion community for 10 years. With a passion for interior design and love for high fashion, Shanthini works as a textiles specialist for Holly Hunt design company.
For the past 25 years, Heidi Libera has worked as an art director, designer, and marketing director for local and national publishing, marketing, and design firms. Currently Heidi is marketing director for builder Streeter & Associates and consults for Artful Living magazine. As an artist, Heidi paints landscapes in preparation for upcoming exhibitions and commission work. After studying painting at the College of St Catherine, she graduated with a design degree at Minneapolis College of Art & Design.
Matthew Hatch is Vice President of Sales for Maximum Graphics with a focus on helping Fortune 500 clients implement print solution program strategies. Matt has always been interested in design and during his time at the University of Minnesota became intrigued with the GMD. He joined the board to help promote awareness of this rich resource.
GMD ADVISORY BOARD
Board Members
John Ollmann, Signals
2013-2014 Officers
Bradley Agee, Department of Landscape Architecture, U of M
Lindsay Piram, Lindsay Piram Creative
Richard Beckel, Primeau
Christopher Spong, Social Media Strategist
Julie Dasher, Julie Dasher Rugs
Stephanie Zollinger, Department of Design, Housing and Apparel, U of M
President Tim Quigley Quigley Architects President-Elect Kent Hensley Hensley Creative/The Bernard Group Secretary Cheryl Watson Graphiculture
Christine Hartman, Holly Hunt
Julia Robinson, School of Architecture, U of M
Matthew Hatch, Maximum Graphics Debra Herdman, debra herdman design
Ex-Officio
Linda Hersom, SHO, Inc.
Dean Tom Fisher, College of Design
Kimberly Hogan, Community Volunteer
Brad Hokanson, Associate Dean for Research and Outreach
John Lassila, John Lassila & Associates Heidi Libera, Streeter & Associates
Lin Nelson-Mayson, Director
Shanthini Logendran, Holly Hunt
10
Goldstein Museum of Design
New and Renewing Members
Lee Ann Gustafson
Peggy & Ed Pluimer
Director’s Fund
Pamela Ackerman
Renee L. & John Hallberg
Sherri Quinn
Sue J Bartolutti
Dianne Aisenbrey
Christine Hartman
David Reimann
Pauline Altermatt
Matthew Hatch & Jeremy Steil
Katie & Steve Remole
Chad Amon
Mary Ann Heine
Diane Robinson
Karen Bartig
Debra Herdman
Mike Rosenzweig
William Bloedow
Mary Hickey Interiors
Julia Schroeder
Linda & Phil Boelter
Brad & Betsy Hokanson
Mark Schultz
Dolores Brooks
Julie Holland & Peter Torvik
John Schulz
Raymond Brown & Dorian Ramirez
Jason Howard
Sharon Seitz
Douglas A. & Ruth Hanold Crane Charitable Gift Fund
Shelley Brown
Lang & Kerry Hunt
Dianna Sether
Sandra H. Engen
Aimee Cardwell
Gabriel Keller
Kate Solomonson & Tom Erickson
Steve Havig
Caitlin Cohn
Cheryl & David Kelsey
Christopher Stoeber
Steve Silverman Imaging, Inc.
Catherine DeCourcy
Ann Kennefick
Brad Swanson
Nahid Khan
Marilyn & Max Delong
Reid & Carrie Kilberg
Gail Swanson
Mrs. L. A. Ziebell
Marilee DesLauriers & Jack Militello
Judith Kinghorn
Sonoma Swanson
Sandy DiNanni
Jim Lewis
Susan Throndrud
Media Sponsor
Kay & Arndt Duvall
Heidi Libera
Kate Tilney
Artful Living
Mary Dworsky
Shanthini Logendran
JoAnne Wahlstrom
Constance Ebert
Cynthia Lynch
Robb Whittlef
Barbara Edin
Chris Maddox
Katie Eiser
Kay & Jerry Martin
Design Roars! Benefit
Steven & Laura Engler
Tim Mattes
Kraus-Anderson Companies, Inc.
Michael Feddersen
Mary & Alan Merrick
Linda & Phil Boelter
Shirley Fiterman
Susan Neill
HGA Architects and Engineers
Tim Fleming
Todd Nelson
Holly Hunt Enterprises, LLC
Leslie & Jim Fletcher
Sally Nettleton
Kellé Company
Mary Ella Galbraith
Bonnie & Ron Ostby
Kathleen E. & Paul D. Campbell
Joni George
Brad T. Palecek & Michael Korby
Linda Goldenberg
Suzanne & William Payne
Kevin S. Ringdahl & David Mohr, Morgan Stanley
Joann Grabau
June & Lloyd Pearson
Bruce Groves
Lars Peterssen
Exhibition Support Judy Dayton General Support Margaret M. Bubolz Living Trust Kathleen E. Campbell
Wharton Hunt International RoseChase Financial
GMD Staff Hannah Bartz........................................................................................................ Gallery Staff Elizabeth Bischoff............................................................................................... Gallery Staff Kathleen Campbell............................................................................................. Grant Writer Alex Christl............................................................................................................ Gallery Staff Karen Froistad...................................................................................................... Gallery Staff Jim Dozier.......................................................................... Rapson Exhibition Coordinator Chandra Sather Gessner..................................................................Registrar’s Assistant Eunice Haugen......................................... Registrar & McNeal Exhibition Coordinator Betsy Intharath.................................................................................................... Gallery Staff Laura Kreft............................................................................................................. Gallery Staff Barbara Lutz................................................................................... Administrative Assistant Emily Marti................................................................................. Communications Assistant Jean McElvain.............................................................................................Assistant Curator Kendall Moon....................................................................................................... Gallery Staff Joey Mueller......................................................................................................... Gallery Staff Lauren Nelson...................................................................................................... Gallery Staff Lin Nelson-Mayson..................................................................................................... Director Rebekah Njaa.......................................................................................................... Preparator Jeanette Olson-Peterson................................................................................. Gallery Staff Matt Shea............................................................................................................... Gallery Staff Natasha Thoreson............................................................................... Collection Assistant Hannah Wendlandt............................................................................................ Gallery Staff Kimberlee Whaley...........................................................................................Photographer FALL 2013
All GMD programming is made possible in part by a grant provided by the Minnesota State Arts Board through an appropriation by the Minnesota arts and cultural heritage fund with money from the vote of the people of Mnnesota on November 4, 2008, and a grant from the National Endowment for the Arts.
Funding for the collection photography project was made possible by a grant from the U.S. Institute of Museum and Library Services.
The University of Minnesota is an equal opportunity educator and employer. Printed on recycled and recyclable paper with at least 10 percent postconsumer material. To request disability accommodations or to receive this publication/ material in alternative formats please contact Goldstein Museum of Design, 364 McNeal Hall, 612-624-7434.
11
A Warm Welcome to our Newest Board Members
GMD Donors Fall 2013
Since 1988, Linda Hersom has been CEO of SHO, Inc., a marketing and graphic design studio in the Minneapolis area. She has been a member and supporter of GMD since 2002. She served on the GMD Advisory Board from 2005–2011, and was Advisory Board President from 2008-2010.
Christopher Spong is a social media strategist and community manager in Minneapolis.
Shanthini Logendran has been involved in the Minneapolis design and fashion community for 10 years. With a passion for interior design and love for high fashion, Shanthini works as a textiles specialist for Holly Hunt design company.
For the past 25 years, Heidi Libera has worked as an art director, designer, and marketing director for local and national publishing, marketing, and design firms. Currently Heidi is marketing director for builder Streeter & Associates and consults for Artful Living magazine. As an artist, Heidi paints landscapes in preparation for upcoming exhibitions and commission work. After studying painting at the College of St Catherine, she graduated with a design degree at Minneapolis College of Art & Design.
Matthew Hatch is Vice President of Sales for Maximum Graphics with a focus on helping Fortune 500 clients implement print solution program strategies. Matt has always been interested in design and during his time at the University of Minnesota became intrigued with the GMD. He joined the board to help promote awareness of this rich resource.
GMD ADVISORY BOARD
Board Members
John Ollmann, Signals
2013-2014 Officers
Bradley Agee, Department of Landscape Architecture, U of M
Lindsay Piram, Lindsay Piram Creative
Richard Beckel, Primeau
Christopher Spong, Social Media Strategist
Julie Dasher, Julie Dasher Rugs
Stephanie Zollinger, Department of Design, Housing and Apparel, U of M
President Tim Quigley Quigley Architects President-Elect Kent Hensley Hensley Creative/The Bernard Group Secretary Cheryl Watson Graphiculture
Christine Hartman, Holly Hunt
Julia Robinson, School of Architecture, U of M
Matthew Hatch, Maximum Graphics Debra Herdman, debra herdman design
Ex-Officio
Linda Hersom, SHO, Inc.
Dean Tom Fisher, College of Design
Kimberly Hogan, Community Volunteer
Brad Hokanson, Associate Dean for Research and Outreach
John Lassila, John Lassila & Associates Heidi Libera, Streeter & Associates
Lin Nelson-Mayson, Director
Shanthini Logendran, Holly Hunt
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Goldstein Museum of Design
New and Renewing Members
Lee Ann Gustafson
Peggy & Ed Pluimer
Director’s Fund
Pamela Ackerman
Renee L. & John Hallberg
Sherri Quinn
Sue J Bartolutti
Dianne Aisenbrey
Christine Hartman
David Reimann
Pauline Altermatt
Matthew Hatch & Jeremy Steil
Katie & Steve Remole
Chad Amon
Mary Ann Heine
Diane Robinson
Karen Bartig
Debra Herdman
Mike Rosenzweig
William Bloedow
Mary Hickey Interiors
Julia Schroeder
Linda & Phil Boelter
Brad & Betsy Hokanson
Mark Schultz
Dolores Brooks
Julie Holland & Peter Torvik
John Schulz
Raymond Brown & Dorian Ramirez
Jason Howard
Sharon Seitz
Douglas A. & Ruth Hanold Crane Charitable Gift Fund
Shelley Brown
Lang & Kerry Hunt
Dianna Sether
Sandra H. Engen
Aimee Cardwell
Gabriel Keller
Kate Solomonson & Tom Erickson
Steve Havig
Caitlin Cohn
Cheryl & David Kelsey
Christopher Stoeber
Steve Silverman Imaging, Inc.
Catherine DeCourcy
Ann Kennefick
Brad Swanson
Nahid Khan
Marilyn & Max Delong
Reid & Carrie Kilberg
Gail Swanson
Mrs. L. A. Ziebell
Marilee DesLauriers & Jack Militello
Judith Kinghorn
Sonoma Swanson
Sandy DiNanni
Jim Lewis
Susan Throndrud
Media Sponsor
Kay & Arndt Duvall
Heidi Libera
Kate Tilney
Artful Living
Mary Dworsky
Shanthini Logendran
JoAnne Wahlstrom
Constance Ebert
Cynthia Lynch
Robb Whittlef
Barbara Edin
Chris Maddox
Katie Eiser
Kay & Jerry Martin
Design Roars! Benefit
Steven & Laura Engler
Tim Mattes
Kraus-Anderson Companies, Inc.
Michael Feddersen
Mary & Alan Merrick
Linda & Phil Boelter
Shirley Fiterman
Susan Neill
HGA Architects and Engineers
Tim Fleming
Todd Nelson
Holly Hunt Enterprises, LLC
Leslie & Jim Fletcher
Sally Nettleton
Kellé Company
Mary Ella Galbraith
Bonnie & Ron Ostby
Kathleen E. & Paul D. Campbell
Joni George
Brad T. Palecek & Michael Korby
Linda Goldenberg
Suzanne & William Payne
Kevin S. Ringdahl & David Mohr, Morgan Stanley
Joann Grabau
June & Lloyd Pearson
Bruce Groves
Lars Peterssen
Exhibition Support Judy Dayton General Support Margaret M. Bubolz Living Trust Kathleen E. Campbell
Wharton Hunt International RoseChase Financial
GMD Staff Hannah Bartz........................................................................................................ Gallery Staff Elizabeth Bischoff............................................................................................... Gallery Staff Kathleen Campbell............................................................................................. Grant Writer Alex Christl............................................................................................................ Gallery Staff Karen Froistad...................................................................................................... Gallery Staff Jim Dozier.......................................................................... Rapson Exhibition Coordinator Chandra Sather Gessner..................................................................Registrar’s Assistant Eunice Haugen......................................... Registrar & McNeal Exhibition Coordinator Betsy Intharath.................................................................................................... Gallery Staff Laura Kreft............................................................................................................. Gallery Staff Barbara Lutz................................................................................... Administrative Assistant Emily Marti................................................................................. Communications Assistant Jean McElvain.............................................................................................Assistant Curator Kendall Moon....................................................................................................... Gallery Staff Joey Mueller......................................................................................................... Gallery Staff Lauren Nelson...................................................................................................... Gallery Staff Lin Nelson-Mayson..................................................................................................... Director Rebekah Njaa.......................................................................................................... Preparator Jeanette Olson-Peterson................................................................................. Gallery Staff Matt Shea............................................................................................................... Gallery Staff Natasha Thoreson............................................................................... Collection Assistant Hannah Wendlandt............................................................................................ Gallery Staff Kimberlee Whaley...........................................................................................Photographer FALL 2013
All GMD programming is made possible in part by a grant provided by the Minnesota State Arts Board through an appropriation by the Minnesota arts and cultural heritage fund with money from the vote of the people of Mnnesota on November 4, 2008, and a grant from the National Endowment for the Arts.
Funding for the collection photography project was made possible by a grant from the U.S. Institute of Museum and Library Services.
The University of Minnesota is an equal opportunity educator and employer. Printed on recycled and recyclable paper with at least 10 percent postconsumer material. To request disability accommodations or to receive this publication/ material in alternative formats please contact Goldstein Museum of Design, 364 McNeal Hall, 612-624-7434.
11
Nonprofit Org. U.S. Postage
Gallery 241 McNeal Hall, saint paul Tuesday–Friday 10:00 am–5:00 pm Weekends 1:30 pm–4:30 pm FREE admission
HGA Gallery Rapson Hall, Minneapolis
PAID
Twin Cities, MN Permit No. 90155
364 McNeal Hall 1985 Buford Avenue St. Paul, MN 55108
Monday–Friday 9:00 am–6:00 pm Saturday 1:00 pm–5:00 pm FREE admission
gmd@umn.edu 612.624.7434 goldstein.design.umn.edu Goldstein Museum of Design GoldsteinMuseum
Ceramics from the collection
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1. R. Nicole, French Stoneware Vase, 1900-1983, Estate of Eugenie Lamothe. 2. Eva Zeisel, “Museum White” Teapot, 1945-1949, Gift of Marian-Ortolf Bagley. 3. Teco Pottery Bowl, 1900-1923, Museum Purchase. 4. Fulper Footed Dish, date unknown, Gift of the estate of Hazel Boss Cleland. 5. Amphora Ware Compote, 1895-1905, Gift of Mrs. Leona A. Schwab on behalf of the Stakman Estate and in memory of Professor and Mrs. Elvin Charles Stakman. 6. Gustavsberg Vase, 1901, Gift of Marion John Nelson. 7. Eva Zeisel, Porcelain Hot Water Pot and Creamer, 1900-70, Gift of Marian-Ortolf Bagley. 8. Gouda, Squat Vase with Gourd Shape, 19001983, Estate of Eugenie Lamothe. front cover: Thomas Krueger, Raku Vase, date unknown, Museum Purchase.