GOLDSTEIN MUSEUM OF DESIGN Fall 2014
E x h i b iti o ns
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Co l lec ti o n
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E v ents
Summer 2014 happenings
SIgned by Vera: Scarves by an Iconic Designer opening Party Gallery 241, May 16
American Hustle Scotch Tasting McNEAL Hall, June 11 Behind-the-Scenes story on page 8
GOpher Camp: Chair Design Exploration McNEAL Hall, August 6 Story on page 7
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Goldstein Museum of Design
Current Exhibitions
100 Years of Student Drawings: Celebrating the School of Architecture’s Centennial
Rapson at 100: Process | Themes | Variations
A Right to Establish a home
HGA Gallery Link
Northrop Gallery April 4 – December 30, 2014
October 6, 2014 – September 27, 2014
August 23 – January 4, 2015 Opening Reception: August 22, 6-8pm
HGA Gallery, Rapson Hall
Story on page 4
UPCOMING EXHIBITIONS
Nature 3.X: Where is Nature Now?
Transformation of an Icon: The Story of Northrop
Design Cycles: A Bike Show
HGA Gallery
Northrop Gallery
Gallery 241, McNeal Hall
January 30 – May 3, 2015
January 9 – August 30, 2015
January 24 – May 10, 2015
This exhibition will showcase professional and academic work by artists, designers, and other creatives from a variety of disciplines, including the sciences and humanities, to catalyze new dialogue concerning the shifting definition of nature in the 21st century.
In April 2014, the 85-year-old Northrop Memorial Auditorium was reborn with a Grand Reopening and Celebration. However, its dramatic transformation largely took place behind the building’s brick walls, out of sight of the public. This exhibition will reveal the heroic work by the design team led by HGA Architects and Engineers to accomplish this effort, highlighting Northrop’s history and its future as a premier location for performance and academics and as a vibrant building at the center of campus life.
Opening Party: Friday, January 23, 6-8pm
This speculation requires an interdisciplinary examination of critical works that fosters intellectual discovery, challenging design professions and the public to consider the opportunities for design in shaping this critical dialogue.
Photo by Morgan Sheff Photography
Senior Fashion Show exhibition
To bike or not to bike, that is the question. Design Cycles: A Bike Show answers that question handily. The bicycle’s historic role in liberating the individual, and its more contemporary role in liberating the individual from the automobile, has positioned it as a political object complete with advocates and adversaries. Confirm your own hunches about why riding is a must in Minnesota, a state with a long-time commitment to cracking the code on how bikes work in U.S. cities. Known for an expansive infrastructure that has increased ridership, Minnesota is home to a committed culture of cyclists with entrepreneurial savvy. See frames by regional builders including Erik Noran and Curt Goodrich, gear and tools by Twin Six and Bike Fixtation, and the big fat history of Surly’s big fatbike. A short history on early bicycles and maps will provide insights into the inherent allure of bicycles.
HGA Gallery Link February 3 - May 3, 2015
in the works FAll 2014
Summer 2015 Fall 2015
Alexey Brodovitch: Art Director America’s Superheros, Villains, and Monsters: Our Toys
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Hypernatural
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August 23, 2014 –January 4, 2015 HGA Gallery, Rapson Hall
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Right to Establish a Home examines the history behind a series of menacing protests that enveloped 4600 Columbus Avenue South, Minneapolis, following its purchase in August 1931 by Arthur and Edith Lee. The young couple was AfricanAmerican, and they chose to buy a house in what many then considered a “white neighborhood” of South Minneapolis. On one night, as many as 4,000 protestors gathered in the street outside the Lee house, hurling insults, garbage, and even human waste at the property in an effort to intimidate the family into leaving the neighborhood. Confident in their right to establish a home, the Lees ultimately stayed in the house for more than two years, though the neighborhood never fully accepted the family’s presence.
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The exhibition interprets the protests and responses in the broader context of race and housing in Minneapolis, racism in Minnesota, and the individuals and organizations that defended the Lees, including the NAACP and the distinguished attorney Lena Olive Smith. Additionally, through a series of oral history interviews with current Field Regina Northrop neighborhood residents, the exhibition connects the events of 1931 with the longer, broader continuum of events, people, and actions that reflect the history of a neighborhood striving for public safety, inclusiveness, cooperation, mutual respect, and social justice. The exhibition encourages the audience to consider questions such as what it means to have the right to establish a home, what it means to be part of a neighborhood, and the ways that racism in Minnesota has changed since 1931. A Right to Establish a Home is the culmination of a multi-year partnership among members of the Field Regina Northrop Neighborhood Group and the Heritage Conservation and Preservation Program at the University of Minnesota School of Architecture. The Arthur and Edith Lee House was listed in the National Register of Historic Places by the National Park Service on July 11, 2014. Event Curators: Greg Donofrio and Laurel Fritz Community Collaborators: Stearline Rucker and the Field Regina Northrop Neighborhood Group
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Supported by: The IAS Heritage Collaborative; Minnesota Historical Society/University of Minnesota Heritage Partnership; Imagine Fund, the McKnight Arts and Humanities Endowment; and Rapson Hall Exhibitions Fund with support from Judy Dayton
Exhibitions: HGA Gallery
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1 Protesters threw black paint (seen at the corner of the house) as well as garbage and even human feces at the Arthur and Edith Lee house during the 1931 “riots”. (Minneapolis Tribune, July 16, 1931) 2 Lee family 3 Compilation of newspaper headlines related to the Lee case 4 The crowd at the Lee House swelled to around 4,000 people during the height of the demonstrations. (The Crisis, October, 1931)
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5 Events at the Lee House were national news, making the cover of the NAACP The Crisis magazine as well as appearing in newspaper stories in cities from Chicago to Pittsburgh. (The Crisis cover, October 1931) 6 The Lee House “riots” were only one instance of the racially motivated aggression taking place in Minnesota during the 1920s and 1930s. The Ku Klux Klan also had a strong presence in the state and numerous cross burnings were documented around the same time. (Minnesota Historical Society neg #: 39376)
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Printed Handkerchiefs From the COllection 1
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uring this era of the Kleenex, the handkerchief seems a quaint relic of a bygone age. Before the disposable tissue dramatically changed hygienic practices, the handkerchief was an essential tool for drying eyes, mopping brows, and blowing noses. It was also an essential fashion item subject to centuries of fashion trends dictating size and embellishment. These grew so convoluted, legend has it that Marie Antoinette pressured Louis XVI to issue a royal decree declaring an end to capricious changes in hanky shape, rendering them square forever after. Legend also has it that the hanky was, until the early 20th century, a discreet means of non-verbal communication. Friends or lovers could draw their hankies across their cheeks, fold them, drop them, or twirl them in their hands to carry on secret conversations and flirtations. By the mid-20th century, the meaning of the hanky had completely transformed. Now serving as conversation pieces and fashionable accents, a handkerchief sparked a story of a recent vacation or suggested the owner’s personality, individuality, and fashion sensibility via its striking design. The charming handkerchief featured on the front cover (1 ) depicts a swarm of bees. Designed by the Swiss company Kreier (1954-1996), the handkerchief reads “Busy as a Bee,” perhaps accompanying its owner during a long day of errands.
1. Kreier, manufacturer; Handkerchief with bee motif; Anonymous Gift 2. Handkerchief with rose motif, 1950-1959; Gift of Rebecca Millunchick
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3. Tammis Keefe, designer; Handkerchief with Asian-inspired design, 1952-1953; Gift of Helen Bentley 4. Christian Dior, designer; Handkerchief featuring image of Dior’s Parisian atelier, 1950-1959; Gift of Kathleen Catlin 5. Kimball, manufacturer; Handkerchief with cat motif, 1950-1959; Museum Collection 6. Handkerchief featuring map of Lucerne, Switzerland; Estate of Mary Olive Boone
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Goldstein Museum of Design
Cover Story
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Legendary handkerchief and scarf designer Tammis Keefe (1913-1960) was known for her deft use of color and charming depictions of American landmarks (see back cover). This hanky draws from Asian design tradition, featuring a meandering “cloud and thunder” border and elegantly dressed geishas standing atop arched wooden bridges.
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While hankies could be readily and inexpensively purchased at neighborhood five and dime stores or procured as free premiums in magazines, many brands managed to find toeholds in a heavily saturated market. This hanky, decorated with whimsical cats and swirling foliage, was distributed by Kimball, a popular American handkerchief brand employing top designers such as Tammis Keefe. The French word for happiness – bonheur – is printed in the lower left corner.
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Handkerchiefs might also serve as status symbols. This subdued design depicts the Parisian couture house of Christian Dior (established 1947). The elegant awning with its luxurious curtains marks 30 Avenue Montaigne, the legendary home base of one of the 20th century’s most iconic designers.
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Among the most colorful and lively handkerchiefs were sold as souvenirs (see back cover for additional examples). Souvenir hankies commemorate the most inconsequential of landmarks and the most prominent of countries. While hankies were printed as campaign favors since George Washington’s day, they came into vogue during the World Wars when soldiers slipped them into envelopes as gifts to their lovers back home.
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Brightly colored handkerchiefs enlivened the conservative outfits of the mid-20th century. Tucked in a pocket or purse, this flamboyantly-colored hanky certainly inspired a smile when encountered. Scalloped edges add a touch of femininity and reflect a long history of dramatically edged hankies.
6 Children enjoy Summertime with GMD: Gopher Adventure Camp
Shoe Designs with GMD at the State Fair
Asking a group of 6-year-olds what design means to them draws responses that range from “a wiggly line” to “a person who makes drawings” to a blank stare. This past August the Goldstein hosted three Gopher Adventure Camp groups using the chair as a jumping off point for discussing design. Most children could count at least 12 chairs that they had in their homes, and were able to clearly identify major differences between dining chairs, task chairs, and lounge chairs. Campers were shown chairs from GMD’s collection that ranged in materiality, construction, and intended use including examples by Frank Gehry, Warren Platner, and Joe Columbo. When asked to vote, they overwhelmingly raised their hands in favor of the ‘Embody Chair’ by Studio Weber + Associates. However, many described the spiny ergonomic back support as “icky” or “gross.” These terms are apparently high praise when coming from 6-year-olds.
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Children worked with Design a Shoe Drawing pages by Lauren Artista Luna. GMD staff invited fair goers to “be a designer” at the state fair. 7
NOTES FROM THE COLLECTION Fine Pairings: Selecting Seventies for Scotch The 1970s can be described in many ways: tumultuous, glamorous, heartbreaking, swaggering, and revolutionary. Selecting apparel and accessories to share with attendees at the Goldstein’s June new member event, American Hustle Scotch Tasting, challenged curator Jean McElvain to look within the GMD collection for styles that would aptly represent a complex time period. More women were entering the workplace, there was increasing interest in world dress and culture, youth culture had found a voice through Vietnam War protest, and the Civil Rights Act of 1964 all continued to influence how people dressed. Selections attempted to reveal a cross-section of styles that included plunging necklines, jumpsuits, hot pants, flashy prints, leather fringe, skirt suits, and polyester leisure suits.
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2 1 Curator Jean McElvain sharing the finer points of 1970s fashion with guests dressed for the occasion.
5 Jumpsuit and belt, 1971 By Bonnie Cashin Gift of Gloria Cherne Hogan
2 Blouse and skirt, 1970-1979 By Ralph Lauren Gift of Mrs. Danny Lindsay
6 Evening dress, 1970-1979 By Malcolm Starr Gift of Mr. and Mrs. Miles (Shirley) Fiterman
3 Suede shoes, 1970-1979 Gift of Silvas Durben 4 Platform shoes, 1970-1979 Gift of Kathryn L. Glessing
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7 Blouse, skirt, and sash By Hanae Mori Gift of Mary Goff Fiterman Estate
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Goldstein Museum of Design
Collection
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COLLECTION ON THE MOVE Over three days in early July, museum staff, students, and a local professional art service company moved approximately 11,750 objects from one of GMD’s collections storage rooms to their temporary home in Gallery 241. The move, which included 3867 flat textiles and 7883 costume items, was necessitated by the upcoming renovation of their permanent home. Upgrades to the room include replacing aging carpet with vinyl composition tile and painting the walls. Ductwork and lighting will be replaced and re-routed to maximize the storage area above cabinets, and controls will be replaced on the HVAC system to better regulate temperature and humidity within storage and the gallery. Thirty cabinets will be replaced by thirteen larger powder-coated museumquality cabinets outfitted with drawers and hanging rods; a fifteen-foot open cabinet unit for rolled textiles and open wire shelving to house acid-free textile boxes will be added. It took approximately 112 man/woman hours to move the collection from one room to the other, with a total of nine people working on the project at various times throughout the three days. To accommodate all objects transferred to the gallery, closet rods were mounted to the walls and items not hung were packed in acid-free boxes. All objects will be moved back once the improvements to the storage room are completed. SUMMER 2014
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director’s message Open the Doors to Northrop! Open the Doors to Photography! I hope you have been able to visit the newly-renovated Northrop since its Grand Reopening last spring. If so, did you see the GMD exhibition in the Fourth Floor Gallery? The venerable icon of the University of Minnesota’s Minneapolis campus had been closed for nearly three years while a major transformation took place behind its brick walls. When its doors were thrown open last April, the wait proved to be worth it. The main hall was dramatically reshaped into a performance-friendly environment that honored the old design while unobtrusively improving acoustics and audience comfort through the application of research and cutting-edge technology. In addition to adding space for academic programs and student lounges, a gallery was added, honoring the tradition of exhibitions in Northrop dating back to its earliest days. The “opening act” in the new Fourth Floor Gallery was 100 Years of Student Drawing: Celebrating the School of Architecture’s Centennial, developed for the 2013 Centennial celebration at Rapson Hall, but on view there for less than a week. Now, in the gleaming Northrop Gallery, guests study drawings and enjoy the range of drawing styles, project types, and techniques. Watch for a future exhibition that takes you behind the scenes of Northrop’s amazing transformation. Thank you for your help with another “Open the Doors” activity. Many of you responded to our end of the fiscal year call for assistance in funding the collection photography project. Our goal was to raise $10,000 to fund “Team Digi” (the photographer and preparator) through the fall. Through your generosity, you contributed over $12,000 so that Team Digi can continue to produce the high-quality collection photography that is an important resource for students and the public, and a tribute to donors. Thank you! Yours in design,
Lin Nelson-Mayson
Volunteer Highlight: Kathleen Campbell Kathleen Campbell, GMD’s stalwart grant writer, has more than money on her mind. GMD’s former Assistant Curator (2003-2007) became an involved volunteer at GMD over 14 years ago as a board member. Her keen interest in design and apt background has kept her generously volunteering time to an array of GMD projects. In recent years Kathleen has co-curated exhibitions, served on the collections committee, researched objects, and developed short courses and presentations for special interest groups and the general public. When asked what her favorite projects are, Kathleen is quick to mention the kinds of opportunities that allow her to share her passion for collection objects with others. “...an object’s story makes all of the difference. Whether you tell that story to someone through text panels, classes, or programs, the story of the object makes people’s eyes light up and their imagination fire.” While Kathleen frequents many cultural institutions, her special affinity for GMD relates to her educational background. As the first UW-Madison Ph.D. graduate with an emphasis in clothing and textiles, she was poised to pursue a tenure track professorship. Instead, she co-founded a successful marketing research consultancy which she enjoyed for 16 years. After that, GMD provided Kathleen a rich context for pursuing her original passion for clothing and textiles which she’d carried with her since childhood. Part of what keeps Kathleen enthusiastic about working with the GMD collection is its tremendous variety. She says that her favorite piece “…is always the piece that I just saw. I love whatever I am working on.” But when asked what collection piece she would wear home if she could, she selects an impeccable 1960s mohair coat and coordinating wool dress by Bonnie Cashin which serves as an apt representation of her style, integrity, and energy. Many thanks to Kathleen!
Mohair coat, wool dress, leather belt/sash 1960-1969 by Bonnie Cashin Gift of Lois Goldberg
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Goldstein Museum of Design
GMD Donors Fall 2014 New and Renewing Members Dan Avchen & David Johnson Karen Bartig Richard Beckel & Stuart Lyle William Bloedow Anna Carlson Caitlin Cohn Nancy Cyr Marilee DesLauriers Kim Faith Anastasia Faunce Renée & John Hallberg Christine Hartman Jackie Herron Kimberly & John Hogan Lois Kemp John Kokesh Lynnette Kopperud Marie Meko Kimberly Niosi Judith Romans Jeanne Schacht & Terry Gockman Winnie & Brian Steffenson Roberta Swanson Caroline & Andrew Vaaler Susan Verrett Collection Digitization Beverly Bajus Marlene Banttari Linda & Philip Boelter Michelle Brick-Nord Judith Christensen Kathleen Davoli Marilyn DeLong Marilee DesLauriers Judith Foley Karen Hanson Marlene Hastings Edna Burrill Hein Barbara Heinemann Mary Hurlocker Carol Jackson
Virginia Juffer Kathryn Hanna Fund Gloria Kittleson Edward Kodet Darryn Kozak Vandora Linck Sandra M. Morris Virginia Morris Jennifer Komar Olivarez John Ollmann Irene Ott Jim & Maggie Perso Ann Pflaum Leanne Phinney Julia Robinson Sandra N. Schulte Constance Sommers Carol Van Why Julia Wallace Renata Winsor Director’s Fund Sue J Bartolutti Donors to Collection Ann Adams Richard Beckel Bill Bloedow Margaret Brantsch Kathleen E. Campbell Caitlin Cohn Kent Hensley Brad Hokanson Virginia Homme Janet L. Johnson Kim Johnson Karen LaBat Vandora Linck Sylvia Markus Mohn Sandra M. Morris Lin Nelson-Mayson Liv Norderhaug John Ollmann Mary Olson
Mary Rosko Lois Ryan Jean Velleu Maxine Wallin Ann Ziebarth
Sweet Financial Services Inc. Joyce Petersen Youngren Matching Foundations General Mills Foundation
Event Sponsors American Hustle Scotch Tasting Peterssen/Keller Architecture Streeter & Associates Legendary Lake Design Kellé HGA Holly Hunt Kevin S. Ringdahl & David Mohr of Morgan Stanley Linda Hersom, SHO Inc. Kathleen & Paul Campbell Exhibition Support The Institute for Advanced Studies Heritage Collaborative Minnesota Historical Society/ University of Minnesota Heritage Partnership Imagine Fund of the McKnight Arts and Humanities Endowment Rapson Hall Exhibitions Fund with support from Judy Dayton General Support Carol Austermann Susan K. Bradley Kathleen E. & Paul D. Campbell Catherine Cerny Caitlin Cohn Donna & Jerry Determan Barbara Heinemann Landscaping Plus Inc. Mary & James Meyer Fund Sharon & David Miller Lin Nelson-Mayson Paul Schroeder Diane Sprague
Sustaining Members Sue J. Bartolutti Lin Nelson-Mayson Mark Schultz Donna Weispfenning & Robert Groger Life Members Joanne Eicher Gertrude Esteros Margot Siegel (founder of the Friends of the Goldstein, now GMD Members) GMD ADVISORY BOARD 2013-2014 Officers President Tim Quigley, Quigley Architects President-Elect Kent Hensley, Hensley Creative/The Bernard Group Secretary Cheryl Watson, Graphiculture Board Members Bradley Agee, Department of Landscape Architecture, U of M Renée LeJeune Hallberg, RLH Studio Christine Hartman, Holly Hunt Matthew Hatch, Maximum Graphics Debra Herdman, debra herdman design Kimberly Hogan, Community Volunteer Heidi Libera, Streeter & Associates Shanthini Logendran, Holly Hunt Todd Nelson, Anton Group John Ollmann, Signals Julia Robinson, School of Architecture, U of M Christopher Spong, Campbell Mithun Stephanie Zollinger, Department of Design, Housing & Apparel, U of M Ex-Officio Dean Tom Fisher, College of Design
GMD Staff Elizabeth Bischoff...................................................................................................................Gallery Staff Kathleen Campbell................................................................................................................. Grant Writer Mary Alice Chaney...........................................................................................Exhibitions Coordinator Alex Christl.................................................................................................................................Gallery Staff Karen Froistad..........................................................................................................................Gallery Staff Aly Gates.....................................................................................................................................Gallery Staff Laureen Gibson.......................................................................................... Waller Collection Assistant Eunice Haugen............................................................................................................................... Registrar Betsy Intharath.........................................................................................................................Gallery Staff Abbey Kleinert...................................................................Waller Communications Assistant, FY15 Barbara Lutz......................................................................................................Administrative Assistant Emily Marti...........................................................................Waller Communications Assistant, FY14 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 Jeanne Schacht.............................................................................................................Graphic Designer Matthew Shea...........................................................................................................................Gallery Staff Ellen Skoro..............................................................................................................................Photographer Natasha Thoreson.............................................................................. Lila Bath Collection Assistant FAll 2014
Renee Cheng, Associate Dean of Research Lin Nelson-Mayson, Director
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 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 post-consumer 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.
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Gallery 241 McNeal Hall, saint paul Tuesday–Friday 10:00 am–5:00 pm Weekends 1:30 pm–4:30 pm FREE admission
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gmd@umn.edu 612.624.7434 goldstein.design.umn.edu Goldstein Museum of Design GoldsteinMuseum
Souvenir Hankies from the Collection
Clockwise from upper left: Handkerchief featuring New York City landmarks (United Nations Building, Empire State Building, New York Public Library, Rockefeller Center, Statue of Liberty); Gift of Janet L. Johnson Handkerchief featuring Parisian landmarks (Eiffel Tower, Arc de Triomphe, Notre Dame Cathedral, Paris Opera Building); Estate of Mary Olive Boone Tammis Keefe, designer; Handkerchief featuring Palm Springs Desert, California landscape, 1940-1955; Gift of the estate of Grace V. Peterson Franshaw, manufacturer Handkerchief featuring castaway, 1950-1959; Museum Collection Handkerchief featuring map of Alaska and state flower (forget-me-not), 1950-1959; Gift of Rebecca Millunchick Handkerchief featuring map of Bern County, Switzerland; Estate of Mary Olive Boone