2021 Fall: Goldstein Museum of Design by Goldstein Museum of Design

FALL 2021

GOLDSTEIN MUSEUM OF DESIGN

exhibitions | collection | events Blouse and Shorts by B.H Wragge, 1960 Gift of Mrs. Danny Lindsay

Floor 2 plan.

Collection Research: Remaking The Past

Floor 4 plan.

SIX

Floor 3 plan.

12 6 13

EIGHT

Design for Youth: Equity and Opportunity

Note from the Interim Director

Indoor basketball court.

To find more information and keep yourself up-to-date on GMD exhibitions and events, visit goldstein.design.umn.edu and follow us on social media.

Goldstein Museum of Design

Jean McElvain

GoldsteinMuseum goldstein_museum Goldstein Museum of Design

FALL 2021

GOLDSTEIN MUSEUM OF DESIGN

It Takes a Village to Run a Museum

Fourteen

Magazine Layout and Design by Ebonee Rainwater.

Meet Our Sustainers!

T W E LV E

Ave. and

Floor 1 plan.

Interview Title TBD

THIRTEEN

building inhabitants and passers-by to the diverse activities within the building, so opportunities are visible to all. The lobby and rooftop café/ garden invite socialization. Awareness of the possible activities is intended to stimulate participants to learn and explore new activities so they can find their talents and develop long-term interests. The building is a neutral zone for the youth as well as a safe and fun learning environment.

10 T W E LV E

FOUR

Ralph Lauren: Upcycled Fashion or Deconstructed Heritage?

TEN

Bowling alley.

CONTENTS

Contents

Cheers to 45 Years!

goldstein.design.umn.edu

Fifteen

Members, Donors And Sponsors Thank You

R A L P H L AU R E N : U P C YC L E D FA S H I O N O R D E C O N S T R U C T E D H E R I TAG E ?

Ralph Lauren: Upcycled Fashion or Deconstructed Heritage? “Oh the places you will go!” or rather “oh the places an object can take you!” As the Dora Agee Waller Collection Assistant, little did I know what my investigation of a Ralph Lauren cardigan sweater from GMD would uncover. The research started as a class assignment for my material culture methods course. However, it ended up illuminating a more significant issue of heritage and authenticity when upcycling in fashion. A defining feature of the Ralph Lauren sweater, from the Ralph Lauren Fall/Winter 1982 collection, is the historic quilts used. The inspiration for this collection was American folk arts such as quilting and cross-stitching. The collection featured sweaters, vests, and skirts made with repurposed quilts from the 1880s and 1890s. Reportedly, Ralph Lauren began collecting quilts in the late 1970s, acquiring around 350 quilts from dealers across the northeastern United States for use in the F/W ’82 collection. As part of the research process, I interviewed the sweater’s donor, Dolores DeFore. Mrs. DeFore was the President and buyer of Harold’s Department Store in Minneapolis during the 1980s. She traveled to New York City in 1982 and viewed Lauren’s collection on the runway. Mrs. DeFore reminisced, “When I saw that collection, probably in about April, they had all this Americana music, they had all these marches. I thought it was one of the best collections I had ever seen.” As a result, she ordered several of the sweaters to sell at Harold’s and then purchased this specific sweater for herself. However, the interview with Mrs. DeFore also shed light on the collection’s controversial backstory related to the use of historic quilts.

Cardigan Sweater by Ralph Lauren. 1982. Gift of Mrs. Dolores DeFore.

Research revealed that not everyone was as pleased with the collection as Mrs. DeFore. In the 1980s, historic quilts became popular in home décor and fashion objects. Lauren’s repurposing of historic quilts concerned the quilt scholar community; they feared that unique patterns and construction techniques would be lost and encourage further destruction of historic quilts. In addition, quilters saw this collection as devaluing their cultural heritage, severing the link and history between quilter and quilt. However, Lauren and his customers, like Mrs. DeFore, felt the use of historic quilts added authenticity to the collection, allowing customers to wear American heritage literally. They saw the collection as elevating quilting’s cultural heritage, reflecting Americana in all its glory. The imperfections of the quilts made the garments more meaningful. In some ways, Lauren mirrored quilters of the 1800s, using discarded fabrics and repurposing them into something new. The controversy of the Ralph Lauren Fall/Winter 1982 collection is still in discussion today. This collection may have been a highly visible modern instance of quilting appearing in high-fashion, but it certainly is not the last. C.P. FALL 2021

GOLDSTEIN MUSEUM OF DESIGN

goldstein.design.umn.edu

Detail of Cardigan Sweater by Ralph Lauren, 1982. Gift of Mrs. Dolores DeFore.

(Right) Case study by Sarah Hegge. 2021.

Remaking the Past

It is always exciting when a graduate student finally completes the long dissertation process and becomes an official Doctor of Philosophy. It is even more exciting when that student is a former GMD graduate assistant and used objects from the collection as the basis for her research! Meet Dr. Sarah Hegge! As part of Dr. Hegge’s dissertation, she examined two GMD dresses in-depth and recreated them to explore era-specific sewing skills. We invited Dr. Hegge to reflect on her object-based research with the GMD. Could you give us a brief overview of your dissertation? SH: At the core of my dissertation was a desire to see if it was possible to track changes in sewing skills (both explicit and tacit knowledge) over time. I did this through a case study of two dresses, one from the 1910s and one from the 1920s [from the GMD collection]. Through this study, I was able to determine that there was a small loss in skills from the 1910s to the 1920s. But the sewing techniques used by seamstresses to make the dresses were less different than they initially appeared. How did you use the GMD collection in your research? SH: I used twelve dresses from the GMD collection in total. Two of them were the primary research samples. Because I was studying sewing techniques, the first thing I had to do was establish that my primary samples actually showed sewing techniques that were typical, rather than being unusual. The remaining ten dresses were used to validate my sample selection. How did object-based research at the GMD impact your research? SH: Having access to the GMD collection was vital to the project I was working on. First, I came up with the concept during Inside Her Clothes, an exhibit I

co-curated while working as a graduate assistant at the museum. Second, because the museum is a part of the University of Minnesota, I knew before I even started that GMD would accommodate any request (within reason) to study garments. When I was formulating my research plan I was able to focus on what was best for the project without worrying that the museum would limit the number of garments I was allowed to view, the time I had to study them, or my ability to take measurements. What advice do you have for others who want to do object-based research? SH: First, think about what you’re trying to learn from the object and develop tools to help you focus. This can be anything from a list of open-ended questions to a detailed checklist for gathering measurements. This will keep you from forgetting to collect any vital information. Second, don’t try to rush the process. Both finding the right objects to study and the process of studying them takes a lot of time. It’s a lot more enjoyable if you’re not on a tight deadline. How has your time at the GMD impacted you personally?

(Left) Dress, 1924, Gift of Marian Eliason.

SH: Working at the GMD was an incredibly valuable experience. Working two years there allowed me to understand how an academic museum worked in a way not possible at a larger museum or through a shorter, summer internship.

(Right) Case study by Sarah Hegge. 2021.

C.P. FALL 2021

GOLDSTEIN MUSEUM OF DESIGN

goldstein.design.umn.edu

C O L L E C T I O N R E S E A R C H : R E M A K I N G T H E PA S T

Collection Research:

(Left) Dress, 1910-1918, Gift of Dorothy Craig Taylor and Barbara Taylor Anderson.

Andrew Mercier

Bowling alley. Ground level plan.

odels exploring the overlap between curiosity and transparency in program layout.

Terrace level plan.

Indoor basketball court.

Project Overview

Activity Center- F19

HGA Main Gallery, Rapson Hall

Lookout: Teen Activity Center is based on the idea that activities for youth keep them healthy, and youth in North Minneapolis are underserved roject that Overview in affordable activities as well as opportunities for employment within the neighborhood. It serves 250 he Cultivated of 13-19. Community Care, youngContinuum people aged The community center Youth-oriented facility, is intentionally located provides opportunities for indoor sports (basketball, Project Overview etweenProfessor two existing service providers YMCA (video rock climbing, yoga, dance), for(arecreation Julia Robinson’s upcoming exhibition, Design nd a Health Care Provider), and within easy for Youth: Equity and Opportunity, explores games, bowling, movies), and for pursuitthe ofnegative interests Child care programs can be very important of youth incarceration and unaffordable alternate ways of ccess ofimpacts North Community High School. The center and careers otherwise previously to juvenile success and reducing juvenile designing rehabilitation environments that are more designed to provide a spectrum resources and/or unavailable (musicof arts, drama, equitable and nurturing. The project, which was initially incarceration. A national study of childhood engineering, computer programming, robotics, and hat can framed prevent at-risk youthwith from becoming in collaboration a Hennepin County University readiness programs demonstrated 40% reduction broadcasting). Additionally, the site is a center for volved Partnership with the law, as well as services that often (HUP), was brought into the classroom as in special education placement, 29% higher tutoring and mentoring activities. ecome ainaccessible when youths return to their studio design project over a 3-year time span. The high school graduation rate, 33% reduction in exhibition highlights thereduction research process and resulting ommunities fromarrests incarceration settings. The hangjuvenile , 41% in violent arrests, student projects. Professor Robinson graciously offered Designed to be a landmark of pride in the ut space,(Newman mentoring activities, education al,experience. 2000). Many studieshub, indicate reflection onet this community, the building circulation spaces expose nd counseling supplement existing community that disabilities are much more prevalent among ervices. They combine family group support with and how incarcerated youth (from in comparison How did you come upon this20-60%) research topic, did you approximately initially moving forward it? to the 8-10 % in found thewith school ervices geared towardsenvision post-treatment, prevention, population (e.g.community Quinn et al for 2005; Reingle et al nd integration into the formerly JR: When I finished my work withand Complex Housing: 2015), indicating that identifying addressing carcerated youth, filling Designing forthus Density, I an readexisting Angela vacuum. Davis’s book Are disabilities in young may contribute to with Prisons Obsolete? andchildren was profoundly impressed better outcomes. Additionally, the type of outdoor, her vision of the history of mass incarceration and or forest education proposed for this project the need to end it. Her ideas resonated with myhas early beenoneffective in advancingand the learning of very in work deinstitutionalization ending housing

Design for Youth: Equity and Opportunity February 7 - April 22, 2022

institutions for people with developmental disabilities (Institution & Home: Architecture as a Cultural Medium). That work concluded with a description of a spectrum of institutionality in housing that included prisons as “oppressive institutions”. Applying that work to the study of incarceration was a natural next step.

Since prisons as housing are associated with punishment Project location at to theaintersection of Emerson Ave. and and retribution, the key different approach seemed Lowry Ave. to lie in the study of environments that expressed attitudes such Audio text.as education, home, therapy, work, etc. After initial research orientation, the studio began by examining a range of housing settings that are not associated with incarceration, such as student housing, Project location on hotels, Broadway Ave. summer camps, bed and breakfasts, youth hostels, and nursing homes. We studied their design by looking Audio text. at location, site, staff vs. resident spaces, places Project for sleeping, location onhygiene, Soo Ave. eating, relaxing, etc. and understanding the assumptions, hypotheses and design directives associated with them. What elements Audio text. of design are reproducing them? What messages are constructive, which are destructive and why? What are alternative ways to design? What challenges presented themselves during the studio design process? For example, was it difficult to move from an information gathering stage to concrete design ideas? JR: An exercise that facilitated the move from information gathering to design was the sketch model exercise in which students designed limited environments such as entry, social space, sleeping area, etc. Students made two designs of each setting, using contrasting attitudes such as adventuresome and safe. They then combined these models to make a program layout. During this exercise they learned how one place can reflect many attitudes, and developed a set of assumptions, hypotheses, and

Lookout: Teen Activity Center- F19

Angelo Davalos

Floor 1 plan.

The proposed Camden Forest School of Minneapolis Many thanks to Professor all involved would serve disabledJulia andRobinson normally and abled children in this thoughtful exhibition. between the ages of three and five. Sited in park land along the Mississippi River, with landscaped Camden Pre-School areasForest for play and a guest center pavilion, the pre-school is designed to provide high quality outdoor care for all types of kids, while specializing in identifying disabilities, providing therapy through nature-based learning and play, as well as parent education. Andrew Mercier

Floor 2 plan. Bowling alley.

Project Overview Lookout: Teen Activity Center is based on the idea that activities for youth keep them healthy, and that youth in North Minneapolis are underserved in affordable activities as well as opportunities for employment within the neighborhood. It serves 250 young people aged 13-19. The community center provides opportunities for indoor sports (basketball, rock climbing, yoga, dance), for recreation (video games, bowling, movies), and for pursuit of interests and careers otherwise previously unaffordable and/or unavailable (music arts, drama, engineering, computer programming, robotics, and broadcasting). Additionally, the site is a center for tutoring and mentoring activities.

Floor 1 plan.

Audio text.

Floor 3 plan.

Floor 3 plan. Process models exploring the overlap between curiosity and transparency in program layout.

Floor 4 plan.

Floor 4 plan. Indoor basketball court.

Lookout: Teen Activity Center- F19

Site plan. Cultivated Continuum of Care Nick Hess + Belinda Xiong

Ground level plan.

Terrace level plan.

Outdoor amphitheater surrounded by forest.

Project Overview

Child care programs can be very important to juvenile success and reducing juvenile incarceration. A national study of childhood readiness programs demonstrated 40% reduction in special education placement, 29% higher high school graduation rate, 33% reduction in juvenile arrests , 41% reduction in violent arrests, (Newman et al, 2000). Many studies indicate that disabilities are much more prevalent among incarcerated youth (from 20-60%) in comparison to the approximately 8-10 % in found the school population (e.g. Quinn et al 2005; Reingle et al 2015), indicating that identifying and addressing disabilities in young children may contribute to better outcomes. Additionally, the type of outdoor, or forest education proposed for this project has been effective in advancing the learning of very

young children in Finland and Denmark (Bentsen, 2013; Walker 2016). Benefits associated with forest or outdoor schooling in young children include being able to learn at their own pace, developing personal strengths, increasing attention, calming effects of nature calms children and increases attention, improving motor skills and to combating childhood obesity.

Project location on Soo Ave. Audio text.

The proposed Camden Forest School of Minneapolis would serve disabled and normally abled children between the ages of three and five. Sited in park land along the Mississippi River, with landscaped areas for play and a guest center pavilion, the pre-school is designed to provide high quality outdoor care for all types of kids, while specializing in identifying disabilities, providing therapy through nature-based learning and play, as well as parent education.

Project Overview

Site plan.

The Cultivated Continuum of Community Care, a Youth-oriented facility, is intentionally located between two existing service providers (a YMCA and a Health Care Provider), and within easy access of North Community High School. The center is designed to provide a spectrum of resources that can prevent at-risk youth from becoming involved with the law, as well as services that often become inaccessible when youths return to their communities from incarceration settings. The hangout space, mentoring activities, education hub, and counseling supplement existing community services. They combine family group support with services geared towards post-treatment, prevention, and integration into the community for formerly incarcerated youth, thus filling an existing vacuum.

Project location on Broadway Ave.

The design of the community centers uses the analogy of the path as vine that weaves the services within its walls to the adjacent YMCA and Northpoint Wellness Center, as well as the more distant school and park. The continuous exterior walkway links the buildings on either side, extending over the first floor roof of the facility. The interior corridor and adjacent atrium weave the health, therapy and education activities within the center itself. The goal is to create a healthy community that supports its youths, families, and community members.

Audio text. Site plan.

Site plan.

Guest center elevation.

Nature walk path.

Broadway streetscape.

Outdoor path.

Central interior space.

Cultivated Continuum of Care- F18

The prairie farm elevation drawing. Camden Forest Pre-School- F18

Outdoor amphitheater section drawing.

Student Boards by Angelo Davalos, Andrew Mercier, Nick Hess, and Belina Xiong

J.M. Indoor basketball court. GOLDSTEIN MUSEUM OF DESIGN

Floor 2 plan.

Project location at the intersection of Emerson Ave. and Lowry Ave.

Designed to be a landmark of pride in the community, the building circulation spaces expose

members.

Guest center elevation.

Process models exploring the overlap between curiosity and transparency in program layout. FALL 2021

Lookout: Teen Activity Center

goldstein.design.umn.edu

COLLECTION

The issue also meshed well with my use of the “programming as design” approach to teaching in a studio setting. Here, precedents and designs are analyzed as a cultural critique: What are the cultural messages being represented? What elements of design are reproducing them? What messages are constructive,

which are destructive and why? What are alternative ways to design?

building inhabitants and passers-by to the diverse activities within the building, so opportunities are visible to all. The lobby and rooftop café/ garden Outdoor amphitheater surrounded by of forest. invite socialization. Awareness the possible activities is intended to stimulate participants to Thelearn design the community centers uses thefind andof explore new activities so they can analogy of theand path as vinelong-term that weaves the The their talents develop interests. services within its walls to the adjacent YMCA and building is a neutral zone for the youth as well as a Were students given free rein on program Northpoint as well the more development, or learning were Center, they tasked withas designing safe and Wellness fun environment. youngschool children in Finland andcontinuous Denmark (Bentsen, something specific? distant and park. The exterior 2013; Walker 2016). Benefits associated with forest walkway links the buildings on either side, extending JR:orBased onschooling their research andchildren interactions with outdoor in young include over the first floor roof of the facility. The interior community members, individual students developed being able to learn at their own pace, developing corridor adjacent atrium weave the health, their own and programmatic ideas forattention, their projects. The personal strengths, increasing calming first year most students focused on after-school and therapy and education activities within the center effects of nature calms children and increases job training. Thegoal second year, projects covered community family needs itself. The is to create askills healthy improving andwe to focused combating as attention, well as youth needs. motor The final year on that supports its youths, families, and community childhood obesity. transition age youth.

DESIGN FOR YOUTH: EQUITY AND OPPORTUNITY

Camden Forest Pre-School

HGA GALLERY

1976

Gertrude Esteros, Director Emerita, Professor and Head of DHA

1980

Keith McFarland, Director, Dean of CHE

1982

Mary Stieglitz-Witte, Director (Not Pictured)

1983

Joanne B. Eicher, Director Emerita, Professor and Head of DHA

1989

Marla Berns, GMD’s first full-time Director

1991

Suzanne Baizerman, Director

1997

Lindsay Shen, Director

2004

Mason Riddle, Interim Director

2005

Becky Yust, Interim Director

Vetta Goldstein, c1940

Cheers to 45 Years! Forty-five years of design. Forty-five years of directors, faculty, deans, curators, registrars, students, volunteers, and donors. Forty-five years of evaluating what constitutes design, how design is used, how design is disposed of, how it brightens our day, or how it saves our lives. When Harriet and Vetta Goldstein boarded the Cunard and Allied Lines passenger ship on August 1, 1925 (returning to San Francisco March 24, 1926), they charted out a trip around the world, aspiring to bring world design back to students in the Related Arts program at the University of Minnesota. Of course, one’s inability to “Google” things like Indonesian batik, Chinese porcelain, and Indian bandhani made objectbased learning opportunities like this unusual and moments of true discovery for students in the middle of North America. Since the Goldstein Museum of Design’s opening in 1976, many have continued to use object-based learning in their classrooms. History is not passive, and we collaborate with instructors to identify ways that objects from the past can relate to present learning and future change. In recent years, instructors like Professor Tasoulla Hadjiyanni have used Scandinavian objects in her class Design and Globalization as catalysts for discussing northern European’s consistently high scores on world happiness metrics. Professor James Boyd Brent’s Color and Form in Surface Design class explores pattern design and dye processes through world textiles, and Professor Marilyn DeLong’s Fashion: Trends and Communication class uses objects from the apparel collection to discuss the idiosyncrasies of fads, trends, and classics. Graduate instructors, such as Heejin Lim, have also collaborated with GMD. In Design, Society, Culture class we discuss cultural appropriation in relation to apparel design. These, of course, are only examples of a much larger discussion about the values of object-based learning. Educational opportunities like these, that carry on the natural process of learning by example, are only possible with your support. The collection has grown exponentially in the last 45 years, and the 35,000+ objects at GMD tangibly connect cultural heritage with designed aspects of our everyday lives. As both Harriet and Vetta Goldstein clearly knew, preserving these objects requires time, patience, and expertise. We are sincerely grateful for all of you who have supported the evolving nature of GMD. We wish you well and offer “Cheers” to another 45 years!

Lin Nelson-Mayson, Director

J.M. FALL 2021

GOLDSTEIN MUSEUM OF DESIGN

J.M. goldstein.design.umn.edu

CHEERS TO 45 YEARS!

Past Directors of the Goldstein Museum of Design

Interviews with Heather Olson and Lou Ann Restad

Museums are truly a public resource, primarily supported by memberships, government and private foundations and granting agencies, and bequests. This support keeps the lights on, the doors open, the staff paid, and the objects entrusted to the museum safe for future generations.

Bequests:

Heather has been connected to GMD for 6 years, and engages in various roles as the Advisory Board President: presiding over Board meetings; working directly with the Interim Director on goal setting; representing the Board publicly; appointing Board members to task forces; and assists with the recruitment of new Board members. The Advisory Board’s tasks in 2022 aim to support GMD via awareness building, community connection, membership expansion, and fundraising.

This year GMD received a testamentary bequest from a long-time supporter and alum, Dorothy Kutz Ziebell (b.1925 – d.2020). Dorothy graduated in 1947 from the University of Minnesota College of Home Economics, with a B.S. in Home Economics Education. As a student of Harriet and Vetta Goldstein, she learned core values such as innovation, community, interconnections, and improvement in the quality of everyday life. Heather Olson

Lou Ann Restad, alumni at the University of Minnesota, is a sustaining donor for GMD. She was a College of Education and Human Development graduate with a B.S. She earned an M.A. in Home Economics Education from the College of Human Ecology (now College of Design) in 1967. Her Minnesota-based farm background led to the appreciation of the beauty all around our community. Her passion for art elements and principles comes from color and design courses at the U, which instilled her awareness of art and design in everyday living. As a Charter Member of the Friends of the Goldstein, Lou Ann has been connected with GMD since 1976, when GMD was founded. After teaching junior high and high school Home Economics for 37+ years across the country, including Minnesota, Montana, and Alaska, she was involved in various volunteer work and activities at GMD. She is happy to support nonprofit organizations and museums with her enthusiasm for fashion, arts, and design!

Lou Ann Restad

G.L. FALL 2021

GOLDSTEIN MUSEUM OF DESIGN

Dorothy taught Home Economics at Kennedy School in Bloomington, MN, for 27 years. Mary Murphy, a 1965 student of hers said, “She was my teacher, a mentor and my great friend.” According to Murphy, she was demanding in a quiet way, encouraging students to value adept skill and attention to detail. The “amazing influence” she had on Murphy’s life helped her to appreciate the world we live in and everything around us. Dorothy emphasized graciousness and care in self presentation and helped people to achieve excellence in whatever endeavor they chose. She also introduced scores of students to objects of good design and the places where they could be experienced. We are sincerely grateful for her gift, which was given in honor of the Goldstein sisters.

life. This three-year grant-funded project will focus on the continued digitization of the apparel collection, photographing an additional 1800 items of apparel ranging from the early 1800’s to present day. Objects identified for photography include 19th century gowns, 1970s era garments, recent acquisitions, and children’s wear. Digitization of collection items provides an invaluable resource for exhibition development, educational activities, and public programming, as well as serves as a resource for future research and publications. During the 2020/2021 COVID shutdown, collection images were the main point of contact between GMD resources and its constituents. The importance of this project cannot be overstated, and we look forward to offering a wider variety of object images to all of you!

Grants: GMD is pleased to announce that we are recipients of a $250,000 grant from the Institute of Museum and Library Services (IMLS) – Museums for America program. As a federal agency administering discretionary federal programs, IMLS receives its funding through the annual appropriations process whose spending limits each year are established in the Labor, Health and Human Services, Education, and Related Agencies Appropriations Act. After a three-year funding hiatus, GMD is excited to get back in the studio and bring more of its collection to goldstein.design.umn.edu

Wedding Dress Photography, 2011.

E.H.

I T TA K E S A V I L L AG E TO R U N A M U S E U M

It Takes a Village to Run a Museum

The new GMD Advisory Board President, Heather Olson, is a seasoned marketer, inclusive recruiter, well-networked advocate, and designer at heart. With interests and aptitude in drawing and writing, she studied Fashion Illustration and Advertising Design & Journalism at Iowa State University. After working as a practicing Graphic Designer/Art Director and Marketing and Recruitment Director for design firms, she works as a solo business owner. Through her company, Soladay Olson | Connections for Creatives, she helps employers find talent, supports job seekers in their search, and introduces entrepreneurs to potential clients. She appreciates all forms of design and is particularly intrigued by Mid-Century Modern architecture.

M E E T O U R S U S TA I N E R S !

Meet our Sustainers!

Note from the Interim Director I typically walk my dog in the evening, following one of two routes. A strong advocate of routine, I’ve walked these streets hundreds of times with little deviation. One of my favorite pastimes is analyzing retaining wall systems. Saint Paul has loads of them – poured concrete, split-face block, flat stone, wood ties, rocky paths, and occasionally enormous rounded boulders. Designed elements, the details of our everyday lives, are often perceived to be experienced in ways that I see on my route -- as a crack in the sidewalk or a new basketball hoop on the peak of a garage.

GMD Staff Jean McElvain

Eunice Haugen

Colleen Pokorny

Ebonee Rainwater

Interim Director & Associate Curator jmcelvai@umn.edu

Dora Agee Waller Collection Assistant pokor033@umn.edu

Registrar & Exhibitions Coordinator hauge363@umn.edu

Barbara Lutz

Archivist lutzx106@umn.edu

Garim Lee

Lila Bath Communication Assistant lee02169@umn.edu

Dora Agee Waller Graphic Design Assistant rainw006@umn.edu

GENERAL SUPPORT

Linda & Phil Boelter Beth Bowman (sustainer) Kathleen Campbell Kareen Daby Marilyn DeLong Rene Gesell Delores Ginthner Delphine Hedtke The John and Ruth Huss Fund Marit Lee Kucera Irene Ott David & Mary Parker Family Trust

Join or renew your GMD membership!

Create Your Legacy at GMD

While we are not entirely open to the public, we are still serving students and have robust digital activities online.

A gift of any size in your will or trust is a meaningful way to support GMD’s mission beyond your lifetime. You can also name GMD as a beneficiary of a retirement plan, life insurance policy, or other account.

• With your email address, receive our biweekly newsletter • Receive GMD’s bi-annual magazines plus exhibition and program announcements • Enjoy a one-day guest pass to the UMN Campus Club • Your membership provides reciprocal benefits at over 80 college and university art museums nationwide • Additional benefits depending on the level

FALL 2021

Joanne B Eicher

To join or renew, go to z.umn.edu/GMDmembership GOLDSTEIN MUSEUM OF DESIGN

goldstein.design.umn.edu

DIGITIZATION FUND Phillip Rickey Lisa Thimjon

RUTH HANOLD CRANE COLLECTION FUND

Sleep Number Kelly Groehler Alice Riot LLC Kent Hensley Hensley Creative Colleen Pokorny UMN College of Design Frederica Simmons Mia Susan Wittine McDonald Remodeling

Ruth & Doug Crane

TESTAMENTARY BEQUEST Dorothy Kutz Ziebell

GRANTS AND MATCHING FUND

Margaret A Cargill Foundation Employee Matching Fund RBC Foundation – USA for Designing a Changing World

GMD ADVISORY BOARD 2021-2022 PRESIDENT Heather Olson Soladay Olson TREASURER Shawn Spott RBC Wealth Management BOARD MEMBERS Irving Briscoe Epsilon & BRIS.CO Monique D’Almeida Freeman Foundation Wendy Eisenberg Galleria Angela Gearhart All GMD programming is made possible in part by the voters of Minnesota through a Minnesota State Arts Board Operating Support Grant, thanks to legislative appropriation from the Arts and Cultural Heritage Fund 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,

MEMBERS, DONORS AND SPONSORS

Jean McElvain, GMD Interim Director & Associate Curator

LIFE MEMBER

Ruth Reetz Lou Ann Restad (sustainer) Martha Willett Gloria Williams JuanJuan Wu

Both of my walking routes bring me to the same intersection, which has a hair salon, an auto body shop, a duplex, and a laundromat with apartments above. From a clean haircut to crushed car doors requiring repair to the apartment tenant who practices graffiti on the same large wood board, we all experience design in different ways. Yet our lives are tied in collaboration to the many designed systems in place. I’m sure you experience design in your own way as well. I know I do, down to the railroad tie retaining wall in front of my house. They have just enough rot to grow moss.

Rachel Anthony Carol Austermann Susan Bradley Irv Briscoe Kathleen Campbell Nancy Cyr Kareen Daby Mary & Richard Davenport Patricia Day Marilyn DeLong Marilee DesLauriers & Jack Militello Cordelia Early Wendy Eisenberg Susan Elsner Mary Erbele Helen Foster Angela Gearhart Delores Ginthner Kathryn Glessing Jo Jo Harder Christine Hartman Jean Hawton Delphine Hedtke Sally & David Hyslop Carol E Jackson Susan Jacobsen Donald Clay Johnson Thomas Kane (Sustainer) Sandy Kasma Nancy Kirby Marit Lee Kucera Karen LaBat Sheila Leiter James Lewis Carolyn Lussenhop Jean McElvain (Sustainer)

Mary Merrick Saralee Mogilner Sarah Nettleton Rebekah Njaa & Charles Schaffer Heather Olson (Sustainer) Irene Ott David & Mary Parker Linda Phillips Ruth Reetz Mark Schultz (Sustainer) Marilyn Setzler Kate Solomonson & Tom Erickson Connie Sommers Mary Spear Mariann Tiblin Linda Webster Margot Weiss Linda Welters Martha Willett Gloria Williams

NOTE FROM THE INTERIM DIRECTOR

NEW AND RENEWING MEMBERS

364 McNeal Hall

Nonprofit Org. U.S. Postage

1985 Buford Avenue

PAID

St. Paul, MN 55108

Twin Cities, MN Permit No. 90155

GALLERY 241

MCNEAL HALL, SAINT PAUL Tues-Sat 10:00 AM - 4:30 PM

HGA GALLERY

RAPSON HALL, MINNEAPOLIS Mon-Thurs 8:00 AM - 7:00 PM Fri 8:00 AM - 6:00 PM

gmd@umn.edu 612.624.7434 goldstein.design.umn.edu Goldstein Museum of Design GoldsteinMuseum goldstein_museum Goldstein Museum of Design

Support the Goldstein Digitization Project The Goldstein Digitization Project allows us to share GMD’s resources and deliver services during the pandemic. Please consider supporting this vital project to ensure widening access for students, faculty, researchers, and the public. To find more information or to donate, visit https://z.umn.edu/DigiFund.

GMD Land Acknowledgment The University of Minnesota Twin Cities is located on the traditional, ancestral, and contemporary lands of Indigenous people. The University resides on Dakota and Wahpekute land ceded in the Treaties of 1837 and 1851. This land acknowledgment is one of the ways in which we work to educate the campus and community about this land and our relationships with it and to each other.

Scan this QR Code to download GMD’s Coloring Book!

Current and Upcoming Exhibitions

FALL 2021

SAY IT LOUD

Totally Radical: Designing the 1980's

September 20th, 2021 - January 30th, 2022

December 4th, 2021 - May 27th, 2022

HGA Gallery, Rapson Hall

Gallery 241, McNeal Hall

I'm

Design for Youth: Equity and Opportunity

And I'm Proud

Opening Date TBD

February 7th, 2022 - April 22nd, 2022

HGA Gallery, Rapson Hall

GOLDSTEIN MUSEUM OF DESIGN