FALL 2020
GOLDSTEIN MUSEUM OF DESIGN
exhibitions
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collection
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events
FOUR
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Talk About Design: West African Fold Dyes
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FIVE
Jerome Joss Internship Expands Collection Diversity
SIX
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Spring Exhibitions
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EIGHT
Zooming Through the Collection
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 GoldsteinMuseum
Contents
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Fall 2020
GOLDSTEIN MUSEUM OF DESIGN
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CONTENTS
The Interview: GMD and the Virtual Classroom
Google Arts and Culture
TEN
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ELEVEN
Welcome Our New Graduate Assistants!
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T W E LV E
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Virtual Resources: Fun With the Collection!
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Fourteen
goldstein.design.umn.edu
Director’s Letter Lin Nelson-Mayson
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Fifteen
Sponsors and Members Thank You
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Talk About Design
West African Fold Dyes
This meticulously folded and dyed piece from West Africa makes frequent appearances in classes. Each semester James Boyd Brent, professor of graphic design, brings students from his class “Color and Form in Surface Design” to the GMD Research Center. We view textiles that that prompt discussion on pattern, material, and process. During this moment of object-based learning, it is apparent that talking is also craft. Perhaps surprisingly, talking about design does not always come easily to design students. Together, we look for signs within the fabric that tell us about its life. Discussion allows students to dissect the actual process of making, what feelings the finished piece evokes, and the possible intent of the designer. African textiles are excellent catalysts for honing descriptive and analytical skills. West Africa has always been a paradigm of innovation and expertise in textile design. The largest concentration of Yoruba people live within Nigeria today, and are known for a dyed indigo cotton cloth called Adire. Translated, Adire means tie-dye. However, tie-dye does not mean Adire. The cultural identity associated with this craft imbues the term with meaning that is individual to the Yoruba. This 1970s era piece from GMD’s collection (shown at right) was made during a time of renewed interest in Adire. Although technically indigo dyed, some Yoruba textile designers began to incorporate a wider range of synthetic dyes and colors into the process during this era, as illustrated by this predominantly green piece. If you look closely, you can detect evidence of a thread running through the carefully measured accordion pleats, which held the fabric securely during the dye process.
Adire or Fold Dye, 1974-1975. Nigeria, Gift of Mary Jean Jecklin.
When folded, fabric resists the dye in areas that are hidden by tight compression. Students in James Boyd Brent’s class view objects from all over the world, ranging from Indonesian ikat to commercial screen-printed silk scarves by Vera Neumann. In their own ways, they all serve as tangible expressions of techniques built up over time. However, they also serve to remind us that handcraft processes associated with heritage and tradition are not bygone. On the contrary, heritage and tradition serve critical functions to cultural evolution in the here and now. Adire or Fold Dye, 1960-1979. Ivory Coast, Gift of Dague Clark. (Left) Adire or Fold Dye Dress. Nigeria, 1966. Gift of Joanne B. Eicher. (Right)
Fall 2020
J.M.
GOLDSTEIN MUSEUM OF DESIGN
TA L K A B O U T D E S I G N | J E R O M E J O S S
Jerome Joss Internship Expands Collection Diversity GMD strives to collect a broad range of objects that reflect the vibrancy of North American and world culture. While GMD’s collection is a robust representation of objects from around the world, including garments and textiles from all habitable continents, we are trying to collect more mainstream objects created by designers of color. This impacts GMD’s ability to provide a holistic overview of design’s socio-cultural history. In Fall of 2019, GMD configured the Jerome Joss Internship to focus on researching and recommending works by BIPOC designers (Black, Indigenous, People of Color) for the collection. GMD’s Jerome Joss Internship is a paid opportunity for CDES graduate students to work with the collection. It is awarded to one or two students annually. This year, GMD worked with the CDES Diversity Committee to promote this opportunity to BIPOC students and awarded Joss Internships to graduate students Ebonee Rainwater (Graphic Design) and Hana Bushyhead (Architecture). Ebonee and Hana presented their recommendations for potential acquisitions in a virtual program on September 23rd and will be working with associate curator Jean McElvain on the initial stages of purchasing some of the recommended objects. GMD typically collects by donation, but has developed a small acquisition fund to support this project.
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GALLERY 241
Gallery 241, McNeal Hall Like, Totally Radical: Designing the 1980’s Opening this Spring Design in the 1980s reads like a coming-of-age story starring nostalgia, pluralism, Hip-Hop, Glam-rock, shoulder-pads, and neon colors of hope and despair. GMD is excited to bring this story to life in Gallery 241. Opening day is contingent on when UMN opens campus buildings to the public and the completion of a gallery lighting project, funded jointly by a grant from the Office of the Vice President for Research and the College of Design. When you come back, our objects will be illuminating! We look forward to seeing you on site in 2021.
Coat, jacket, skirt by Christian Lacroix, 1993, Dayton Hudson Department Stores.
Shirt by Major Damage, 1985, Gift of Linda Mona.
Wool jersey dress by Stephen Sprouse, 1985, Gift of Kim Koshiol.
Fall 2020
Dotted cocktail suit by Christian Lacroix, 1981, Gift of Marie Haddad Tyler.
GOLDSTEIN MUSEUM OF DESIGN
HGA GALLERY SPRING EXHIBITIONS
HGA Main Gallery, Rapson Hall Racism Untaught
Opening January 19, 2021 Based on curricula developed by guest curators Terresa Moses, Assistant Professor of Graphic Design and Director of Design Justice, and Lisa Mercer, Assistant Professor and Graduate Co-Coordinator of Graphic Design for the School of Art + Design at the University of Illinois, Urbana-Champaign, this exhibition will present concepts of racialized design — artifacts, systems, and experiences that perpetuate elements of racism — and use the Racism Untaught framework to unpack, reimagine, and create anti-racist design approaches. Racism Untaught was developed to address an identified gap in design education and industry to provide opportunities for participants to foster conversations in project-based learning environments focused on anti-racism to ensure new ideas, critical thinking, and forms of making racism untaught.
Guest Curators Terresa Moses (left) and Lisa Mercer (right)
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Zooming Through The Collection A critical part of GMD’s mission is to “cultivate objectbased teaching, scholarship, and inspiration for students, faculty, and researchers both on and off-campus”. What happens when COVID-19 forces the University to restrict access to campus, resulting in reduced access to our Research Center and galleries? How do we carry out our mission during a pandemic? The general public does not have access to the buildings that house our galleries, and we cannot bring objects to classrooms for students to cluster around for examination and discussion. The visceral connections that museum objects evoke have been reduced to the second dimension — or have they? By expanding our mission beyond the physical classroom, Easy Chair by Warren Platner, 1966. Gift of Pink Supply Co. GMD staff has pivoted with flexibility and creativity to Communication, GMD staff were asked to select apparelbring object-based learning online. related collection items to prompt a discussion around In Dr. Kathy Reiley’s Textile Analysis class, students study the meaning of fads, fashions, and classics. Fads, such the physical, chemical, and biological characteristics of as Rudi Gernreich's 1964 Monokini, were presented fibers, yarns, and textile structures to understand how alongside comparisons of trends over time, such as empire textiles impact products. GMD staff have collaborated by waistlines. Students explored the meaning of classic by providing images of collection objects that are made from viewing a collection of six coats from the collection and the same fibers that Dr. Reiley is teaching each week. Dr. ranking them in a series of Zoom polls. These virtual Reiley then incorporates the images into class and lab presentations allowed for a greater breadth of garments discussions, relating the characteristics of a fiber, yarn, to be shown to students and displayed side by side in a or weave to the object's aesthetics and function. Virtual format that made them easy to see and understand. teaching has the benefit of including objects that were previously cumbersome to share due to size and logistics. GMD staff also supported classrooms this fall through For example, Warren Platner’s enormous (and heavy!) virtual presentations on topics such as the role of museum easy chair was used to compel students to consider why objects in apparel-related research, Scandinavian design wool was selected for this application (Jean and Eunice’s relative to global happiness measures, and the complexities of design appropriation. backs are thankful for the virtual experience). C.P., J.M.
Long gray coat by Calvin Klein, 1969. Gift of Candace Dow
Fall 2020
Gray tweed coat by Claire McCardell, 1955. Gift of Mrs. George E. Anderson
Navy blue coat with lamb collar by Seymour Fox, 1961-1962. Gift of Esther Lyons Falk
Camel colored coat with fur collar Orange coat by Christian Dior, 1950 by Pauline Trigère, 1970-1977. 1959. Gift of Betty Leonard Gift of the Minneapolis/Saint Paul Fashion Group
Green coat by Pauline Trigère, 1960. Gift of Mrs. L.E. Field
GOLDSTEIN MUSEUM OF DESIGN
// GMD and the Virtual Classroom
VIRTUAL CLASSROOMS
The Interview: This fall, one of the classes GMD has supported is Heejin Lim’s Dress, Society, and Culture class. Heejin is a PhD student studying Retail Merchandising and Consumer Studies. Her primary research interest is the effects of racial microaggressions in retail. More specifically, she conducts research on the effects microaggressions have on dress behavior and consumer well-being. She agreed to share her experience teaching virtually with GMD objects.
Could you introduce your class, Dress, Society, and Culture? HL: “In Dress, Society, and Culture we look at how individuals are influenced by dress and how individuals practice dress behaviors by studying research and theories in social psychology.”
How did you come to work with GMD for that class? HL: “Dr. Elizabeth Bye introduced me to Jean McElvain a few years ago. It was my first time teaching Dress, Society, and Culture and I needed help teaching a
Coat, 1925, Gift of the Hennepin Avenue Methodist Church.
chapter in the textbook titled “Origins and Functions of Dress”. Jean gave a guest lecture on the topic and I am grateful that she still does because the material that she brings in is amazing. You can see that the students are very interested in her lectures. I always ask students to reflect on guest lectures and they always mention how much they enjoyed Jean's presentations.”
How does working with GMD help your class? HL: “The work that GMD does adds so much depth to studying dress. For example, in the very first week of the semester, we discuss why studying dress is essential and I try to emphasize how much we are influenced by dress in our everyday lives. However, that could not be established without supporting evidence.
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G.L.
COLLECTION
Shawl, 1840-1859, Gift of Mrs. Jule Hannaford.
The objects, images, and data that GMD has collected for decades is tangible proof that dress is more than just individual garments. Moreover, working with GMD in my class gave me a sense of pride in studying dress and I can see that my students feel the same.”
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GMD Collection:
Accessible to Anyone Anywhere Did you know that GMD has almost 9,500 catalog records with object images photographed so far? Did you know all these images are available for public access on our collection website? With so many museums having had to shutter their doors due to the pandemic, digital access to museum collections has become particularly relevant. Not only has it become critical in leading object-based learning in virtual classrooms, digitization of GMD’s collection also has made it possible to contribute to other online resources, such as the Berg Fashion Library and Google Arts and Culture. GMD has recently partnered with Google Arts and Culture to share images of collection objects, as well as concise online exhibition featurettes. Google Arts and Culture is a non-profit organization which offers public access to high-resolution images and videos of artworks and cultural artifacts from over 2,000 museums and cultural institutions around the world. Google Arts and Culture may be accessed no matter where you are by downloading the app for mobile devices or accessing through the website. Watch your email or GMD’s social media for the announcement of the official launch of GMD’s content on Google Arts and Culture! In the fall of 2019, GMD contributed its first 1,500 images and associated catalog records to the Berg Fashion Library. Spawned from the Berg Encyclopedia of World Dress and Fashion, edited by Dr. Joanne Eicher, UMN Regents Professor Emerita, this resource is part of Bloomsbury Fashion Central of Bloomsbury Publishing, London U.K. Digitized content, curated and peer-reviewed by academic and industry experts, is presented in a broad range of content types alongside thousands of high quality images from museums. As a subscription-based resource, the Berg Fashion Library is used in 250 academic institutions in 39 countries including the University of Minnesota. Haori. Designer Unknown. 1920-1940. Gift of Maya Winther.
Fall 2020
E.H.
GOLDSTEIN MUSEUM OF DESIGN
COLLECTION | VIRTUAL RESOURCES
Virtual Resources: Fun with the Collection! The safety of our community is a top priority for us. While GMD's galleries are still closed in an effort to help prevent the spread of COVID-19, we provide fun, exciting activities, and resources online! Visit our website and social media for various materials such as GMD magazines, collection coloring pages, virtual gallery tours, and collection stories. Explore our 35,000+ collections online and share your thoughts about GMD objects!
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Welcome Our New Graduate Assistants! Garim Lee Garim Lee, the Lila Bath Communication Assistant, is a PhD student in Apparel Studies with a concentration of Retail and Consumer Studies. She is interested in consumers' perceptions of online reviews and the persuasive roles of reviews. She develops communication and marketing for GMD's events, serving as editor for the magazine, and managing bi-weekly e-blasts. She collaborates with other graduate assistants to develop and post content on social media.
“
Working with museum staff and grad assistants who are passionate about the collection really motivates me and communicating with other people on social media is fun. I feel connected with them as friends who share the same interests and chat about the collection.
”
Ebonee Rainwater Ebonee Rainwater, the Dora Agee Waller Graphic Design Assistant, is an MFA student in Graphic Design. She is interested in exploring different facets of human emotion as an interactive art experience, as well as utilizing storytelling as an emotional educational tool. At GMD, she works on all of the imagery and graphics on projects ranging from exhibition panels and the website to GMD’s magazine and social media.
“ Fall 2020
I'm picking up a lot of collaborative skills for sure, which I would argue is really preparing me for the world of graphic art. I've done plenty of graphic design work before, but I've never been able to apply it to, say, an actual social media campaign, where I'm able to receive ongoing feedback, evaluate viewer response, and further develop an established identity.
”
GOLDSTEIN MUSEUM OF DESIGN
G R A D UAT E A S S I S TA N T S
Colleen Pokorny Colleen Pokorny, the Dora Agee Waller Collection Assistant, is a PhD student in Apparel Studies with a Museum Studies minor. During her MA at UMN, she studied innovations in contemporary quiltmaking and worked in the Human Dimensioning Lab. She is also a member of the Costume Society of America and currently serves as the Midwest Region Membership Chair. She assists associate curator Jean McElvain with education and programming, exhibitions, and collections management.
“
I love discovering unique objects when searching the database. Just when you think you’ve seen it all, something new and exciting pops up! I stumbled on these tiger themed slippers when pulling images for a class presentation and fell in love with them.
”
Shoes, Designer Unknown, Early 20th c. Gift of Regents Professor Emeritus Joanne B. Eicher
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Onward in Design:
Director’s Farewell Letter
“As long as you live, there’s no way to escape saying good-bye.” ― Tomihiko Morimi, author After leading the Goldstein Museum of Design since 2005, I will be stepping down in January 2021 and opening the director’s chair to new leadership. Although I wasn’t planning to retire at this juncture, the University established a retirement opportunity for employees that was too appealing to ignore. My last day with GMD will be January 15, 2021. When I began with GMD, the College of Design was still in the conceptual stage, GMD had little to no digital collection resources, and Gallery 241 was our only exhibition space. With wonderful staff, students, and Advisory Board members, we have built on the foundation of those who came before us. We expanded that foundation to serve more students and the design community through thoughtful exhibitions and accessible resources for research and enjoyment. GMD is Minnesota’s unofficial design museum, carrying on the legacy of the innovative Goldstein sisters. I’ll be finishing some student and research work next semester so will be haunting the halls (digitally) for a while, but look forward to seeing what the future GMD team will build. Thank you for your support of GMD! Onward in design! Yours in design, Lin Nelson-Mayson, GMD Director
“Why can't we get all the people together in the world that we really like and then just stay together? I guess that wouldn't work. Someone would leave. Someone always leaves. Then we would have to say good-bye. I hate good-byes. I know what I need. I need more hellos.” ― Charles M. Schulz, cartoonist P.S. It's annual appeal time! When you receive an invitation from GMD inviting you to give, consider a gift that can help support GMD's legacy of object-based learning. Challenge a friend to give, too! GMD Staff Lin Nelson-Mayson Director
Jean McElvain
Associate Curator
Eunice Haugen
Registrar Exhibitions Coordinator
Barbara Lutz Archivist
Garim Lee
Lila Bath Communication Assistant
Colleen Pokorny
Dora Agee Waller Collection Assistant
Ebonee Rainwater
Dora Agee Waller Graphic Design Assistant
Create Your Legacy at GMD 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. Contact us today: adambuhr@umn.edu or 621-624-7808
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MEMBERS AND SPONSORS
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DIRECTOR’S LETTER
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Lisa Thimjon MN Department of Health Gene Valek KNOCK, Inc. Cheryllyne Vaz Vaz+Harwood Team Susan Wittine McDonald Remodeling 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, 612.624.7434.
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Support the Goldstein Digitization Project GMD delivers our services virtually through Goldstein Digitization Project during a pandemic. Goldstein Digitization Project has allowed us to be ready to serve students, to be the faculty’s partner in an online learning environment, and to be a resource for faculty research. The project has also allowed us to contribute to second party online resources, such as the Berg Fashion Library and Google Arts and Culture. Goldstein Digitization Project is only possible with your support. Please support us to help us continue this work and to ensure that the GMD's collection objects and services are accessible to all 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.
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Fall 2020
GOLDSTEIN MUSEUM OF DESIGN