2013 Spring: Goldstein Museum of Design

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SPRING 2013

GMD

GOLDSTEIN MUSEUM OF DESIGN NEWS

Redefining Redesigning Fashion:

Designs for Sustainability

Rural Design:

A New Design Discipline

Jens Jensen:

Celebrating the Native Prairie SPRING 2013

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EXHIBITION OPENINGS PICKARD CHILTON: DESIGNING RELATIONSHIPS OPENED SEPTEMBER 22.

C Bergerson Photography

CIRCUMSTANTIAL EVIDENCE: ITALY THROUGH THE LENS OF BALTHAZAR KORAB RECEPTION OCTOBER 29.

Pickard Chilton Exhibition HGA Gallery

WE THE DESIGNERS: REFRAMING POLITICAL ISSUES IN THE OBAMA ERA OPENED SEPTEMBER 28.

Adjunct faculty Christian Korab talking about his father’s work with Head of the School of Architecture Renee Cheng Thomas Starr and UMN Associate Professor in Graphic Design, Daniel Jasper

REDEFINING REDESIGNING FASHION: DESIGNS FOR SUSTAINABILITY OPENED JANUARY 18

“DESIGN AND POLITICAL COMMUNICATION” PANEL DISCUSSION HELD OCTOBER 24

David Brauer, MinnPost local media reporter, Daniel Jasper, associate professor graphic design, Steven McCarthy, professor graphic design, Facilitator–Trevor Miller, College of Design director of external affairs

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McNeal Gallery

Winter Bicycle Commuter Jacket: Lindsey Strange, Designer, Christopher & Banks GOLDSTEIN MUSEUM OF DESIGN


DIRECTOR’S MESSAGE PANTONE 17-5641 Emerald is the Color of the Year for 2013! Pantone, an authority on color and color systems, declares that the lush emerald green: “enhances our sense of well-being, balance, and harmony.” Pantone annually picks a color of the year as inspiration for women’s, men’s, and active apparel plus cosmetics, interiors, and industrial design products. GMD is on top of this emerald trend, featuring three exhibitions that explore the green of sustainable apparel and the green world around us. In the HGA Gallery Rural Design: A New Design Discipline will be based on a new book by the director of CDes Center for Rural Design, Dewey Thorbeck. This exploration of the world’s rural design issues is also completely created on panels made of green fabric. This fabric, the same as GMD’s large atrium banners that later become attractive tote bags, is constructed of thread that was originally plastic beverage bottles (bottles to banners to bags). The exhibition is designed as a “pop-up” exhibition to travel to low security locations across the Midwest. We are seeking funding to support that goal.

The McNeal Gallery features an international juried exhibition on sustainable apparel design ideas. Redesigning, Redefining Fashion: Design for Sustainability challenged apparel designers to consider sustainable practices in the construction and use of their apparel and accessory designs. This juried exhibition received entries from around the world and will showcase innovative ideas—some of which viewers may be inspired to apply on their own. This lively exhibition reveals the beauty of green design as a way of living. The second HGA exhibition will celebrate the green methods of influential landscape architect, Jens Jensen. Jensen was one of the most influential designers to popularize native gardens. Jens Jensen: Celebrating the Native Prairie will be accompanied by photos taken by landscape architecture students in professor John Koepke’s class on their visit to Jensen’s former Wisconsin home, The Clearing. Enhance your sense of well-being, balance, and harmony—enjoy GMD’s Emerald spring! Yours in design, Lin Nelson-Mayson, director

UPCOMING EXHIBITIONS Printed Textiles: Pattern Stories McNeal Hall, June 15–August 25 This exhibition will showcase printed textiles selected from GMD’s collection for their exuberant design impact and their stories. These stories include printed textiles as reflections of popular culture, as evidence of humans’ unending fascination with flowers, as fanciful imitations of other textile techniques, and as individual expressions of artists and designers both known and anonymous. Jean McElvain and Kathleen Campbell, GMD, exhibition curators.

Indigenously Crafted: 16th Century Ribbed Vaults in Mixteca, Mexico

Say It with Snap: Motivating Workers by Design, 1923–1929

HGA Gallery, August 24–October 13, 2013

McNeal Hall, September 13, 2013–January 6, 2014

During the 16th century in Mexico, buildings of exceptional construction quality were built to accommodate thousands converting to Christianity. In a complex process of symbiosis, indigenous master builders, using the most advanced technology of their time and their deep knowledge of locally-available building materials, worked with Spanish architects who had knowledge of the architecture of the ribbed vault. Together they built three churches in Mixteca, Mexico, with geometrically-elegant vaults unique to 16th century America. This exhibition explains the complex digital modeling and other advanced technologies that enabled research on and duplication of these vaults in the late 20th century. The exhibition includes scale models of each dome. Researcher and guest exhibition curator: Benjamin Ibarra Sevilla, Assistant Professor, Architecture, CDes.

Between 1923 and 1929, Chicago-based Mather & Company created and sold colorful, graphically-dramatic posters to businesses across the United States for display in the workplace. Through these emphatic posters, workers were exhorted to get to the point when they conversed with co-workers (“Say it with snap!”), not lose their temper (“Blowing up blows up your chances”), and own up to and correct mistakes because “Repeating our mistakes ruins our records.” In an era when the relationships between management and workers were changing, motivating posters were a way to shape both worker behavior and attitudes. Organized by Hagley Museum and Library, Wilmington, DE and Samuel P. Harn Museum of Art, University of Florida, Gainesville.

SPRING 2013

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Wooden Dress – Found Objects: Sherry Sanden Will, Student, U of MN

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Fur Vest from Vintage Furs: Theresa Lastovich, Graduate Student, U of MN

GOLDSTEIN MUSEUM OF DESIGN


EXHIBITIONS

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McNeal Hall Gallery, St. Paul Campus January 19–May 26

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Twenty-first century fashion trends have a shorter lifespan than ever before, forcing the industry to face poor working conditions, unfair wages, unskilled labor, needless consumption, and textile waste. To combat these concerns, sustainable solutions are at the forefront of fashion consciousness and provide a new and satisfying pathway for personalizing appearance as well. Consumers who are discouraged with the glut of cheap and unexciting clothing on the market are finding new markets through vintage and thrift stores and websites, through expanding their wardrobe repertoire with DIY projects, or just hunkering down and exploring new ways of wearing what they already own.

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Curators Marilyn DeLong, Barbara Heinemann, and Kathryn Reiley explore what it means to dress fashionably and sustainably in the exhibition, “Redefining, Redesigning Fashion: Design for Sustainability”. The juried exhibition includes over 50 designs from innovative designers, faculty, and students from the USA, Australia, and Asia, who illustrate ways to reduce consumption and transform what it means to be a designer as well as a consumer citizen. Visitors to the exhibition will learn ways to embrace the connection of clothing to caring about the environment and satisfying economic and social concerns. This exhibition ignites imaginative and innovative ideas and increases awareness of creative means to design, acquire, and redefine how we dress. Entries in the exhibition explore the following themes:

Encouraging the human connection by valuing culture and heirlooms Adding value through up-cycled clothing and accessories Serving multiple needs with versatile garments Valuing local and personal resources Integrating alternative constructions and processes

Romper: Anna Louise Sviben, Student, U of MN SPRING 2013

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EXHIBITIONS

RURAL DESIGN: A NEW DESIGN DISCIPLINE

JANUARY 28—MARCH 10 HGA Gallery, Minneapolis Campus For many of us the word “rural” brings forth images of cows grazing in the green fields of the American Midwest, but “rural” also includes rice paddies in northern Vietnam, cork tree forests in southern Spain, and the inhospitable Sahara Desert of North Africa. Over the past 50 years, rural regions worldwide have been severely impacted by population increases or decreases, climate change, and shortages of water, non-renewable energy sources, food, and access to health care. In both the exhibition Rural Design: A New Design Discipline and his book by the same name, exhibition guest curator Dewey Thorbeck proposes using the problem-solving process of design thinking to seek solutions to the issues that confront rural areas. While urban design has been a recognized area of study for many decades, rural design is a nascent concept partly because rural has been seen as what’s left after urban is considered. The reality is that the state of rural areas and rural life hugely impacts urban areas and urban life, and vice versa.

Farmer and oxen in northern Vietnam rice paddy in late February. Photo: David Frame 6

Thorbeck acknowledges that the success of rural design as a new academic discipline hinges on its embrace of diversity in its many meanings, in establishing a global perspective, and in using evidence-based community planning processes that inspire people to develop solutions that are both sustainable and supported. The goal of using design processes to shape rural environments is increased quality of life for people in both rural and urban areas. The global crisis in land use underlines the urgent need for broad acceptance of rural design as a discipline that can have tremendous transformative impact. This exhibition effectively makes the case for such acceptance. Dewey Thorbeck is founder and director of the University of Minnesota’s Center for Rural Design, adjunct professor of Architecture in the College of Design, and an internationallyrecognized expert on rural design. His book, Rural Design: A New Design Discipline was published in January 2012 by Routledge. Funding for the exhibition is provided by Rapson Hall Exhibitions Fund with support from Judy Dayton, the Goldstein Museum of Design, and the College of Design.

Cows in a field—an icon that typifies animal agriculture and the rural Midwest landscape. GOLDSTEIN MUSEUM OF DESIGN


JENS JENSEN: CELEBRATING THE NATIVE PRAIRIE MARCH 23—MAY 12 The Nachusa Grasslands near Franklin Grove, Illinois. Owned and operated by The Nature Conservancy and home to over 700 native prairie plant species. Photo by John Hagstrom.

HGA Gallery, Rapson Hall, Minneapolis Campus. Jens Jensen was a leading figure in landscape architecture in the early 20th century whose impact can still be seen today in parks, gardens, and restored prairies across the USA. A Danish immigrant, Jensen pioneered the prairie school of landscape architecture, which focused attention on using native plants as a way of emulating natural environments. His philosophy and designs contrasted greatly with the more formally laid out gardens in France and other countries in Europe. During his career with the Chicago Park System, Jensen designed elements of many Chicago area parks that still exist today. Frank Lloyd Wright was a colleague who shared Jensen’s interest in organic design. Today’s landscape architects and garden designers continue to be influenced by Jensen’s ideas, especially his emphasis on using plants and materials that are native to the climate, topography, and soil. This exhibition was developed by the Danish Immigrant Museum in Elk Horn, Iowa.

SPRING 2013

Jens Jensen in 1943. Courtesy of the Chicago Park System Special Collections.

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SEEING GREEN

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t might not be easy being green, but at least it’s on trend. Emerald green has been making headlines as 2013’s Color of the Year. The annual designation was made by the Pantone Color Institute based on current and predicted use in apparel and interior design.

Brilliant, bright, and clean, emerald conjures up the sophisticated green-blue of the precious jewel. Revered throughout history, emeralds have long been associated with beauty, love, honesty, and intelligence. These qualities are anthropomorphized in the owl-shaped brooches with their spectacularly wise emerald eyes. The “emeralds” used here are rhinestones; high quality emeralds are especially rare stones, far more valuable than diamonds. For this reason, emerald is also associated with wealth. Beginning in the Middle Ages, emerald green was often worn by bankers, merchants, country gentlemen, and others who were wealthy but not members of the nobility. Green was a particularly difficult color to dye. Textiles had to be carefully dipped in two dye vats (one blue and one yellow), which made consistent coloration both challenging and time consuming. Because of this, green fabrics were quite expensive and were affordable for only the very wealthy. The color thus reflected the prestige and status of its

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Pair of owl brooches, 1940-1949, Gift of Dr. and Mrs. Martin R. Lebowitz

wearers. As emerald was so closely associated with prosperity, it seems an apt color choice for a purse. While most of emerald’s connotations are positive, it also carries its fair share of bad associations. Those without a purse full of greenbacks may be prone to fits of envy. Coined by Shakespeare, the “green-eyed monster” has become the symbol of jealousy. One can only imagine what emotions were hidden behind this emerald-dyed ostrich feather fan, and what envious looks were inspired by this fantastic beaded Callot Soeurs evening gown. By the time these objects were created, chemists, artists, and textile manufacturers had devoted great energy towards developing inexpensive, colorfast green dyes and paints. The dyes used at the turn of the century were a result of trial and error as a series of toxic formulas were rejected. For this reason, the color green is often associated with poison and illness. In an interesting contrast, emerald green is simultaneously the symbol for new life. The color of spring grass and new leaves, emerald reflects the promise of seasonal renewal, regeneration, and hope. This pillbox hat, adorned with a charming green rose, and this cheery floral textile are fitting representations of nature in all its vibrant green glory. —Natasha Thoreson GOLDSTEIN MUSEUM OF DESIGN


COLLECTION

Pillbox hat, Emme, 1960-1965, Gift of Mrs. John Gill

Beaded bag, 1900-1919, Gift of Katie Swanstrom

Two-piece dress, Callot Soeurs, 1925, Gift of Mrs. Roger Shepard

Glass figurine, Hadeland Glassverk, Gift of Dorothy E. A. Ramsland

Textile fragment, 1955-1965, Estate of Elizabeth Christenson

Satin pumps, 1950-1959, Museum Collection

Dress with belt, Estevez, 1970-1980, Gift to the State of Minnesota and Governor and Mrs. Albert Quie

SPRING 2013

Coat, Pauline Trigere, 1960, Gift of Mrs. L. E. Field

Folding fan, 1890-1899, Museum Collection Earthenware bowl, McCoy, 19251940, Gift of Margaret Scholer

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MAD ABOUT DESIGN FALL BENEFIT SEPTEMBER 14 On September 14th, we broke out our skinny ties and cocktail attire and became mad men and women at the legendary Davis/Winton/ Nelson home designed by well-known architect, Philip Johnson. The night included tours of the house and Nelson’s personal art collection, hula hooping, a signature cocktail, and live auction. All the money raised from this event helps to fund the collection photography project. To date, GMD has photographed 15% of the collection, which can be viewed on our website. 1

Photos by Steve Silverman Imaging 1 Rick Beckel 2 Outdoor Patio of the Davis-Winton-Nelson House 3 Lang and Keri Hunt

6 Linda Boelter, Delores DeFore*, Pauline Altermatt* Tim Quigley (*honorary co-chairs for the event) 7 Homeowners Carolyn and Bob Nelson with GMD President Elect, Tim Quigley

4 Renee Hallberg 5 Linda and Phil Boelter (Linda was the event coordinator and is now a past board member)

8 Raymond Brown, John Ollmann, Mike Rosenzweig

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GMD DONORS SPRING 2013 NEW AND RENEWING MEMBERS

Cindy Kiheri

DIRECTOR’S FUND

Barbara M Baker

Sue J Bartolutti

Louis B Asher

Nancy M Kirby

Marlene J Banttari

Sheila G Leiter

C Robert & Sandra M Morris

Marilyn Bartlett

Jessica Bambeck-Lipp Shirley Barber Barbara M Baker Marilyn Bartlett Sue J Bartolutti Ann Carlson Birt Meredith M Bloomquist Linda & Philip F Boelter Ann Braaten Ann Burckhardt Elizabeth K Bye Kathleen & Paul Campbell Darlene J Carroll Catherine A Cerny Susan J Cheney Judith A Christensen Dawn Cook-Ronningen Ruth Hanold Crane & Douglas A Crane Kareen A Daby June R Dahlager Laura M Daumann Dolores DeFore Mary Dworsky Elizabeth C Quinlan Foundation Inc Dorothy J Flynn Lois & Lawrence Gibson Delores A Ginthner Kathryn L Glessing Trude Harmon Christine Hartman Lois E Haugerud Jeanette W Hauschild

Elise Linehan

DONATIONS TO COLLECTION

Seymour Locketz Carolyn L Lussenhop Lynda C Martin

Ruth Hanold Crane

Bob Bigelow

Merry C Detlefsen

Marcia J McCabe

CostumeRentals

Saralee Mogilner

Paige Dansinger

Dean Thomas Fisher & Claudia Wielgorecki

Sandra M Morris

Marilyn DeLong

Louise M Mullan

Sontrud Duke

JoAnn Neau

Jack Edwards

Lin Nelson-Mayson

Mary Vincent Franco

Marcia & Mike O’Connor

Hammel Green & Abrahamson Inc

Lois Gibson

Lois Haugerud

BOARD MEMBERS

John R Ollmann

Joy Gordon

Virginia B Olson

Jeanette Hauschild

Suzanne Grossman

Mary & David Parker

Barbara P Heinemann

Bradley Agee, Department of Landscape Architecture, U of M

Edna Hein

Timothy Quigley & Susan Throndrud

Linda Hersom

Patricia Hol

Jerry J Hess

Wayne Knigge

Janet L Johnson

Muriel Lee

Nancy H Kafka

Vandora Linck

Marit Lee Kucera

Finette Magnuson

Susan Lake

Minnesota Opera

David W Lange

Nancy Nelson

Amy Heinichen Liss

Lin Nelson-Mayson

Carol Ann Mackay

Noelyn and Truman Porter

Kay L Martin

Julie Rappaport

C Robert & Sandra M Morris

John Lassila, John Lassila & Associates

Cheryl Watson

Sarah Rockler

Bob & Darleen Nelson

John Ollmann, Signals

Linda Welters

Louise Rogers

Lin Nelson-Mayson

Kathe Wilcoxon

Barbara Rynders

Paul L Schroeder

Lindsay Piram, Lindsay Piram Creative

Gloria M Williams

Martha Saul

Norman V Steere

Julia Robinson, School of Architecture, U of M

Karen Witter

Paul Werler

Steve Silverman Imaging Inc

Cheryl Watson, Graphiculture

Penny Ziessman

Elizabeth G. Weymouth

Hazel Stoeckeler

Stephanie Zollinger, Department of Design, Housing and Apparel, U of M

Kathryn Reiley James Ressmeyer Marsha Roberson-Harder Julia W Robinson Marilyn Setzler Sharron & Oren Steinfeldt John Thomson Karen Owen Tuzcu & Ertugrul Tuzcu

Katharine & Richard Fournier Louise & Scott Fritchie

Fashion Avenue

Virginia H Homme

Kathleen & Paul Campbell

Treadle Yard Goods

Coral S Houle

Lin Nelson-Mayson

Wet Paint

Donald C Johnson

Patricia Simpson

Janet L Johnson

John Smith

Joshua Johnson

Constance S Sommers

Judy Dayton

Jean McElvain Lin Nelson-Mayson Rebekah Njaa Jeanne Schacht Natasha Thoreson Kimberlee Whaley

SPRING 2013

John L Thomson Eva & Andrew Timmons

President-Elect Tim Quigley, Quigley Architects Secretary Connie Sommers, Community Volunteer

Rick Beckel, Primeau Julie Dasher, Julie Dasher Rugs Christine Hartman, Holly Hunt Kent Hensley, Hensley Creative/The Bernard Group Debra Herdman, debra herdman design Kim Hogan, Community Volunteer Lang Hunt, Wharton Hunt International

Mardelle Ulman

EX-OFFICIO

Shirley K Ungar

Dean Tom Fisher, College of Design

David & Lynn Vander Haar

GENERAL SUPPORT

Brad Hokanson, Associate Dean for Research and Outreach

Georgene L Angrist

Lin Nelson-Mayson, Director

Mrs. L A Ziebell

Marian-Ortolf Bagley

GMD STAFF

Barbara Lutz

President Dan Avchen, HGA Architects and Engineers

Focus Design Inc

Dorothy S. Leeds Bequest

Eunice Haugen

GMD ADVISORY BOARD 2012-13 OFFICERS

Judy Benke

Dolores L Hickman

Jim Dozier

Radio K

Molly MacDonald

EXHIBITION SUPPORT

Kathleen Campbell

MEDIA SPONSOR

Jean Illsley Clarke Jeanne E Corwin

COLLECTION PHOTO PROJECT

Sharlene Balik

Upper Midwest Bead Society

Susan K Bradley

Margaret Beegle

Delphine Hedtke

Barbara M Kaerwer

MARGOT SIEGEL APPAREL CARE

Communications Assistant Grant Writer Rapson Exhibition Coordinator Registrar & McNeal Exhibition Coordinator Administrative Assistant Assistant Curator Director Preparator Designer Collection Assistant Photographer

Funding provided in part by a grant from the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature, a grant from the National Endowment for the Arts.

This project is supported in part by an award from the National Endowment for the Arts

Funding for this project is 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 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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Nonprofit Org. U.S. Postage

MCNEAL GALLERY HOURS Tuesday–Friday 10:00 am–5:00 pm Weekend 1:30 pm–4:30 pm FREE admission

HGA GALLERY HOURS Monday–Friday 9:00 am–6:00 pm Saturday 1:00 pm–5:00 pm FREE admission

PAID 364 McNeal Hall 1985 Buford Avenue St. Paul, MN 55108

Twin Cities, MN Permit No. 90155

gmd@umn.edu 612-624-7434

goldstein.design.umn.edu Goldstein Museum of Design

GoldsteinMuseum

TIE IT, WRAP IT, PUT IT ON YOUR HEAD

Clockwise from top left:

1950–1959, Nina Ricci, Museum Collection; 1960–1969, Vera Neumann, Gift of Mark Schultz; 1960–1969, Vera Neumann, Gift of David Anger and James Broberg; 1960–1969, Vera Neumann, Gift of David Anger and James Broberg; 1960–1969, Vera Neumann, Gift of Judith A. Christensen; 1955–1965, Vera Neumann, Gift of David Anger and James Broberg


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