FALL 2017 exhibitions | collection | events
Fall Openings Jack Lenor Larsen at 90: Transformations of a Textile Innovator and Dutch Complex Housing exhibitions
Cocktails By Design
Happenings GMD’s latest Creativity Break provides students with a chance to relax and create
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The Magic Of Scale Collection Highlight: reflections on the importance of size on our perception of objects
The next big thing is here: learn more about GMD’s new event series
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Goldstein Museum of Design
Storied Lives Our next exhibit Storied Lives: Women and Their Wardrobe is on the horizon – sneak a peek and learn more
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Goldstein Museum of Design GoldsteinMuseum Goldstein_Museum
Fall 2017
Shrinking Warmth: Science and Style Say goodbye to bundling and fur with the advent of technology
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Letter from the Director Spotlight: GMD Blog Discover the authors and ideas behind our collections blog
Our small staff is proof that size doesn’t matter when it comes to museums
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To find more information and keep yourself up-to-date on GMD exhibitions and exhibitions-related events, visit our exhibitions page at goldstein.design.umn.edu/exhibitions, and follow us on social media.
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Exhibition Openings
Jack Lenor Larsen at 90:
Transformations of a Textile Innovator Gallery 241, McNeal Hall Curated by Professor Stephanie Zollinger, Jack Lenor Larsen at 90: Transformations of a Textile Innovator opened with a party. On September 22, Jack Lenor Larsen himself attended the exhibition opening, where GMD hosted a 90th birthday party in his honor. Mingling with students, faculty, design professionals, and curious attendees, Larsen signed books, spoke with admirers of his work, and blew out the candles on his cake. Showcasing his many innovations, this exhibition draws on dozens of textiles by Larsen to capture his evolution and impact throughout his illustrious career. Open through January 7, 2018, be sure to stop by and explore the world of Larsen textiles before it closes! Photograph courtesy Courtney Deutz
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Goldstein Museum of Design
Dutch Complex Housing HGA Gallery, Rapson Hall Curated by Professor Julia Robinson, Dutch Complex Housing explores a special form of multi-family dwelling developed in response to limited location and socially responsible policy. The exhibition profiles eight visually rich structures that are each responsive to their location and are formed to house a variety of housing types and income levels plus non-housing functions. The exhibition hosted a signing of the curator’s latest book, Designing for Density: Complex Housing. An accompanying symposium, entitled Complexity: Dutch and American Housing Symposium, ran from October 6-8, 2017. The exhibition will be open in Rapson Hall through January 28, 2018.
Fall Openings
Fall 2017
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GMD Student Creativity Break: Fall Edition
Students gathered in the McNeal Atrium on October 26, grabbing delicious coffee and cider before diving into customizing their GMD tote bags. Sharpies, pens, and more were available for students to fully cover their totes with patterns ranging from mandalas to cats and everything in between.
in the next GMD email, with an opportunity to share their portfolios with our wonderful subscribers. A chance to take a break, munch, create, and even network! Thank you to our sponsor for making this event possible:
Students were invited to share their work on social media, in order to compete for a prize: the winners would be featured 6
Goldstein Museum of Design
The Magic of
Scale
What makes small things so captivating? Hat, Yves Saint Laurent,
One of the most important things we try to do is develop a collection that can be used to teach young design students about how good designers think and work. Inevitably, many of the pieces in the collection end up being good representations of the basic elements and principles of design.
Walkman, Sony Corporation, 1998, Gift of Scott Wehman 2014.048.001a-f
1990-1999, Gift of Beth Kessler 2016.011.024
Plates, Syracuse China, c. 1945, Gift of the Estate of Ruth Hall 1999.068.003b
One of these principles, scale, comes into play with our cover object, a miniature chair by Verner Panton. It’s part of a collection of chairs we have that include one-sixth scale replicas of pieces designed by Frank Lloyd Wright, Charles and Ray Eames, and Alvar Aalto, to name a few. Shrinking these iconic pieces of furniture down changes them somehow, capturing our attention and causing us to look at them a little longer than we might otherwise.
In a piece on scale and the proto-museums known as “cabinets of curiosity,” Dagmar Motycka Weston talks about how humans are drawn to extremes. Miniaturizing something can bring attention to the craftsmanship involved in making it and allow the viewer to appreciate an object from a new perspective. Weston also touches on the magical aspect of miniaturization. In the past, making a small-scale copy of an object was sometimes thought of as a way to draw on supernatural powers.
piece on mobile listening devices by referring to Apple’s iPod as a “magical” piece of technology. Like the Walkman before it, iPod takes allows us to take our personal soundscapes and auditory identities with us wherever we go. The wonder of this is often lost as we go about our everyday lives, but the continuous miniaturization of technology is at least as awe-inspiring as a miniature chair. So, the next time you come to GMD and marvel at a tiny pair of child’s shoes or an oversized embellishment on a dress, think about how the relative size is effecting your impression of the object. Odds are good that the designer was trying to elicit an emotional response from you, a response that is based on the magic of scale. S.H.
Buttoned Boots, Unknown Designer, 1885-1890, Gift of Robert Deering 1970.002.004a-b
Children’s Boots, Unknown Designer, 1910, Gift of the Naomi Chase Estate 1977.019.017a-b
In the modern world we’ve actually managed to create objects that feel magic though miniaturization. Michael Bull opens his Fall 2017
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Happenings and Collection Highlight
But what makes small things so captivating? Perhaps it reminds us of our childhoods. Toys are frequently just shrunken versions of everyday objects. In an article on size, reality, and dollhouses, Nancy Wei-Ning Chen says that part of the attraction of dollhouses is that they allow the player to take total control of the environment. However, unexpected variations in scale can also be discomforting, making previously unremarkable things seem odd and unfamiliar.
Pin, Unknown Designer, Silver, Gift of Jean Champerlain 1984.077.019
Cocktails by
Design
Shaker, Farber Brothers, c. 1920, United States, Gift of John Ollmann 2014.017.001a-b
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Goldstein Museum of Design
A graphic designer, a museum director, and a social media manager walk into a gallery. Fortunately for you, the punch line is only a few people long. Welcome to Cocktails By Design, a new series of events brought to you by the Goldstein Museum of Design. With design professionals from all over the Twin Cities, Cocktails By Design was created to raise awareness (and funding) for design education that the Goldstein provides – all the while providing a casual environment for guests to eat, drink, and be merry. The series began this summer with cocktails, local bites, and the stunning space that is Blu Dot Headquarters. With a curated selection of uniquely crafted cocktails, Eat Street Social blended both flavors and visuals to create gorgeous drinks that perfectly complimented the all-natural, locallysourced deliciousness of Natedogs, hot dogs by the 2017 Hot Dog Vendor of the Year. The lively conversation bounced from topic to topic, pausing only to hear words from GMD’s board members, staff, and student assistants. The Blu Dot showroom was open exclusively to attendees prior to their normal hours, allowing guests to come home with the lamp or chair of their dreams – or simply enjoy the aesthetic of the space itself. After this fantastic evening, we rapidly realized the community is hungry for more – and are happy to oblige.
Cocktails COLLECTION By Design
The next event is already in the works: on November 16th, 2017, the Goldstein will be hosting our second Cocktails By Design at Forage Modern Workshop, ready to bring design to the forefront of the conversation once again! We hope to see you there. J.L.
Fall 2017
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Dress, James Galanos, 1965-1975, Gift of Margot Siegel 1975.002.016
Beach Ensemble, Yves Saint Laurent, 1980-1989, Gift of Beth Kessler 2015.042.015b
Ski Suit, Bogner, 1990-1995, Gift of Dolores DeFore 2008.032.004a-b
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Goldstein Museum of Design
In Storied Lives, Women and their Wardrobes, we celebrate working women of the 20th century through the beautiful wardrobe pieces of three women who held prominent careers in the Twin Cities. Their paths include occupational therapist, journalist for WWD, and the President of Harold, a boutique clothier specializing in designer clothing for women.
Although there is a long history of women working, WWI and WWII saw a highly publicized increase in women in workplace. Women’s participation in the U.S. labor force rose from 32.7% in 1948 to 56.8% in 2006. The range of available careers for women expanded to include a variety of different jobs: they could be lawyers, business owners, and doctors. The concept of acceptable, “feminine”, ways of dressing also grew; women began wearing pinstriped power suits with heels, a way of signaling their career ambition was equal to that of men.
A.N.
Fall 2017
Gallery 241, McNeal Hall
What factors influence women to stay in the workplace and how do they believe their appearance influences their position? Storied Lives, Women and their Wardrobes explores the visual result of clothing on three women, whose motivations vary from the personal enjoyment of beautiful clothing hidden beneath a lab coat to aiding in the promotion of a capable businesswoman who knew the value of wearing the fashion she sold.
S TO R I E D LIVES
What factors influence women to stay in the workplace and how do they believe their appearance influences their position?
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Photographs courtesy the Wearable Technology Lab at the University of Minnesota
Shrinking Warmth: Science and Style
The College of Design’s Wearable Technology lab is using tech to shrink down how we warm up. Fur is thought to have been among the first materials used for clothing and body decoration. From the beginning, our ancestors used fur during freezing, wet winters due to its availability and superior insulating properties. In Minnesota, Fort Snelling was strategically established at the junction of the Mississippi and Minnesota Rivers to control the region’s fur trade. There was little consideration for animal cruelty when massive layers of fur protected its wearers from injury or even death during the frigid winter months. Take a look at this 1920’s French silk and velvet cape with monkey fur trim. While this piece might help supply necessary heat in cold winter months, fashion clearly supersedes function. The use of personal cars and public transportation allowed clothing to slim down; wearers protected by insulated vehicles and processed fabrics no longer required pelts to protect themselves against the cold. Instead, fur became a symbol of fashion, status, and wealth. Tastes shifted further in the 1980’s and questions were raised about the ethics of using animal skins as fashion products. Technologies were developed to recreate the insulative properties of animal skin. Synthetic clothing materials like polyester provide warmth similar to leather but can retain heat even more effectively when wet. Some new synthetic fibers can be made from recycled materials, further limiting the negative environmental impact. Technology has advanced incredibly in the last century, and more efficient methods of keeping warm in the winter are still emerging. Army researchers recently announced the use of silver nanowires in cotton or polyester fabrics as a way to keep soldiers warm in extremely cold climates.
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Silver makes the fabric conductive, and thus generates a substantial amount of heat with a few volts of electricity. This represents a completely new way of thinking about heating; rather than put on layers to increase insulation of body heat, the clothing itself generates heat to keep the wearer warm. The military is currently working on a way to implement a small, flexible battery to increase temperature capabilities. They are also experimenting with sweat-absorbing hydrogel to keep soldiers dry. Researchers here at the College of Design’s Wearable Technology Lab are also developing sustainable heating and personal microclimate control. They propose heat-generating clothing can reduce need to heat large rooms, saving resources and increasing energy efficiency. The research here at the university focuses on the development of comfortable, easily wearable materials for everyday life, rather than the extreme conditions faced by our military. The education plan integrated into these developments provides research and coursework opportunities to students in both undergraduate and graduate programs. Minnesotans have been able to reduce the bulk of our clothing and increase level of comfort thanks to increasingly complex and efficient technology. Much like cell phones and personal computers, consumers today can enjoy a more scaled-down version of winter dress than our ancestors. A.N.
Cape, Unknown Designer, 1929, France, Gift of Mrs. Kathy West 1984.070.001
Goldstein Museum of Design
Capturing the Collection Q: How do you showcase a collection of 34,000 objects? A: One at a time. The Goldstein Museum of Design is home to a wide variety of objects, ranging from haute couture to homemade. Our collection has items that vary in size from smaller than a thimble to larger than a piece of furniture. In order to properly preserve all of these objects, the collection itself isn’t in a single storage space – it’s spread out across multiple spaces within McNeal Hall. The sheer scale of our collection provides a wonderful opportunity for students and interested inquirers alike, but the size itself presents some very unique challenges. In order to showcase the diversity of our collection, the Goldstein Collection page now features a new object every week, to shed light on why these items have a place in the Goldstein. One week you might learn about French couturiers in the 1930s who were experimenting with millinery to expand their brands. The next week’s post might expand your understanding of the blend of Hmong and American fashion, describing innovations that happen in our own backyard.
Evening Dress, Madame Alix Gres, 1949, France, Gift of Luella Maslon 1987.008.002a-b
Shaker Chair, Hancock Village Shaker, 1880-1910, Gift of Juliette Myren, 1978.053.001
The Object of the Week feature picks objects based on the author’s preference. Our GMD Volunteer Kathleen Campbell, Associate Curator Jean McElvain, and Dora Agee Waller Collections Assistant Sarah Hegge are our main contributors. With their combined historical and cultural knowledge, the collection takes on a new dimension through their words. Chosen objects might be those featured in exhibitions or blog posts, or simply an item the author wants to share with the public. The Object of the Week posts focus on the specific backstory of the objects themselves, but the GMD Blog focuses on larger trends and happenings, utilizing our objects as visual examples. Our Blog has an extensive archive, dating back years. With a myriad of contributors from sophomores to curators, the writing style and topics are always fresh and reflect the passion of their authors.
Dress, Callot Soeurs, 1925, Gift of Mrs. Roger Shepard, 1990.003.005a-b
Shrinking Warmth and GMD’s Blog
Part of the wonder of the digital age is bringing such a vast collection into the hands of the public. Through our online presence, the Goldstein aims to make our knowledge, expertise, and collection accessible to anyone, anywhere, at any time. The quantity and quality of our objects demands long term efforts of our many contributors and staff members - but it is an undertaking well worth the effort. Stay tuned for weekly updates through social media or our site! J.L.
Fixed Fan, Unknown Designer, 1888, United States, Gift of Jack B. Hirshmann 1984.009.001
All objects pictured on this page have been featured in our Objects of the Week posts! Discover their stories at: collection.goldstein.design.umn.edu. Fall 2017
Vase, Gustavsberg, 1901, Sweden, Gift of Marion John Nelson 1982.007.001
Coat, Bonnie Cashin, 1960-1969, United States, Gift of Mrs. Robert Pflueger 1977.008.022.
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From the Director: Fall 2017 Scaling: Small Museums as Craft Breweries Did you know that there are over 35,000 museums in this country and almost 80% have a staff of ten people or fewer? Much of our attention goes to the work and programs of exemplary large museums, but the numerous small museums in our communities hold the bulk of our nation’s heritage and creative collections. GMD’s staff consists of 3.25 museum professionals, two 50% grant-funded positions (Team Digi – the collection photography team), three 50% graduate students (Collection, Communications, and Graphic Design Assistants), and ten or so undergrads who collectively keep Gallery 241 open as front-line greeters and serve as the installation crew for new exhibitions. With this dedicated group of 6.75 FTES (full-time equivalents), we are slightly larger than the most narrow definition of a small museum (five staff members), but just barely. One of GMD’s Advisory Board members drew a parallel between small museums and craft breweries. Similar to craft breweries that produce specialized experiences and often have devoted followers, small museums take the time for personalized service and often explore topics that illustrate their connection to their communities. Minnesota has a long brewing history and is currently 16th in the nation for craft beer produced per capita. GMD is Minnesota’s ONLY design museum – small or large! Yours in design,
E Lin Nelson-Mayson
GMD in the News: 50 States of Preservation We were recently handpicked by the National Endowment for the Humanities to represent all of Minnesota in an online feature! This feature is part of a series called “50 States of Preservation,” in which NEH toured small and mid-sized museums, libraries, historical societies, and other repositories across the country to show how institutions like the Goldstein are helping to preserve the nation’s cultural heritage. Read all about it at: z.umn.edu/NEHGoldstein.
GMD Staff Eunice Haugen Registrar, Exhibitions Coordinator Sarah Hegge Dora Agee Waller Collection Assistant Jess Lambert Dora Agee Waller Graphic Design Assistant Barbara Lutz Administrative Assistant
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American Indian Bag, Unknown Designer, 1890-1910, Gift of Wayne E. Murphy, 1980.125.008
Gallery Staff Jean McElvain Associate Curator Lin Nelson-Mayson Director Rebecca Njaa Preparator Alanna Norton Lila Bath Communications Assistant
Autumn Beckman
Abe Santos Meeker
Andrea Dunrud
Tu-Nguyen Phan
Christine Fantle
Rebecca Roeder
Sydney Komoto
Grant Taylor
Keirsten Kupczak Emily McLaughlin
Ellen Skoro Photographer
Goldstein Museum of Design
NEW AND RENEWING MEMBERS
IN HONOR OF
Kathleen Martin
GMD ADVISORY BOARD
Anonymous (Sustainer)
Sarah Dwyer By Kathy Hendrickson
Victoria Miles
2017-2018 OFFICERS
Minneapolis Institute of Art
CO-PRESIDENTS
GENERAL SUPPORT
Carol Nelson
Matthew Hatch, RR Donnelley
Liv Norderhaug
Martha Hedstrom, Periscope
Joan Terrell
VICE PRESIDENT
JoAnne Zachow
Beth Bowman, Weavers Guild
Barbara Taylor Anderson (Sustainer) Linda & Phil Boelter
Carol Austermann
Kareen A Daby
Michael Brucek
Marilee A DesLauriers
Kareen A Daby
Anastasia Faunce Joyce Field Helen B Foster
Sarah Dwyer
PROGRAM SUPPORT
Beth R Hanson
COCKTAILS BY DESIGN:
Vandora Linck
UNSEEN MUSEUM
SECRETARY
Moira Bateman, Visual Artist BOARD MEMBERS
Sarah Dwyer, Duke Albert
Beth & Gary Hanson Jerry J Hess
DIRECTOR’S FUND
Heather Olson, Soladay Olson
Nancy Kirby
Anonymous
Katherine O’Neil, The Musicant Group
Mary M Larson Marlene J Lawson
DONATIONS TO THE COLLECTION
Vandora Linck
Marilyn Bartlett
Lin Nelson-Mayson (Sustainer)
Cyndy Brucato
Gene Valek, KNOCK, Inc.
Katherine O’Neil
Grace Buck
PAST PRESIDENT
Mark Schultz (Sustainer)
Kathleen E Campbell
Joan Solomon
Ruth and Doug Crane
Sharron Steinfeldt
Paige Dansinger
Karen Owen Tuzcu
Dolores DeFore
Susan Verrett
Jo Doig
Linda Webster
Joanne Eicher
Sabra Zahn
Lois Gibson
Stephanie Watson Zollinger & Paul Zollinger
Beth Jansen-Bonde
LIFE MEMBER
Norma Kurtz
Joanne Eicher
Lynn Purcell & Gene Valek
Liam Peterson, Target Product Design & Development
CREATIVITY BREAK:
Lynn Purcell, Design & Interactive Copywriter
Kent Hensley, Hensley Creative EXHIBITION:
Beth Kessler
Sarah Lindsay Katherine B Maple
Some of GMD’s 34,000-piece collection is online, but you can also see it in person through a behind-the-scenes tour offered free to members at the Patron Membership level and above! In addition to discounted event tickets and access to other museums nationally – perks offered to all members – join at the $250 level or above to receive a personal guided tour of collection storage. If you are a Patron, Benefactor, or Director’s Circle member, contact Lin Nelson-Mayson, GMD Director, at lnelsonm@umn.edu or 612.624.3292 to set up your tour. Check out the complete member benefits on the website: goldstein.design.umn.edu/support/membership. Fall 2017
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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GMD DONORS: Summer & Fall 2017
Does your membership include a Behind-the-Scenes Collection tour?
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.
Nonprofit Org. U.S. Postage
364 McNeal Hall 1985 Buford Avenue St. Paul, MN 55108
PAID
Twin Cities, MN Permit No. 90155
GALLERY 241 MCNEAL HALL, SAINT PAUL Tuesday - Friday 10:00 AM - 5:00 PM Weekends 1:30 PM - 4:30 PM
HGA GALLERY RAPSON HALL, MINNEAPOLIS Monday - Friday 7:00 AM - 7:00 PM Saturday 7:00 AM - 5:00 PM Sunday 12:45 PM - 5:00 PM Our exhibitions are free and open to the public. gmd@umn.edu 612.624.7434 goldstein.design.umn.edu Goldstein Museum of Design GoldsteinMuseum Goldstein_Museum
What’s on the cover? Vitra Designs created miniature versions of famous chairs at one-sixth size of the historical original and they are fabulous. Paying attention to the crafting of the original designs, Vitra emulated the construction, material, and color to create these intriguing pieces. While the Goldstein has its own collection of full-sized chairs, these pieces stand out because of their dimensions. Onesixth is a particuarly unique size, and our cover chair measures about six inches high, along with the rest of its set, pictured here (right).
Cover collection piece:
Miniature Panton Chair, Vitra Designs, 1996-1997, Germany. Original chair design by Verner Panton, 1960, Denmark Given in thanks of Past President Linda Mona, 1997.031.002a-e
Miniature No.41, “Palmio” Chair, Vitra Designs, 1996-1997, Germany. Original chair design by Alvar Aalto, 1931-1932, Finland Given in thanks of Past President Linda Mona 1997.031.001
Miniature Well Tempered Chair, Vitra Designs, 1996-1997, Germany Original chair design by Ron Arad, 1986, Israel Given in thanks of Past President Linda Mona 1997.031.003
Miniature La Chaise Chair, Vitra Designs, 1996-1997, Germany. Original chair design by Charles and Ray Eames, 1948, United States Given in thanks of Board President Linda Hersom 2011.037.001a-c
Miniature Chaise Lounge, Vitra Designs, 1996-1997, Germany. Original chair design by Le Corbusier, Charlotte Perriand, Pierre Jeanneret, 1928-29, France. Given in thanks of Board Chair Dan Avchen 2013.024.001a-b