SUMMER 2013
GMD
G OL D ST E I N M U SE UM OF DE SIG N N EWS
Printed Textiles: Pattern Stories
Mixtec Stonecutting Artistry: 16th Century Ribbed Vaults in Mixteca, Mexico
SUMMER 2013
1
HAPPENINGS JENS JENSEN: CELEBRATING THE NATIVE PRAIRIE GALLERY TALK MARCH 25
DIRECTOR’S MESSAGE
REDEFINING REDESIGNING FASHION EVENTS
Did you know…? Fast Facts About the GMD Did you attend the new member Behindthe-Scenes Tour and Tea in May? Board members Christine Hartman and Debra Herdman organized two sessions of this highly successful event that attracted 43 new members through the innovative offering of a sneak peek into collection storage and a delicious high tea. I spoke to the groups about GMD while they were enjoying their teas with tasty scones and sandwiches. I’d like to share a few GMD facts that I shared with those groups:
GIRL SCOUT PRODUCT DESIGNER BADGE DAY FEBRUARY 23
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RURAL DESIGN: A NEW DESIGN DISCIPLINE LECTURE AND BOOK SIGNING FEBRUARY 4
URBAN 4-H DAY MARCH 29
In a metro area with several museums that present design—from the Walker to the American Swedish Institute—GMD is the only museum that exclusively collects and interprets design. GMD was founded in 1976 as a tribute to Harriet and Vetta Goldstein, innovative teachers in the School of Home Economics from the 1910s through the 1940s. GMD’s collection was based on their teaching collection and their philosophy of object-based learning.
●
GMD is an academic museum with a large collection and a small footprint. GMD has 3 full-time and 18 part-time staff members.
●
GMD has an annual attendance of approximately 13-14,000 and an annual budget of approximately $450,000.
●
GMD’s exhibitions explore designers, designed objects, and the design process. McNeal’s Gallery 241 features 3 exhibitions annually of apparel design, interiors, housing, and graphic design.
GMD organizes 4-5 architecture and landscape architecture exhibitions annually in Rapson’s HGA Gallery. ●
GMD’s collection consists of about 30,000 objects—22,000 apparel/accessories, 5,000 textiles, 2,500 applied arts/product design, and 660 graphic design/works on paper.
●
Most of the collection was acquired through donation. Assistant Curator Jean McElvain reviews several thousand potential donations annually and 200-300 are accepted into the collection.
●
For the past 3 years, GMD has been engaged in a photography project, funded by the Institute for Museum and Library Services, to create an online searchable database of the collection.
●
Photographing the collection is labor intensive—a wedding dress may take 8 to 10 hours to prepare. To date, about 15% of the collection has been photographed.
●
GMD facilitates object-based learning for classes in graphic design, apparel studies, interior design, surface design, art history, and theater costuming. We also develop programs for community groups on a wide range of topics—from the Arts and Crafts style to buttons.
Save the Date! Once a year, GMD hosts a design-themed benefit to support free exhibitions, educational programs, and the photography project. Join us on September 6th for a Roaring 20s Party at Christine Hartman’s 1924 home on Sunfish Lake. Watch for your invitation! Yours in design, Lin Nelson-Mayson, director
UPCOMING EXHIBITIONS
4-Hers had fun in the studio designing their own sustainable clothing and accessories.
BEHIND-THE-SCENES TOUR AND TEA MAY 2 & 4
Forty-three new members enjoyed a behind-the-scenes tour and tea. 2
REDEFINING FASHION: A DAY TO CELEBRATE ECO-FASHION APRIL 6
“Sustainability Boutique” and workshops demonstrated creative ways to make fashion sustainable at this community event. GOLDSTEIN MUSEUM OF DESIGN
University of Minnesota Architecture 100 Year Celebration: 1913–2013 A Century and Building
Say It with Snap: Motivating Workers by Design, 1923–1929. Gallery 241, McNeal Hall September 13–January 7, 2014
Friday and Saturday, October 25–26, 2013 Rapson Hall on the Minneapolis Campus and other sites
umn arch centennial logos and colleagues as the School of Architecture Join classmates
outlines
Between 1923 and 1929, Chicagobased Mather & Company created and sold colorful, graphicallydramatic 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 Artist Unknown, Mather & Company co-workers (“Say it with snap!”), Say It With Snap! Get To The Point, not lose their temper (“Blowing 1925, color lithograph, 44 x 36 inches. up blows up your chances”), and Courtesy Ronald, Elizabeth, and own up to and correct mistakes because “Repeating our mistakes Lauren DeFilippo 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. 8+ inch SUMMER 2013
celebrates 100 years of education and looks forward to the next century of architecture. Exhibitions in the HGA gallery and other sites will be part of the weekend activities, along with architectural tours, lectures, and time to catch up with friends during celebration activities both on and off campus. For more information: arch100.design.umn.edu.
3
HAPPENINGS JENS JENSEN: CELEBRATING THE NATIVE PRAIRIE GALLERY TALK MARCH 25
DIRECTOR’S MESSAGE
REDEFINING REDESIGNING FASHION EVENTS
Did you know…? Fast Facts About the GMD Did you attend the new member Behindthe-Scenes Tour and Tea in May? Board members Christine Hartman and Debra Herdman organized two sessions of this highly successful event that attracted 43 new members through the innovative offering of a sneak peek into collection storage and a delicious high tea. I spoke to the groups about GMD while they were enjoying their teas with tasty scones and sandwiches. I’d like to share a few GMD facts that I shared with those groups:
GIRL SCOUT PRODUCT DESIGNER BADGE DAY FEBRUARY 23
●
●
RURAL DESIGN: A NEW DESIGN DISCIPLINE LECTURE AND BOOK SIGNING FEBRUARY 4
URBAN 4-H DAY MARCH 29
In a metro area with several museums that present design—from the Walker to the American Swedish Institute—GMD is the only museum that exclusively collects and interprets design. GMD was founded in 1976 as a tribute to Harriet and Vetta Goldstein, innovative teachers in the School of Home Economics from the 1910s through the 1940s. GMD’s collection was based on their teaching collection and their philosophy of object-based learning.
●
GMD is an academic museum with a large collection and a small footprint. GMD has 3 full-time and 18 part-time staff members.
●
GMD has an annual attendance of approximately 13-14,000 and an annual budget of approximately $450,000.
●
GMD’s exhibitions explore designers, designed objects, and the design process. McNeal’s Gallery 241 features 3 exhibitions annually of apparel design, interiors, housing, and graphic design.
GMD organizes 4-5 architecture and landscape architecture exhibitions annually in Rapson’s HGA Gallery. ●
GMD’s collection consists of about 30,000 objects—22,000 apparel/accessories, 5,000 textiles, 2,500 applied arts/product design, and 660 graphic design/works on paper.
●
Most of the collection was acquired through donation. Assistant Curator Jean McElvain reviews several thousand potential donations annually and 200-300 are accepted into the collection.
●
For the past 3 years, GMD has been engaged in a photography project, funded by the Institute for Museum and Library Services, to create an online searchable database of the collection.
●
Photographing the collection is labor intensive—a wedding dress may take 8 to 10 hours to prepare. To date, about 15% of the collection has been photographed.
●
GMD facilitates object-based learning for classes in graphic design, apparel studies, interior design, surface design, art history, and theater costuming. We also develop programs for community groups on a wide range of topics—from the Arts and Crafts style to buttons.
Save the Date! Once a year, GMD hosts a design-themed benefit to support free exhibitions, educational programs, and the photography project. Join us on September 6th for a Roaring 20s Party at Christine Hartman’s 1924 home on Sunfish Lake. Watch for your invitation! Yours in design, Lin Nelson-Mayson, director
UPCOMING EXHIBITIONS
4-Hers had fun in the studio designing their own sustainable clothing and accessories.
BEHIND-THE-SCENES TOUR AND TEA MAY 2 & 4
Forty-three new members enjoyed a behind-the-scenes tour and tea. 2
REDEFINING FASHION: A DAY TO CELEBRATE ECO-FASHION APRIL 6
“Sustainability Boutique” and workshops demonstrated creative ways to make fashion sustainable at this community event. GOLDSTEIN MUSEUM OF DESIGN
University of Minnesota Architecture 100 Year Celebration: 1913–2013 A Century and Building
Say It with Snap: Motivating Workers by Design, 1923–1929. Gallery 241, McNeal Hall September 13–January 7, 2014
Friday and Saturday, October 25–26, 2013 Rapson Hall on the Minneapolis Campus and other sites
umn arch centennial logos and colleagues as the School of Architecture Join classmates
outlines
Between 1923 and 1929, Chicagobased Mather & Company created and sold colorful, graphicallydramatic 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 Artist Unknown, Mather & Company co-workers (“Say it with snap!”), Say It With Snap! Get To The Point, not lose their temper (“Blowing 1925, color lithograph, 44 x 36 inches. up blows up your chances”), and Courtesy Ronald, Elizabeth, and own up to and correct mistakes because “Repeating our mistakes Lauren DeFilippo 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. 8+ inch SUMMER 2013
celebrates 100 years of education and looks forward to the next century of architecture. Exhibitions in the HGA gallery and other sites will be part of the weekend activities, along with architectural tours, lectures, and time to catch up with friends during celebration activities both on and off campus. For more information: arch100.design.umn.edu.
3
EXHIBITIONS
Gallery 241, McNeal Hall, St. Paul Campus June 15–August 25, 2013
Dress, Pauline Trigere, 1970-1979. Gift of Mary Ann Wark
Curatorial Tour Thursday, June 27, 6 PM Humans have printed patterns on textiles for centuries, perhaps responding to an innate desire to add meaning and beauty to a functional object. This exhibition celebrates the beauty of prints and their relationship to broader narratives: artists turning their talents to designing textiles, the lingering impact of design movements, the relationship between popular culture and textile design, and the ever-fashionable motifs of flowers and plants. These are the exhibition’s four major story lines. In the 20th century, the merger of art, design, and technology that produced some of the most exuberant textile designs ever available to the general public coincided with specific artists or designers being credited by name for their textile print designs. When Ruth Reeves, Jack Lenor Larsen, and Emilio Pucci “signed” their textile designs, they reversed the centuries-long pattern of textile print designers laboring in anonymity. What do a printed textile celebrating Lindbergh’s 1927 non-stop flight from New York to Paris, a tea towel with images of Charles and Di, and a scarf that illustrates the “Harper’s Bazaar 9-Day Diet” have in common? All three textiles were created to commemorate or comment on something of intense popular interest in America.
“Blondie,” ca. 19401949. Inspired by the popular comic strip (1930-present). Gift of Virginia H. Homme The American appreciation for handicraft is a legacy of the Arts & Crafts movement’s ideals. This legacy provided impetus to both the Depression-era WPA Handicraft Project workshops in Milwaukee and Minneapolis and the successful Folly Cove Designers of Gloucester, Massachusetts, both of which produced block prints on textiles. The exhibition’s graphic design features a Folly Cove Designers block print. Appreciation of nature is nearly universal, and reminders of nature are often incorporated into the design of clothing and homes. The enduring appeal of botanicals is revealed in both flat textiles designed for interiors and apparel designs created by shaping floral and plant-motif fabrics into clothing. Exhibition Support: Surface Design Association, Banner Creations, Fabric Graphics Association, and the Summer Music Festival at Northrop, presented by Northrop Concerts and Lectures at the University of Minnesota.
“Finnish Hop,” Virginia Demetrios Folly Cove Designers, 1940-1955 MuseumCollection 4
“West Point,” 1933-1934, Ruth Reeves Gift of University Gallery, University of Minnesota GOLDSTEIN MUSEUM OF DESIGN
SUMMER 2013
MAX LINDORFER Graphic Design senior Max Lindorfer competed with his classmates in Associate Professor Sauman Chu’s GDES 3351 class to produce the winning graphic identity for the exhibition, which appears on the invitation, poster, banner, and text panels. 5
EXHIBITIONS
Gallery 241, McNeal Hall, St. Paul Campus June 15–August 25, 2013
Dress, Pauline Trigere, 1970-1979. Gift of Mary Ann Wark
Curatorial Tour Thursday, June 27, 6 PM Humans have printed patterns on textiles for centuries, perhaps responding to an innate desire to add meaning and beauty to a functional object. This exhibition celebrates the beauty of prints and their relationship to broader narratives: artists turning their talents to designing textiles, the lingering impact of design movements, the relationship between popular culture and textile design, and the ever-fashionable motifs of flowers and plants. These are the exhibition’s four major story lines. In the 20th century, the merger of art, design, and technology that produced some of the most exuberant textile designs ever available to the general public coincided with specific artists or designers being credited by name for their textile print designs. When Ruth Reeves, Jack Lenor Larsen, and Emilio Pucci “signed” their textile designs, they reversed the centuries-long pattern of textile print designers laboring in anonymity. What do a printed textile celebrating Lindbergh’s 1927 non-stop flight from New York to Paris, a tea towel with images of Charles and Di, and a scarf that illustrates the “Harper’s Bazaar 9-Day Diet” have in common? All three textiles were created to commemorate or comment on something of intense popular interest in America.
“Blondie,” ca. 19401949. Inspired by the popular comic strip (1930-present). Gift of Virginia H. Homme The American appreciation for handicraft is a legacy of the Arts & Crafts movement’s ideals. This legacy provided impetus to both the Depression-era WPA Handicraft Project workshops in Milwaukee and Minneapolis and the successful Folly Cove Designers of Gloucester, Massachusetts, both of which produced block prints on textiles. The exhibition’s graphic design features a Folly Cove Designers block print. Appreciation of nature is nearly universal, and reminders of nature are often incorporated into the design of clothing and homes. The enduring appeal of botanicals is revealed in both flat textiles designed for interiors and apparel designs created by shaping floral and plant-motif fabrics into clothing. Exhibition Support: Surface Design Association, Banner Creations, Fabric Graphics Association, and the Summer Music Festival at Northrop, presented by Northrop Concerts and Lectures at the University of Minnesota.
“Finnish Hop,” Virginia Demetrios Folly Cove Designers, 1940-1955 MuseumCollection 4
“West Point,” 1933-1934, Ruth Reeves Gift of University Gallery, University of Minnesota GOLDSTEIN MUSEUM OF DESIGN
SUMMER 2013
MAX LINDORFER Graphic Design senior Max Lindorfer competed with his classmates in Associate Professor Sauman Chu’s GDES 3351 class to produce the winning graphic identity for the exhibition, which appears on the invitation, poster, banner, and text panels. 5
EXHIBITIONS
AUGUST 24—OCTOBER 13
Mixtec Stonecutting Artistry:
1 6 t h C e n t u r y R i b b e d Va u l t s i n M i x t e c a , M e x i c o
HGA Gallery, Rapson, Minneapolis Campus August 24–October 13, 2013 This informative exhibition positions three 16th century churches in Mixteca, Mexico, in the global context of construction history while reflecting on the transmission of building technology from Europe to Mexico. The second half of the 16th century brought tremendous changes to the indigenous communities of Mexico. Colonization by Spain brought Christianity to the area, and church buildings were built to accommodate thousands converting to Christianity. The available workforce was not familiar with the practical geometry necessary to achieve such structures as the arches and vaults of European Gothic cathedrals. Each piece of stone within a vault is essentially a sculpture carved and shaped to form a stable structure working in compression. However, in a complex process of symbiosis and cultural transfer, indigenous masons, 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 construction implications of ribbed vaults. Together they built three churches 6
in La Mixteca, Mexico, with geometrically-elegant vaults unique to 16th century America. The three churches are Santo Domingo Yanhuitlan, San Pedro y San Pablo Teposcolula, and San Juan Bautista Coixtlahuaca, all erected between 1550 and 1580. This exhibition explains stereotomy (the science of cutting solids) as well as the complex digital modeling and other advanced technologies that enabled the research on and duplication of these vaults in the late 20th century. Scale models of each dome augment written explanations and diagrams. Assistant Professor of Architecture Benjamin Ibarra Sevilla conducted the research described in the exhibition and was also exhibition curator. Prior to its installation in Rapson Hall, this exhibition appeared at the Centro Cultural y Académico San Pablo in Oaxaca, Mexico between April 11th and July 1st, 2013. Funding and in-kind support for development of this exhibition: two Grant-in-Aid awards, two Imagine Fund awards, the Metropolitan Design Center, and the College of Design. A 3D walk-through of the exhibition can be found at blog.lib.umn.edu/ design/designatmn/2013/05/-stereotomy-is-the-science.html GOLDSTEIN MUSEUM OF DESIGN
Centro Cultural y Académico San Pablo, photos courtesy of Benjamin Ibarra Sevilla SUMMER 2013
7
EXHIBITIONS
AUGUST 24—OCTOBER 13
Mixtec Stonecutting Artistry:
1 6 t h C e n t u r y R i b b e d Va u l t s i n M i x t e c a , M e x i c o
HGA Gallery, Rapson, Minneapolis Campus August 24–October 13, 2013 This informative exhibition positions three 16th century churches in Mixteca, Mexico, in the global context of construction history while reflecting on the transmission of building technology from Europe to Mexico. The second half of the 16th century brought tremendous changes to the indigenous communities of Mexico. Colonization by Spain brought Christianity to the area, and church buildings were built to accommodate thousands converting to Christianity. The available workforce was not familiar with the practical geometry necessary to achieve such structures as the arches and vaults of European Gothic cathedrals. Each piece of stone within a vault is essentially a sculpture carved and shaped to form a stable structure working in compression. However, in a complex process of symbiosis and cultural transfer, indigenous masons, 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 construction implications of ribbed vaults. Together they built three churches 6
in La Mixteca, Mexico, with geometrically-elegant vaults unique to 16th century America. The three churches are Santo Domingo Yanhuitlan, San Pedro y San Pablo Teposcolula, and San Juan Bautista Coixtlahuaca, all erected between 1550 and 1580. This exhibition explains stereotomy (the science of cutting solids) as well as the complex digital modeling and other advanced technologies that enabled the research on and duplication of these vaults in the late 20th century. Scale models of each dome augment written explanations and diagrams. Assistant Professor of Architecture Benjamin Ibarra Sevilla conducted the research described in the exhibition and was also exhibition curator. Prior to its installation in Rapson Hall, this exhibition appeared at the Centro Cultural y Académico San Pablo in Oaxaca, Mexico between April 11th and July 1st, 2013. Funding and in-kind support for development of this exhibition: two Grant-in-Aid awards, two Imagine Fund awards, the Metropolitan Design Center, and the College of Design. A 3D walk-through of the exhibition can be found at blog.lib.umn.edu/ design/designatmn/2013/05/-stereotomy-is-the-science.html GOLDSTEIN MUSEUM OF DESIGN
Centro Cultural y Académico San Pablo, photos courtesy of Benjamin Ibarra Sevilla SUMMER 2013
7
COLLECTION
THE 20S
Martha Ryther Grand Canyon Cloth Fragment, 1927 Museum Collection
Beaded Bag, 1915-1929 Gift of Mildred Peterson Zimmermann B.S. ‘33 Vanity Case, 1925 Gift of Janet MacDowell
Cloche hat, 1925-1926 Museum Collection
While style does not keep itself neatly contained within a decade, we tend to refer to the 1920s as if it did. However, the look and style of this era has its origins in late 19th and early 20th century design. Building on French Art Nouveau, the Arts and Crafts movement, and European modernism, design reflected the gaiety and progressiveness of a post-WWI era. This energy was tempered by post-war mournfulness. Disillusionment with mass production and consumption also gurgled beneath the surface. Designed objects of the 1920s were not as overwrought as they had been in the Victorian Era, but did tend towards ornamentation. Common motifs included insects, abstracted flora, and repeated geometries. There was also international inspiration, propagated by things like the ever-increasing trade and travel with Asia and the 1922 exhumation of King Tutankhamun in Egypt. Fashion of the era both delighted in fancy and toyed with sophistication. Hemlines inched up from the ankle in the late teens to the knee in the mid-1920s. Women powdered not only their faces but their newly exposed knees. Flirty patterns and bright colors were often used, but beige and black had also 8
become stylish. Hats were worn close to the head over clipped bobs, putting a damper on the seductive tresses that had been de rigueur at the turn of the century.
Cloche hat, 1928 Gift of Helen Ludwig
Germany’s Bauhaus, which began in 1919, did not have an agenda of austerity but their stayed view of ornamentation and luxury ran in conflict to much of the opulent verve of the 1920s. This renowned school valued craft and critical discourse about form, function, and ornamentation. Ludwig Mies van der Rohe, the Director of Bauhaus from 1930-1933, designed the 1929 German Pavilion (or Barcelona Pavilion) for the 1929 International Exposition in Barcelona, Spain. Mies’ structure and its coordinating Barcelona Chair provide seminal examples of early modern design.
Mies van der Rohe, Chair 1929-1950 Gift of Pink Supply Company
Despite the fact that the aesthetic preference of the 1920s sat somewhere between Ancient Egypt and modernism, there was a certain stylistic cohesion. The years following WWI took elements of consumerism, sobriety, elation, heartbreak, and optimism and combined them to create a notable cultural identity. The 1920s is a destination decade that is returned to again and again. GOLDSTEIN MUSEUM OF DESIGN
Dress, 1928-1930 Museum Collection SUMMER 2013
Rookwood Bookends 1922 Museum Purchase 9
COLLECTION
THE 20S
Martha Ryther Grand Canyon Cloth Fragment, 1927 Museum Collection
Beaded Bag, 1915-1929 Gift of Mildred Peterson Zimmermann B.S. ‘33 Vanity Case, 1925 Gift of Janet MacDowell
Cloche hat, 1925-1926 Museum Collection
While style does not keep itself neatly contained within a decade, we tend to refer to the 1920s as if it did. However, the look and style of this era has its origins in late 19th and early 20th century design. Building on French Art Nouveau, the Arts and Crafts movement, and European modernism, design reflected the gaiety and progressiveness of a post-WWI era. This energy was tempered by post-war mournfulness. Disillusionment with mass production and consumption also gurgled beneath the surface. Designed objects of the 1920s were not as overwrought as they had been in the Victorian Era, but did tend towards ornamentation. Common motifs included insects, abstracted flora, and repeated geometries. There was also international inspiration, propagated by things like the ever-increasing trade and travel with Asia and the 1922 exhumation of King Tutankhamun in Egypt. Fashion of the era both delighted in fancy and toyed with sophistication. Hemlines inched up from the ankle in the late teens to the knee in the mid-1920s. Women powdered not only their faces but their newly exposed knees. Flirty patterns and bright colors were often used, but beige and black had also 8
become stylish. Hats were worn close to the head over clipped bobs, putting a damper on the seductive tresses that had been de rigueur at the turn of the century.
Cloche hat, 1928 Gift of Helen Ludwig
Germany’s Bauhaus, which began in 1919, did not have an agenda of austerity but their stayed view of ornamentation and luxury ran in conflict to much of the opulent verve of the 1920s. This renowned school valued craft and critical discourse about form, function, and ornamentation. Ludwig Mies van der Rohe, the Director of Bauhaus from 1930-1933, designed the 1929 German Pavilion (or Barcelona Pavilion) for the 1929 International Exposition in Barcelona, Spain. Mies’ structure and its coordinating Barcelona Chair provide seminal examples of early modern design.
Mies van der Rohe, Chair 1929-1950 Gift of Pink Supply Company
Despite the fact that the aesthetic preference of the 1920s sat somewhere between Ancient Egypt and modernism, there was a certain stylistic cohesion. The years following WWI took elements of consumerism, sobriety, elation, heartbreak, and optimism and combined them to create a notable cultural identity. The 1920s is a destination decade that is returned to again and again. GOLDSTEIN MUSEUM OF DESIGN
Dress, 1928-1930 Museum Collection SUMMER 2013
Rookwood Bookends 1922 Museum Purchase 9
GMD DONORS SUMMER 2013
MARGOT SIEGEL DESIGN AWARD RECIPIENT
NEW AND RENEWING MEMBERS
Kathleen Kale
Irene Ott
GENERAL SUPPORT
Lois Kemp
Lucy Penfield
Barbara Taylor Anderson & Richard Cooper
Nahid Khan
Gabrielle Rohde
Harold & Marjorie Alexander
Winnie Klick
Judith Romans
John Kokesh
Dorothy Saltzman
Heidi Koland
Lois Simeral
Linda Kollofski
Connie Sommers
Lyn Kopperud
Kim Streeter
Barbara Krinke
DuVonne Swenson
Marit Lee Kucera
Linnea Tweed
Rosemond I Kucera
Caroline Vaaler
John Lassila
Martha Wells
Marie Dick
Ann-Marie LoushineThomsen
Carol Whaley
GMD ADVISORY BOARD 2012-2013
Susan Elsner
Janet Whaley
Lynn Lucas
OFFICERS
Karla Faith
Beth Widell
Gisela Lyzhoft
Kim Faith
Stephanie Zollinger
Linda Makinen
Anastasia Faunce
Pamela Marie
President Dan Avchen, HGA Architects and Engineers
SAVE THE DATE FOR
Dean Thomas Fisher & Claudia Wielgorecki
Jeanne Markell
DESIGN ROARS!
Mary Ella Galbraith
ROALD GUNDERSEN OF WHOLETREES ARCHITECTURE AND STRUCTURES
Dayna Anokye Rachel Anthony Dan Avchen Jill Bezecny Rick Beckel & Stuart Lyle Jeanne Corwin Sarah Cox Julie Dasher Paula DeGrand
Above, l to r: Roald Gundersen, Margot Siegel, Lin Nelson-Mayson, Mark Hintz
Paul Kelley
Left: Chrysalis Residence, Avalanche, WI
Hannah Haws
CELEBRATE 1920’S STYLE ON SUNFISH LAKE
Barbara Heinemann
Join us for the Goldstein Museum of Design’s Annual Design Benefit at the 1924 antique-filled home of Christine Hartman and Robert Riesberg. An evening of friends and fun in a beautiful home and gardens. Featuring opportunities to win one of 20 design items from the ’20s.
Lois Hirschmann
JacLynn Herron Linda Hersom Joann Grabau Karla Jennings Peggy Jennings Sandra Johnson
JACK LENOR LARSEN
ORAL HISTORY PROJECT IS AVAILABLE ONLINE goldstein.design.umn.edu/collection/jll/
September 6, 2013, 6–9pm Linda Boelter, Honorary Chair
Wendell & Elizabeth Josal
Entertainment by Parasota Hot Club
Sue J Bartolutti
Ann Marx Jeff Masco Danette McNutt
EXHIBITION SUPPORT Banner Creations
John Miller
Fabric Graphics Association
Boo Mills
Minnesota Architectural Foundation
Elinor Morlock Grace Morlock
Margaret Nelson
Summer Music Festival at Northrop, presented by Northrop Concerts and Lectures at the University of Minnesota
Joy Norenberg
Surface Design Association
Jan Morlock Connie Grant Nelson
Mary Ann Pedtke
Mary Vincent Franco Janet L Johnson
MATCHING DONATIONS 3M Foundation Inc General Mills Foundation
Debra Herdman, debra herdman design Kim Hogan, Community Volunteer Lang Hunt, Wharton Hunt International John Lassila, John Lassila & Associates John Ollmann, Signals Lindsay Piram, Lindsay Piram Creative Julia Robinson, School of Architecture, U of M Cheryl Watson, Graphiculture
President-Elect Tim Quigley, Quigley Architects
Stephanie Zollinger, Department of Design, Housing and Apparel, U of M
Secretary Connie Sommers, Community Volunteer
EX-OFFICIO
BOARD MEMBERS
Dean Tom Fisher, College of Design
Bradley Agee, Department of Landscape Architecture, U of M
Brad Hokanson, Associate Dean for Research and Outreach
Rick Beckel, Primeau
Lin Nelson-Mayson, Director
Julie Dasher, Julie Dasher Rugs Christine Hartman, Holly Hunt
Martha Wells
Signature cocktail and passed hors d’oeuvres Goldstein Museum of Design’s Annual Design Benefit raises important operating funds to support free exhibitions, a worldclass collection, and educational programs for all audiences. Watch for the invitation with ticket prices and additional details. For ticket information, call 612.624.7434 or email lutzx106@umn.edu.
CHECK OUT THE ONLINE EXHIBITION OF REDEFINING REDESIGNING FASHION goldstein.design.umn.edu/exhibitions/previous/r2fashion/ 10
Kelly R Jones
DIRECTOR’S FUND
Elizabeth Barrere & Dennis Cass
Kent Hensley, Hensley Creative/The Bernard Group
GOLDSTEIN MUSEUM OF DESIGN
GMD STAFF Sharlene Balik..............................................................Communications Assistant (FY13) Hannah Bartz........................................................................................................ Gallery Staff Jana Bergstedt.................................................................................................... Gallery Staff Kathleen Campbell............................................................................................. Grant Writer Alex Christl............................................................................................................ Gallery Staff Kristi Corkin........................................................................................................... Gallery Staff Jim Dozier.......................................................................... Rapson Exhibition Coordinator Aly Gates................................................................................................................ Gallery Staff Chandra Sather Gessner...................................................................Registrars Assistant Eunice Haugen......................................... Registrar & McNeal Exhibition Coordinator Betsy Intharath.................................................................................................... Gallery Staff Laura Kreft............................................................................................................. Gallery Staff Barbara Lutz................................................................................... Administrative Assistant Emily Marti.....................................................................Communications Assistant (FY14) Jean McElvain.............................................................................................Assistant Curator Lauren Nelson...................................................................................................... Gallery Staff Lin Nelson-Mayson..................................................................................................... Director Rebekah Njaa.......................................................................................................... Preparator Jeanette Olson-Peterson................................................................................. Gallery Staff Jeanne Schacht........................................................................................ Graphic Designer Natasha Thoreson............................................................................... Collection Assistant Hannah Wendlandt............................................................................................ Gallery Staff Kimberlee Whaley...........................................................................................Photographer SUMMER 2013
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 postconsumer 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.
11
GMD DONORS SUMMER 2013
MARGOT SIEGEL DESIGN AWARD RECIPIENT
NEW AND RENEWING MEMBERS
Kathleen Kale
Irene Ott
GENERAL SUPPORT
Lois Kemp
Lucy Penfield
Barbara Taylor Anderson & Richard Cooper
Nahid Khan
Gabrielle Rohde
Harold & Marjorie Alexander
Winnie Klick
Judith Romans
John Kokesh
Dorothy Saltzman
Heidi Koland
Lois Simeral
Linda Kollofski
Connie Sommers
Lyn Kopperud
Kim Streeter
Barbara Krinke
DuVonne Swenson
Marit Lee Kucera
Linnea Tweed
Rosemond I Kucera
Caroline Vaaler
John Lassila
Martha Wells
Marie Dick
Ann-Marie LoushineThomsen
Carol Whaley
GMD ADVISORY BOARD 2012-2013
Susan Elsner
Janet Whaley
Lynn Lucas
OFFICERS
Karla Faith
Beth Widell
Gisela Lyzhoft
Kim Faith
Stephanie Zollinger
Linda Makinen
Anastasia Faunce
Pamela Marie
President Dan Avchen, HGA Architects and Engineers
SAVE THE DATE FOR
Dean Thomas Fisher & Claudia Wielgorecki
Jeanne Markell
DESIGN ROARS!
Mary Ella Galbraith
ROALD GUNDERSEN OF WHOLETREES ARCHITECTURE AND STRUCTURES
Dayna Anokye Rachel Anthony Dan Avchen Jill Bezecny Rick Beckel & Stuart Lyle Jeanne Corwin Sarah Cox Julie Dasher Paula DeGrand
Above, l to r: Roald Gundersen, Margot Siegel, Lin Nelson-Mayson, Mark Hintz
Paul Kelley
Left: Chrysalis Residence, Avalanche, WI
Hannah Haws
CELEBRATE 1920’S STYLE ON SUNFISH LAKE
Barbara Heinemann
Join us for the Goldstein Museum of Design’s Annual Design Benefit at the 1924 antique-filled home of Christine Hartman and Robert Riesberg. An evening of friends and fun in a beautiful home and gardens. Featuring opportunities to win one of 20 design items from the ’20s.
Lois Hirschmann
JacLynn Herron Linda Hersom Joann Grabau Karla Jennings Peggy Jennings Sandra Johnson
JACK LENOR LARSEN
ORAL HISTORY PROJECT IS AVAILABLE ONLINE goldstein.design.umn.edu/collection/jll/
September 6, 2013, 6–9pm Linda Boelter, Honorary Chair
Wendell & Elizabeth Josal
Entertainment by Parasota Hot Club
Sue J Bartolutti
Ann Marx Jeff Masco Danette McNutt
EXHIBITION SUPPORT Banner Creations
John Miller
Fabric Graphics Association
Boo Mills
Minnesota Architectural Foundation
Elinor Morlock Grace Morlock
Margaret Nelson
Summer Music Festival at Northrop, presented by Northrop Concerts and Lectures at the University of Minnesota
Joy Norenberg
Surface Design Association
Jan Morlock Connie Grant Nelson
Mary Ann Pedtke
Mary Vincent Franco Janet L Johnson
MATCHING DONATIONS 3M Foundation Inc General Mills Foundation
Debra Herdman, debra herdman design Kim Hogan, Community Volunteer Lang Hunt, Wharton Hunt International John Lassila, John Lassila & Associates John Ollmann, Signals Lindsay Piram, Lindsay Piram Creative Julia Robinson, School of Architecture, U of M Cheryl Watson, Graphiculture
President-Elect Tim Quigley, Quigley Architects
Stephanie Zollinger, Department of Design, Housing and Apparel, U of M
Secretary Connie Sommers, Community Volunteer
EX-OFFICIO
BOARD MEMBERS
Dean Tom Fisher, College of Design
Bradley Agee, Department of Landscape Architecture, U of M
Brad Hokanson, Associate Dean for Research and Outreach
Rick Beckel, Primeau
Lin Nelson-Mayson, Director
Julie Dasher, Julie Dasher Rugs Christine Hartman, Holly Hunt
Martha Wells
Signature cocktail and passed hors d’oeuvres Goldstein Museum of Design’s Annual Design Benefit raises important operating funds to support free exhibitions, a worldclass collection, and educational programs for all audiences. Watch for the invitation with ticket prices and additional details. For ticket information, call 612.624.7434 or email lutzx106@umn.edu.
CHECK OUT THE ONLINE EXHIBITION OF REDEFINING REDESIGNING FASHION goldstein.design.umn.edu/exhibitions/previous/r2fashion/ 10
Kelly R Jones
DIRECTOR’S FUND
Elizabeth Barrere & Dennis Cass
Kent Hensley, Hensley Creative/The Bernard Group
GOLDSTEIN MUSEUM OF DESIGN
GMD STAFF Sharlene Balik..............................................................Communications Assistant (FY13) Hannah Bartz........................................................................................................ Gallery Staff Jana Bergstedt.................................................................................................... Gallery Staff Kathleen Campbell............................................................................................. Grant Writer Alex Christl............................................................................................................ Gallery Staff Kristi Corkin........................................................................................................... Gallery Staff Jim Dozier.......................................................................... Rapson Exhibition Coordinator Aly Gates................................................................................................................ Gallery Staff Chandra Sather Gessner...................................................................Registrars Assistant Eunice Haugen......................................... Registrar & McNeal Exhibition Coordinator Betsy Intharath.................................................................................................... Gallery Staff Laura Kreft............................................................................................................. Gallery Staff Barbara Lutz................................................................................... Administrative Assistant Emily Marti.....................................................................Communications Assistant (FY14) Jean McElvain.............................................................................................Assistant Curator Lauren Nelson...................................................................................................... Gallery Staff Lin Nelson-Mayson..................................................................................................... Director Rebekah Njaa.......................................................................................................... Preparator Jeanette Olson-Peterson................................................................................. Gallery Staff Jeanne Schacht........................................................................................ Graphic Designer Natasha Thoreson............................................................................... Collection Assistant Hannah Wendlandt............................................................................................ Gallery Staff Kimberlee Whaley...........................................................................................Photographer SUMMER 2013
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 postconsumer 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
GALLERY 241 MCNEAL HALL, SAINT PAUL Tuesday–Friday 10:00 am–5:00 pm Weekends 1:30 pm–4:30 pm FREE admission
HGA GALLERY RAPSON HALL, MINNEAPOLIS
PAID 364 McNeal Hall 1985 Buford Avenue St. Paul, MN 55108
Monday–Friday 9:00 am–6:00 pm Saturday 1:00 pm–5:00 pm FREE admission
gmd@umn.edu 612-624-7434 goldstein.design.umn.edu Goldstein Museum of Design
GoldsteinMuseum
Comb Through the Collection
A selection from the museum’s collection of over 100 combs, 1830–1909. Search the collection at collection.goldstein.design.umn.edu.
Twin Cities, MN Permit No. 90155