2014
nordic
kultur The magazine of the Nordic Heritage Museum
THE COLOR OF TIME Syttende Mai Turns 200 4 Meeting the Knitting Sensations Arne & Carlos 34 Glass Art Connects Sweden & the PaciďŹ c Northwest 17
tod Gangler photographs Ballard from dusk to dawn 25
Photo by Frank Martin Ingilæ, mayor of Tana, Norway.
The 29th Annual
Saturday, May 10, 2014
Benefitting the Nordic Heritage Museum
Grand Hyatt Hotel Ballroom | Downtown Seattle | Doors Open at 5:00 p.m.
You are cordially invited to the 29th Annual Northern Lights Auktion on Saturday evening, May 10! Join us at the Grand Hyatt Seattle for an evening filled with champagne, delicious food, and exciting auction lots. Enjoy an elegant Nordic-inspired evening while supporting the Nordic Heritage Museum! Learn more and purchase your tickets online at www.nordicmuseum.org.
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Norway's Constitution Day
Arne Jacobsen Bellevue Table Lamp, 1929
Arne & Carlos
Welcome from CEO Eric Nelson
Upcoming Exhibitions
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Stay Cool in D.C. at the Hot Finnish Sauna Society
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Clear Connections
17 Nordic Knitting Sensation!
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Syttende Mai Turns 200 A Cultural Journey through Language The Time is Now
© Copyright, 2012, Chihuly Studio. All Rights Reserved
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Courtesy Trafalgar Square Books www.trafalgarbooks.com
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www.danishdesignstore.com
Nancy Bundt — Visitnorway.com
Contents
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3 4 8 10
Nordic by Design
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The Color of Time
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Teen Explorations of Heritage
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The Best View is from Two Wheels
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Recording History
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Nordic in the Northwest
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Dale Chihuly, Silvered clear Soft cylinder with Pyrite Yellow lip Wrap, 16x15x14", 2012
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Nordic Knitting Conference ’14 October 3–5, 2014 Held once every two years, the Nordic Knitting conference is your chance to learn from nationally and internationally known knitters, spinners, and textile artists.
nordic KULTUR 2014 The magazine of the Nordic Heritage Museum
Eric Nelson
CEO
lizette Gradén
Chief Curator
Erin M. Schadt
Marketing & Communications Manager
EDITORIAL
Ani rucki
Graphic Designer
Contributors Jeremy Ehrlich lizette Gradén dylan High Sanna Kangasharju Walter lieberman Mark Mussari Eric Nelson christy olsen Field Kathi Ploeger Anne-Marije rook daytona Strong Jan Woldseth colbrese BOARD OF TRUSTEES
Offi cers irma Goertzen President Einar Pedersen Vice President rick Peterson Secretary Hans Aarhus treasurer
Featured Instructors:
ArNE & cArloS SuSANNA HANSSoN JuditH MAcKENZiE MArY JANE MucKlEStoNE ciriliA roSE diANNA WAllA Stay tuned to www.nordicmuseum.org for announcements.
featuring
Trustees Hans Aarhus curtis Arnesen Per Bakken Steven J. Barker Brandon Benson Arlene Sundquist Empie Ann-charlotte Gavel Adams irma Goertzen Peter Henning tapio Holma Ken Jacobsen Floyd Jones Sven Kalve leif Mannes lars c. Matthiesen Valinda Morse Allan osberg Everett Paup Einar Pedersen rick Peterson Vi Jean reno Berit Sjong Maria Staaf Birger Steen Nina Svino Svasand lisa toftemark tor tollessen Margaret Wright Consuls Erik d. laursen, Denmark Matti Suokko, Finland Kristiina Hiukka, Honorary Vice Consul, Finland Jon Marvin Jonsson, Consul General, Iceland Geir Jonsson, Honorary Vice Consul, Iceland Kim Nesselquist, Norway lars Jonsson, Sweden Honorary Trustees dr. Stig B. Andersen, representative reuven carlyle, leif Eie, Senator Mary Margaret Haugen, Senator Ken Jacobsen, Senator Jeanne Kohl-Welles, olaf Kvamme, Bertil lundh, Jane isakson lea, Allan osberg, Mark t. Schleck, representative Helen Sommers, Senator Harriet Spanel, Mayor ray Stephanson, donald thoreson, E. Norman Westerberg, Margaret Wright
NOrDiC Heritage MuSeuM 3014 NW 67th Street, Seattle, WA 98117 206.789.5707 | www.nordicmuseum.org
The Nordic Heritage Museum receives important funding from
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Welcome to Nordic Kultur Eric Nelson
It’s my pleasure to welcome you to the second edition of Nordic Kultur, the official magazine of the Nordic Heritage Museum in Seattle, Washington. In these pages you will find what makes the Nordic Heritage Museum a special place, where we share Nordic culture with people of all ages and backgrounds through collections, exhibitions, programs, and cultural experiences. This year marks a very special anniversary for both Norwegians and NorwegianAmericans. The 200th anniversary of the Norwegian Constitution takes place on the 17th of May, so it’s fitting we lead with the story of this very important celebration. Bicentennial festivities will take place in Norwegian communities across the globe, including the 125th anniversary of the 17th of May events here in Ballard. Also celebrating a significant anniversary is the Scandinavian Language Institute. Founder and director Ed Egerdahl has offered language instruction in the Puget Sound area for 35 years, and you can read about his journey on page 8. Nordic Kultur also features coverage of several exciting exhibitions taking place here at the Nordic Heritage Museum this year. Profiling our Swedish glass exhibition Pull, Twist, Blow: Transforming the Kingdom of Glass, scholar Walter Lieberman shares his insights on the exchange between the Pacific Northwest and Swedish glass art communities abroad. And Mark Mussari provides commentary on Scandinavian design in anticipation of our upcoming Danish Modern: Design for Living exhibit later this spring. We continue to build momentum with our Capital Campaign, which will move us to a permanent, mission-built facility in downtown Ballard in the next few years. You can read all about our plans and how you can help with this exciting new direction on page 10. This issue also reports from our current home here in Ballard, where our Chief Curator Lizette Gradén teams up with photographer Tod Gangler to provide a look at Seattle’s traditionally Nordic neighborhood. Journalist and cyclist Anne-Marije Rook reports on sustainable travel by bicycle, and we step into Washington, D.C.’s Hot Finnish Sauna Society with Finnish Embassy Press Counselor Sanna Kangasharju. You’ll also find profiles on the Museum’s Teen Council and Scandinavia Folk Music archivist Gordon Tracie. Finally, we profile Nordic fashion design and knitting rock stars Arne & Carlos, and food blogger Daytona Strong shares her insight on the Pacific Northwest-Nordic connection as well as her recipes for a tasty Nordic-inspired dinner. I’d like to thank our wonderful Board, staff, volunteers, and members for helping to continue sharing the Nordic Spirit with our community and with you. We look forward to seeing you here at the Museum in 2014!
Eric Nelson CEO, Nordic Heritage Museum Nordic Kultur 3
10  Nordic Kultur | The Time is Now
The Time is Now After years of planning and fundraising, the reality of the new Nordic Heritage Museum is closer than ever. Jan Woldseth Colbrese and Christy Olsen Field
O
pening its doors in 1980, the Nordic Heritage Museum has grown from an all-volunteer-led initiative to an internationally recognized museum and cultural center. The founders’ vision has materialized in many ways. Today, it is the only museum in the United States that celebrates the rich culture and diversity of all five Nordic countries — Denmark, Finland, Iceland, Norway, and Sweden — through history, immigration stories, art, programs, and more. But that expanding vision has reached its limitations in the current facility, and it’s time for a new, mission-built Nordic Heritage Museum.
The Need for a Permanent Home The Nordic Heritage Museum currently leases the historic Daniel Webster Elementary School, built in 1907, from Seattle Public Schools. With its connection to the surrounding neighborhood, the Webster building holds a special place in many Ballard
hearts. But even in the early years of the Museum, people recognized the space limitations of the old school and its impact on the Nordic Heritage Museum’s potential. “It was understood fairly early on that the present building was inadequate in multiple ways despite its charm and historical significance for the Nordics,” says Marianne Forssblad, the first executive director of the Nordic Heritage Museum, who retired in 2007. “The layout was cumbersome and to achieve proper and acceptable museum standards would be almost impossible.” The second-floor galleries have climate controlled settings for temporary exhibitions, but the rest of the building lacks central HVAC. It negatively impacts the visitor experience, especially in the summer and winter months, but even more important, the lack of climate control critically impacts storage areas for the collection of priceless family heirlooms. Since the founding of the Museum, a dedicated team of volunteers has made extensive improvements (valued at approximately $1.3 million) to
the building, adapting to the limitations in the current space. But because the Museum doesn’t own the building, capital improvements cannot be realized by the Museum. Rent to Seattle Public Schools (SPS) continues to increase every year, surging from $19,000 in 2000 to $234,000 today. SPS gives the Museum an educational benefit deduction because of children’s programs, but rising rent costs make it even more important for a permanent home for the Museum. Its residential location and distance from the commercial heart of Ballard is a challenge for visitors to locate, especially those who use alternate transportation by foot, bus, or bike. Simply put, the Nordic Heritage Museum’s current space was not designed to be a permanent museum.
Dream for a New Building The dream of a new and permanent home for the Nordic Heritage Museum started to form into reality in 1999. Early investments by long-time sup-
The Time is Now | Nordic Kultur 11
The new Museum will overlook Ballard’s working waterfront.
porters made it possible for the Nordic Heritage Museum to purchase three parcels of land between 2003 and 2009 on Market Street in Ballard, about a mile south of the current building. The new location overlooks Ballard’s working waterfront on Market Street, between 26th and 28th streets NW. The vibrant, rapidly expanding commercial district of Ballard is the perfect location for the permanent home of the Nordic Heritage Museum. “I think the Nordic Heritage Museum is a wonderful treasure in Seattle, not just for Scandinavians or Nordics, but for the whole community,” says Emma Pedersen. Emma and her husband Einar have committed $5 million to the Capital Campaign project. “The new facility will allow more people to visit the Museum, and its setting on the waterfront will be wonderful.” Einar has served on the Board of Trustees since 2002 and is an active volunteer. He adds: “I know how it is working in an old building — it’s expensive and you pay a lot to maintain it. With a new space, the Museum can build its potential. Membership numbers will go up, the events will have better attendance, the programs and classes will have more opportunities . . . everything will run smoother with a new building. This is such a great project.” Pat Charlson is an active volunteer at
12 Nordic Kultur | The Time is Now
the Museum and donor to the Capital Campaign with her husband Bob. “The new location of the Museum will allow us to be part of commerce in Ballard. The current building is lovely and has a lot of charm, but the new location would draw people in,” she said. “Visitors really like the Museum, and the number of visitors will increase with the new building on Market Street. I know there are people who don’t want to leave this building, but the new contemporary Museum will be special.”
A New Home for the Nordic Heritage Museum From renewable energy to design and operations, Nordic values and aesthetics will be carried throughout the new facility on Market Street. “The expanded core exhibition will explore Nordic culture and the impact of Nordic immigrants on North America,” says Eric Nelson, CEO of the Nordic Heritage Museum. “A state-of-the-art gallery for visiting exhibitions will host world-class traveling exhibitions from the five Nordic countries. A large auditorium will house concerts, lectures, films, and workshops; and fully equipped classrooms will provide space for audiences of all ages interested in language study,
arts and crafts, and Nordic cuisine.” A cultural resource center will house the Museum’s extensive archives, and will provide visitors with access to historical documents, oral histories, and genealogical records. Improved storage systems will accommodate the Museum’s collection of artifacts, photographs, documents, and artwork. The Museum will also provide a gathering place for regional Nordic organizations, which will build partnerships and collaboration within the Nordic-American community. The new 53,000-square-foot building will be designed by award-winning Seattle architectural firm Mithun, a national leader in urban planning and sustainable design with an impressive roster of projects, including the Seattle Aquarium, Shilshole Bay Marina, and REI’s flagship stores in Seattle, Portland, and Denver. Mithun is working in partnership with acclaimed Finnish architect and museum designer Juhani Pallasmaa, and is responsible for the architecture, interior design, and landscape architecture. Exhibition and gallery design will be handled by Ralph Appelbaum Associates, the world’s largest and most prestigious museum exhibition design firm. Appelbaum’s notable projects include the United States Holocaust Memorial Museum and the Newseum in Washington, D.C., and the Fossil Halls at the American Museum of Natural History in New York. The Nordic Heritage Museum has already begun the plans for the new exhibitions with Appelbaum Associates, starting with an interactive media display featuring members of the local maritime community. The new Nordic Heritage Museum will receive, at a minimum, a LEED Silver certification from the U.S. Green Building Council, which sets high-performance building standards that have become integral to institutional projects in Washington state. In addition to the use of high-performance energy and water systems, the project will incor-
porate high-performing materials, with special focus on strategies that enhance use of local and regional resources. Consistent with contemporary Nordic design and consideration for the environmental impact, the new Museum facility will reduce greenhouse gas emissions using strategies of a high-performing building envelope, bioclimatic building response for sun and wind, and efficient lighting and climate control systems. Rooftop and power systems will be designed to incorporate photovoltaic panels and solar hot water systems as funding allows. The landscape design, optimized for ecological function for storm water treatment, will feature native plantings and a cleaner outflow to the Puget Sound watershed. The Nordic Heritage Museum is committed to reducing its carbon footprint. In addition to constructing a highly efficient building to house the Museum, the new location will encourage alternative commuting options; several major Seattle Metro transit lines and a major multi-use bicycle and pedestrian trail link the new Museum site to adjoining neighborhoods and to downtown Seattle.
people from all over the country and the Nordic countries. And it’s up to us to make a beautiful, meaningful display of the Nordic people.” “All of us who were part of the museum at the beginning are getting older. Some of us have died already, and others are becoming more feeble. People have given so much time and money to the museum, and they want
to see this project succeed,” says Marianne Forssblad. “This long-time vision for a permanent home for the Nordic Heritage Museum is within our reach,” adds Nelson. “The time is now.” Jan Woldseth Colbrese is the Development Director at the Nordic Heritage Museum. Christy Olsen Field is the Development Associate.
Make your contribution to the Nordic Heritage Museum Capital Campaign Will you help the Nordic Heritage Museum reach its goal? Make your donation or pledge today! Your contribution will help the Nordic Heritage Museum finalize the designs with Mithun and begin the permitting process. With $17 million left to raise for the entire project, the new and permanent home for the Nordic Heritage Museum is in our grasp. The time is now. If you would like to make a contribution to the Capital Campaign, please contact Development Director Jan Woldseth Colbrese at janwc@ nordicmuseum.org or 206.789.5707 ext. 39. You can also send your contribution with enclosed envelope or make a secure donation online at www.nordicmuseum.org/donate.aspx.
Momentum is Building As of December 31, 2013, donors have committed $27,628,263 in cash and pledges to the Nordic Heritage Museum’s Capital Campaign. And momentum is building. In June 2013, the Washington State Legislature allocated $1 million for the Nordic Heritage Museum’s capital campaign through the Heritage Capital Grants Program. Earl and Denise Ecklund gave a generous $250,000 donation to the campaign, and long-time supporter Floyd Jones increased his pledge by an additional $1 million by the Floyd and Delores Jones Foundation. “I want to see the new building finished,” says Floyd. “It will draw
Artist rendering of the new Museum by Stephanie Bower, Mithun.
The Time is Now | Nordic Kultur 13
Upcoming Exhibitions at the Nordic Heritage Museum The Museum will host several exhibitions in 2014 that showcase a wide range of subjects from art to history to design.
December 13, 2013 – April 27, 2014
October 10 – November 9, 2014
Pull, Twist, Blow: Transforming the Kingdom of Glass
Odin’s Eye
Pull, Twist, Blow: Transforming the Kingdom of Glass reveals the works of young, contemporary Swedish glass artists, how the artists relate to their predecessors, and how they are addressing the future of glass. For many years, glass art in Sweden was defined by traditional techniques and patterns passed down through an apprentice system at glass factories in Glasriket (The Kingdom of Glass) in the region of Småland. Following consolidations, buyouts, closure, and the globalization of the Swedish glass industry, new artists are interested in exploring their own artistic voices and challenging expectations of what glass should be. Artists featured in the exhibit are Peter Hermansson, Annika Jarring, Åsa Jungnelius, Ingalena Klenell, Simon Klenell, Helena Kågebrand, Matilda Kästel, Ludvig Löfgren, Fredrik Nielsen, and Karl Magnus Nilsson. In collaboration with the Glass Factory in Boda, Sweden, each of the artists selected objects from the Glass Factory’s extensive collection to use as a reference to create their own original work. The pieces that served as inspiration are displayed alongside the new works, including pieces by Monica Backström, Kjell Engman, Hertha Hillfon, Ulrica Hydman-Vallien, Erik Höglund, Vicke Lindstrand, Bengt Lindström, and Bertil Vallien. Read more about the Nordic-Pacific Northwest connection on page 17.
In conjunction with the annual Taste of Iceland in Seattle event, the Museum will host the exhibition Odin’s Eye. The exhibit seeks to build an inspirational bridge between Americans and Icelanders as artists visually interpret the Norse Mythology. Organized by Iceland Naturally, Taste of Iceland is an annual October showcase of the music, cuisine, and art of Iceland in Seattle, a sister city to Reykjavik. Stay tuned to the Museum website for the 2014 dates.
september 19 – November 16, 2014
The Color of Time: Ballard from Dusk to Dawn Tod Gangler’s newest body of photographic work is a collection of views and visions of Ballard as it appears in the 21st century. He captures Ballard at all times of day, encompassing various notions of time, from hours to seasons and years. This extensive exhibition will showcase Gangler’s photography, which is simultaneously fleeting and fixed, providing multiple dimensions of particular places. Read more on page 25.
December 12, 2014 – March 8, 2015
Imaging the Arctic
Maria Coryell-Martin & Kristin Laidre
May 16 – August 31, 2014
Danish Modern: Design for Living Danish Modern highlights the unique furnishing designed and made in Denmark during the 1950s and 1960s including furniture, table settings, light fixtures, home electronics, and even jewelry. Visitors will be introduced to the design aesthetics and the craftsmanship that are hallmarks of these pieces, and through photographs and interpretive text, examples of architecture and graphic design will also be incorporated. Read more on page 20.
In spring 2013, based out of the small settlements of Niaqornat and Kullorsuaq in Greenland, expeditionary artist Maria Coryell-Martin accompanied scientist Dr. Kristin Laidre onto the pack ice of Baffin Bay. Laidre and colleagues are investigating the effects of sea ice loss on narwhals and polar bears, iconic species that are vulnerable to climate change. In the tradition of artists working with early explorers, Coryell-Martin worked alongside the scientists as they recorded data on the health and movements of the animals, creating ink and watercolor sketches and multimedia recordings. The exhibition at the Nordic Heritage Museum will showcase a collection of stories and imagery to illustrate the impact of climate change on top predators of the Arctic.
16 Nordic Kultur | Upcoming Exhibitions at the Nordic Heritage Museum
Clear Connections Walter Lieberman provides personal insight to the exchange between the Pacific Northwest and Swedish glass art communities.
Walter Lieberman
When I first visited the province of Småland (the center of traditional Swedish glassmaking) in 1989, it looked oddly familiar. The landscape bears a striking resemblance to the Pacific Northwest where I live. There has long been a Scandinavian connection between these two regions. Close to 150,000 Nordics settled in the Pacific Northwest between 1890 and 1910: one reason why they are the largest foreignborn group in the Northwest. The Pacific Northwest and Småland in Sweden are now centers of contemporary glassmaking in their respective countries. The artistic exchange between Sweden and America over the last 50 years has been a huge boon to both of these glass cultures. Glass from the Past
Glassmaking started in the Middle East about 4,200 years ago and spread to most of Europe through the auspices of the Roman Empire in the first century AD. Sweden, however, was a largely rural society and glass came “late” to Sweden. Swedish historian
Olaus Magnus writes, “Until the 1550s glassware was not in general use. Glassware was not suitable for Swedes who easily become violent under the influence of strong drink; they would consider it amusing to smash their glasses causing splinters to fly about. Such risk and danger is not present with pine mugs.” Glassmaking reached its high point in Sweden in the 20th century. This was the time when Swedish glassmakers adopted their own unique style. They became a major presence on the world stage as artistic innovators. Prestigious companies like Orrefors and Kosta hired artists from outside the glass world to design their glass, breathing new life into Swedish glass. Artist/designers such as Vicke Lindstrand, Simon Gate, and Edward Hald were leaders in modern glass in early and mid 20th century. Although they were brilliant innovators, they still made their glass within the confines of a traditional factory system. At that time, glass designers were separate from the craftsmen that
Sonja Blomdahl, Yellow/Mulberry, 5.5"x12" Photo by Lynn Thompson.
Clear Connections | Nordic Kultur 17
left to right: Bertil Vallien (waving fl ag) at the Pilchuck Glass School, 1978. Knut Bergkvist glassblower working with Edward Hald. © Orrefors Kosta Boda. Nils Landberg working with Hermann Peterssen glassblower. © Orrefors Kosta Boda.
actually produced the glass. the names you see in museums are the names of the designers and perhaps the companies for which they worked. the craftsmen who were glassblowers and engravers remained largely anonymous. the American Studio glass movement would be pivotal in changing that model of working. stUDIo moVemeNt IN amerICa
in the 1960s there was a glass revolution brewing in America called the Studio Movement. in the spirit of the Sixties, tradition was thrown to the wind. individual artists outside of the factories were designing and making their own glass. it was wild, and somewhat crude, but full of the energy and spirit of the times. American glass artists like Harvey littleton, Paul Marioni, and dale chihuly (there were many more) were on a mission to free glass from its traditional boundaries. they recruited armies of young artists (mostly from ceramic backgrounds) to make their own glass independently away from the august, but tradition-bound, factories. there were isolated examples of individual glass artists striking out on their own before this, but it was not until the Sixties that this mode of working became a real movement. it started in America and spread like wildfire throughout the world. there was also a move away from the purely utilitarian glass toward glass as a sculptural
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medium. this also was not a completely new idea, but it became much more widely practiced as a result of the American Studio Movement. the Nordic countries also had artists who made work in a similar revolutionary style like oiva toikka, Erik Höglund, and timo Sarpaneva, but the important distinction was that these Nordic artists still worked within the factory setting. they embraced a similar new aesthetic as the Americans, but it was still bound up by commerce unlike their American counterparts. the most important change brought by the Studio Movement was that the center of innovation was no longer the traditional glass companies. it was now the province of the independent artist. the PIlChUCK CoNNeCtIoN
in 1971, American artist dale chihuly, along with Anne Gould Hauberg and John H. Hauberg, started the Pilchuck Glass School located in the middle of a tree farm in Stanwood, Washington. this school became a hotbed of artistic exchange for artists from all over the world. ultimately, this became the place where Swedish and American glass artists would meet and exchange ideas. if you look at the cVs of most of
Sweden’s best glass artists, you will almost certainly find some time spent at Pilchuck. the Swedes brought their traditions of craftsmanship and keen sense of formal design and the Americans brought an irreverent attitude and an atmosphere of freedom where anything goes. this interchange between the two countries changed contemporary glass culture forever. Many of the important Swedish glass artists became teachers at Pilchuck such as Bertil Vallien, ulrica HydmanVallien, and Ann Wåhlström. they primarily came to teach the Americans, but many of them will readily acknowledge the influence that their time at Pilchuck had on their own artwork, imbuing a new sense of freedom and possibilities. Formerly a designer for the Kosta glassworks, Wåhlström came to Pilchuck as a student. She told me that there she acquired a new, fresh attitude toward glass and a wonderful American husband. the American glass movement was vigorous in the 1960s and 70s, but largely self-taught. Even people who
On View through aPrIl 27, 2014
trained in art colleges learned from professors who were either self-taught or learned from someone who was also self-taught. one very important event was when Jan-Erik ritzman, the Swedish master glassblower, came to teach at the Pilchuck Glass School in 1978. Many of us American glass artists had never seen a real master glassblower work before. We were awestruck. We became acutely aware that there was a big hole in our education and there was much to learn from people who worked in the traditional manner. We had ideas, but not the skills needed to fully articulate them. Arguably the Swedish glass artist who had the most effect on America was Bertil Vallien. He spent a few years in los Angeles designing ceramics in the early 1960s and went on to be one of Sweden’s most prominent glass designers working for decades for the Kosta Boda glassworks. His unique pieces are represented in major museum collections around the world. He brought the idea of sandcasting glass to America. Sandcasting is a process by which you pour hot molten glass into molds created in foundry sand. it enables you to spontaneously create a wide variety forms. the immediacy of this process had huge appeal to American artists. Vallien has taught all over the united States for many decades. it is not only his technique, but also his charismatic approach to art that has fascinated young American artists and left a lasting impression on the American art glass scene. a rIsING tIDe lIfts all Boats
Many young American student artists went to Sweden to study glass and subsequently became prominent artists here in America. Some went to traditional Swedish vocational glass schools like the riksglasskolan (orrefors glass school) and some apprenticed to master glass-
blowers. one major example is Josiah McElheny. He apprenticed to ritzman and Sven-Åke carlsson from1989 to 1991. He has since gone on to receive a MacArthur Fellowship “Genius Grant,” and his glasswork is featured in the collection of the Museum of Modern Art in New York. Glass artists like Sonja Blomdahl and david levi are also Americans who studied in Sweden and went on to become well-known artists here in the united States. All of them will attest to the profound effect that their Swedish training had on their artistic development. Another important, but not often talked about, effect on Swedish art glass was the American art glass market. in the 1980s and 1990s the art glass market in America was booming. there were great economic opportunities for Swedish glass artists to sell their artwork in America. this market was much, much larger than in Sweden itself. America also had lots of new art galleries devoted to glass art, giving the Swedish artists many fine venues to exhibit their work. the person who spearheaded this new flowering of interest in glass art was dale chihuly. His phenomenal success opened the door for both American and Swedish artists. As the saying goes “a rising tide lifts all boats.” today there is another important venue for the interchange between the Swedish and American glass communities: the Museum of Glass in tacoma, Washington. the museum not only exhibits Swedish glass, but there is a workshop where Swedish artists are invited to come and create new art works in collaboration with a highly skilled team of resident glassblowers. the Museum of Glass has hosted such important Swedish glass artists as ingalena Klenell, Vallien, and Wåhlström. today, Sweden has a vibrant independent glass art scene, with young, innovative glass artists, as you can see
at the Nordic Heritage Museum
T R A N S FO R M I N G T H E K I N G D O M O F G L A S S
View the work of the next generation of innovative Swedish glass artists in Pull, Twist, Blow: Transforming the Kingdom of Glass. Following consolidations, buyouts, closure, and the globalization of the Swedish glass industry, new artists are interested in exploring their own artistic voices and challenging expectations of what glass should be. This exhibition reveals the works of young, contemporary glass artists, how they relate to their predecessors, and how they are addressing the future of glass. Artists featured in the exhibit include Peter Hermansson, Annika Jarring, Åsa Jungnelius, Ingalena Klenell, Simon Klenell, Helena Kågebrand, Matilda Kästel, Ludvig Löfgren, Fredrik Nielsen, and Karl Magnus Nilsson. In collaboration with the Glass Factory in Boda, Sweden, and specifically for this exhibition, each of the artists selected objects from the Glass Factory’s extensive collection to use as a reference to create their own original work. The pieces that served as inspiration will be displayed alongside the new works, including pieces by Monica Backström, Kjell Engman, Hertha Hillfon, Ulrica Hydman-Vallien, Erik Höglund, Vicke Lindstrand, Bengt Lindström, and Bertil Vallien.
in the exhibition Pull, Twist, Blow: Transforming the Kingdom of Glass produced by the Glass Factory in Sweden and on view at the Nordic Heritage Museum through April 27. Walter Lieberman is an acclaimed glass artist who has taught and shown his work around the United States and in Sweden, the United Kingdom, Mexico, and Germany.
left: Bertil Vallien, Brains: tristan & isolde © Jonas Lindström, Orrefors Kosta Boda, All Rights Reserved.
clear connections | Nordic Kultur
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Nordic Knitting Sensation Arne & Carlos, rock stars of the knitting world, do what they love and love what they do. Jeremy Ehrlich
“Knitting Rock Stars” is the way England’s Independent newspaper describes Arne & Carlos. Overkill? When travelling abroad, they have run into screaming fans. Their 2010 book 55 Christmas Balls to Knit is available in a dozen languages and has sold more than 50,000 copies in Norway alone — this in a country that sales half of that could rocket a book to the bestseller lists. If not rock stars, Arne & Carlos are something very close indeed. Arne & Carlos, design firm and brand, are Arne Nerjordet and Carlos Zachrison. Nerjordet was born in Lillehammer, Norway, grew up on a small Norwegian farm, and studied at Esmod Oslo fashion school. Zachrison was born in São Paulo, Brazil, to a Swedish father and a Spanish mother, moved to Sweden at the age of 13, and later attended Lund University. Zachrison moved to Norway to work, where he and Nejordet met through mutual friends — a match that has led to a professional partnership steeped in the traditions of Scandinavia, but
that’s making waves internationally. Arne & Carlos launched their fashion label in 2002, and began to focus exclusively on knitwear by 2008. The pair started with research into Scandinavian knitting heritage, including lessons Nerjordet learned from his mother, grandmother, and greatgrandmother as a child. Then, they layered this tradition with their own aesthetic, creating something uniquely Scandinavian and also significantly modern. The traditional-looking Marius sweater bedecked with aliens from the video game Space Invaders is a good example. Whether kitsch or a paean to a century-old historical tradition, it is whimsical, eyebrow-raising, and like nothing you’ve ever seen.
Julekuler & Strikkedukker Arne & Carlos had their first show in Paris in 2008. For Christmas that year, the Japanese fashion designer
34 Nordic Kultur | Nordic Knitting Sensation!
Rei Kawakubo invited them to design a Christmas collection for her label Comme des Garçons. Having already planned julekuler — Christmas ball ornaments with knitted designs adapted from traditional Norwegian clothing — they offered a variety to Kawakubo and suggested she use them to decorate her stores. Arne & Carlos assumed their julekuler had been commissioned as decorations and were surprised to find them on sale for $130 each. The steep price was something of a provocation: “inaccessible and elitist,” according to Zachrison. Tiring a bit of the fashion industry, the designers realized that a book could help democratize the knitting process and make their patterns available to everyone. Having achieved overnight success in the design world, Arne & Carlos had a second overnight success in the world of publishing. Julekuler came out in 2010, and while the pair had not originally planned to publish books, it was a natural growth from their do-it-yourself aesthetic. The
Knitters Carlos Zachrison and Arne Nerjordet (l to r), aka Arne & Carlos, at work on their miniature knitted dolls.
book’s instant success changed the artists’ focus, and the two have been turning out knitting books ever since. Next up after the Christmas book was Strikkedukker, or in English, Knitted Dolls: Handmade Toys with a Designer Wardrobe. During their career in fashion, Arne & Carlos often knitted dolls in order to design clothing in miniature before rendering it full-size. Having once planned a paper doll book that never came to fruition, they here give plans for miniature knitted dolls and a fabulous wardrobe selection for them. Yes, those are knitted miniature versions of Arne & Carlos gracing the cover. (See next page.) Their third book returned to a holiday theme: Påske hele året; in English, Easter Knits: Eggs, Bunnies, and Chicks — with a Fabulous Twist. Bunnies (and bunny sweaters), hens, Easter balls, Easter eggs, and egg cozies continue in the spirit of their Christmas work. Here too they combine a traditional Scandinavian heritage with a healthy dose of modern whimsy.
Many of Arne & Carlos’s projects are inspired by nature. Their latest book to appear outside of Norway, Håndarbeid fra hagen (Handicraft from the Garden), makes this connection more explicit. The full English title is Knit-and-Crochet Garden: Bring a Little Outside In: 36 Projects Inspired by Flowers, Butterflies, Birds and Bees. The inspiration provided to their work by their home and surroundings, available in glimpses in previous books, is here on full display. Arne & Carlos have just completed a fifth book, Strikk fra Setesdal. This book of patterns for knitting Setesdal sweaters has not yet been translated from Norwegian.
An Artist’s Life Arne & Carlos, that is Nerjordet and Zachrison, live in a converted railway station on a mountaintop in Valdres, 120 miles north of Oslo, and have furnished it with their work as well as objects both inherited and scoured for.
There they take daily inspiration from the natural setting, both directly in the garden-influenced projects of their new books, and also indirectly in their proximity to the local craft traditions of the region. The eco-sensitivity of the two artists also has a tangible effect on their finished products. The two were among the first to source recycled organic cotton for their collections, earning praise both in Norway and abroad for their environmental efforts. Nasjonalmuseet, Norway’s National Museum of Art, Architecture, and Design, has commissioned a traveling exhibition of the work of Arne & Carlos, which is currently in the middle of a four-year tour through Norway. Aimed at giving insight into their process and inspiring others to knit and design, look for it at the Nordic Heritage Museum after it has finished its journey around their homeland. Jeremy Ehrlich is the Adult Education Coordinator at the Nordic Heritage Museum.
Nordic Knitting Sensation! | Nordic Kultur 35
Q&A with Carlos Between their writing, teaching, and book promotion schedules, Arne & Carlos lead busy lives. They teach classes out of their home and are also in demand as teachers worldwide. A new class offering in 2013 at a Norwegian retreat center combined knitting workshops, yoga, and mindfulness lessons, and a garden tour and wine-tasting of their new Arne & Carlos Hagevin white garden wine. Carlos Zachrison (CZ) had a break to answer some questions for Nordic Kultur (nK).
nK: How did you both get into design? into knitting?
CZ: We met in oslo in 1999. At that
time, Arne was a teacher in design and pattern making at the school of design in oslo, where he once had been a student. i had moved to Norway to start working (not as a designer, since i have an academic education and a degree in political science). i wasn’t quite sure of what i wanted to do with my life, but when we met, we started talking about opening our own business and three years after, in 2002, we officially founded the brand Arne & carlos.
originally it was a women’s wear brand and we worked with both woven fabrics and knitwear. We were doing quite well, but, in 2008, we decided to only focus on knitwear and do both women’s wear and men’s wear, and that is when it really took off. At one point, we sold our line to the most prestigious stores in the world and had more than 200 retailers. We were well known for our Norwegian-style knitwear which was traditional but with a cool and modern twist. the success of our first book was overwhelming, both in Norway and abroad, and we decided to put our brand on ice for an indefinite period of time to concentrate on books, as we really enjoyed writing the first one. up to now, we have written five books and are nowhere close to resuming work with our brand. Arne has always been knitting / crocheting; it has been his passion and hobby since he was a small child (he learnt from his mother and grandmother). However, he usually kept handknitting as a hobby and we never thought we would make this into our living. i knitted as a young child too, learned in school, but did not knit as an adult, until we started designing and producing knitwear, then i took it up again, to knit swatches. And once
A selection of photographs from Arne & Carlos, courtesy of Trafalgar Square Books
36 Nordic Kultur | Nordic Knitting Sensation!
you start knitting, you can’t stop; so now i also knit all the time.
nK: Do you have a brief answer to the question, “what is it you do?”
CZ: We are textile designers and we write books on knitting and crochet.
nK: Designer / author Linda Marveng writes, “arne and Carlos have become a conceptual art piece in themselves.” Do you agree? is that a conscious choice, or does it occur by happenstance?
CZ: We think people tend to see this
differently than we do. Personally, we are just doing something we really love to do. We just happen to love knitting. So it is neither a choice nor happenstance. it’s just who we are. But we do think that we are seen differently because there are two of us, and that we are men, and because our work is also our lifestyle. We have invested a lot of ourselves in what we do. our house, garden, and everything we love are part of who we are and what we do.
nK: What was the inspiration for your exhibition? How has it been received? Did you make
www.trafalgarbooks.com
any discoveries in the process of putting the exhibit together?
CZ: the inspiration for the exhibi-
tion was the 10-year anniversary as Arne & carlos that we had in 2012, and a lot of our early work is featured. the exhibition has been very well received and is touring Norway right now, and will be for three more years. there are two exhibitions, actually, one for adults that is set up in museums, and one for kids 8 to 12 that is set up in schools. We didn’t put together the exhibition; it was done by the National Museum’s curators. However, we worked closely together with them for 10 months. We actually did make a few discoveries, things we never thought about during those 10 years, but it seems as if we have been referencing climate change and the environment in our work.
design: we firmly believe that in order to create something new, you have to look to your past and your heritage.
nK: Do you both have a “favorite” piece that you have made? What is it?
CZ: it’s a knitted patchwork jacket
that consists of different pieces from different sweaters with special meaning to us. the pieces were cut into rectangles, over-locked and sewn together to make this jacket. unfortunately for us, we can not wear it at the moment because we have lent it to the exhibition that is touring for the next three years.
meet Arne & Carlos in Person
nK: The Independent news-
the Nordic Heritage Museum welcomes Arne Nerjordet and carlos Zachrison as featured instructors AV at the Nordic Knitting conference, AI LA www.trafalgarbooks.com coming up october 3–5, 2014. the nK: your work plays with We wake up every day and we are BL E J ideas of Nordic heritage and thankful that we are able to do what UN pair will teach classes each day of the joined by specialists in Econference, culture. Do you consider the we love doing. it is a lot of work, 201 North Pomfret, Vermont knitting traditions from each of the 2 cultural / historic content of though, and it is a hard job, especially Nordic countries. An evening banquet your work kitsch? Serious the travelling, giving lectures, and will also feature Arne & carlos as commentary? Something in signing books part is very time conkeynote speakers. between? suming and keeps us away from home o ahead for periods feeloflike a kid aGain learn more about the Nordic time every year. Knitting conference on the Museum Whether knitting dolls for your own enjoyment, or to CZ: No, we don’t consider the culwebsite at www.nordicmuseum.org. tural / historic content our work collectofand giveasto a child, the playful universe created by paper calls you “knitting rock stars.” What’s it like achieving fame at what you like to do?
Trafalgar Square Books G
... ...
kitsch. it is just the wayArne we approach and Carlos
!
is one you’ll enjoy exploring.
KNITTED DOLLS
Handmade Toys with a Designer Wardrobe Scandinavian knitting sensations Arne and Carlos (authors of the international bestseller 55 Christmas Balls to Knit) find great inspiration in quirkiness and whimsy, they now aspire to bring a little of the fun to you, with this, a fantastic collection of knitted dolls, as well as instructions for building a charming knitted wardrobe around them.You’ll find easy-toknit instructions for five doll bodies and tips for giving them features.Then, you get to dress them up! From underwear to overcoats, you’ll find miniature knits to suit all seasons. With themes supplied to organize the patterns and ignite your imagination—“To the Mountains,” “Coffee Break, ” Ship Ahoy!”—you’re destined to find yourself transported into another (albeit smaller) world. their “designer days.” Arne Nerjordet and Carlos Zachrison, Norwegian and Swedish, respectively, established Arne & Carlos, a clothing design company, in 2002. Drawing on their traditional Scandinavian influences, their unique sense of style, and their natural environment, they create original and visually striking knitwear and accessories. They are the authors ofNordic the international bestKnitting Sensation! | Nordic Kultur seller 55 Christmas Balls to Knit. Their creative base is in the Valdres region of Norway, north of Oslo.
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Nordic in the Northwest
In the summer, when the crisp marine air travels up from Puget Sound and suggests beach walks and running sticks through the wet sand, my quintessential childhood memory is of picking berries. If I close my eyes and will my mind back to that place in my formative years, time rewinds and I am in my grandparents’ urban backyard garden again, standing between rows of raspberry bushes at their home in Ballard, Seattle’s distinctly Scandinavian neighborhood. Carrying my orange bucket — it’s orange in my memory, at least — I plop each berry into the bottom, feeling the featherweight contents landing as softly as a kitten’s downy paws on hardwood floors. Little did I know back then as a little girl, the daughter of a father born in Norway, that I was engaging in a crosscultural pastime as common in my own
home in the Pacific Northwest as it is in the Nordic countries, from where both sides of my family originated. While I was growing up, my grandparents tried to keep their heritage alive. As I began to study Nordic cuisine and incorporate elements of it into the dishes I cooked for my own family, I began to see how by settling in the Northwest, my grandparents had made it easy for me to carry on the tradition.
The Northern Way Huckleberries, blackberries, and any variety of edible mushrooms draw urban dwellers out into nature throughout the year in the Pacific Northwest, especially in the summer months. Fresh, wild salmon helps define our cuisine. We shop local, eat local, grow food in backyard gardens, and frequent the farmers market.
42 Nordic Kultur | Nordic in the Northwest
Organic is in. Processed is out. “All regions have their food associations,” says Langdon Cook, author of Fat of the Land: Adventures of a 21st Century Forager and The Mushroom Hunters: On the Trail of an Underground America. “We happen to be known for our salmon, shellfish, berries, and fungi, among other things. Eating local isn’t a Northwest idea, but it’s practiced here with a certain pride of place.” The similarities between the Pacific Northwest and Nordic cuisines came even more into focus for me in the spring of 2013 when a new study came out in the European Journal of Internal Medicine touting the health benefits of the Nordic diet. The parameters set by the researchers included: seafood three times a week (especially fatty fish like salmon and mackerel), plenty of berries, lots of local produce, whole grains,
Bringing the Nordic way of eating home to the Pacific Northwest root vegetables, poultry and game, canola oil over butter, no red meat, and restricted sugar. These are strikingly similar to the food choices many Northwesterners strive for. These choices make sense given Scandinavia’s inhospitable geography. With its mountainous landscape surrounded by countless fjords and miles upon miles of coastland, Norway has less than three percent arable land. This means that much of that country’s cooking is “based on survival,” says Judith Dern, author of Danish Food & Cooking and co-author of The Food and Cooking of Scandinavia: Sweden, Norway and Denmark. “Another thing I loved is that the women had the keys to the storehouse, so the women were in charge of how much food there was. If you made it to solstice in December and you could tell you had enough food to get you through to the first harvest, you were in good shape. You knew that you were going to survive,” says Dern. Combined with cold, harsh winters, these geographical limits forced Norwegians of the past to rely on a diet rich in seafood, some of which would be preserved for use throughout the year (think lutefisk and gravlaks). In the spring and summer, the arrival of rhubarb and berries was a welcome sign that the cold, dark months had passed.
Savoring Old World Food Traditions In the past, the limitations of the land spurred massive emigration. But today, people in the Nordic countries are
returning to traditional food customs both in day-to-day eating — as evidenced by Trine Hahnemann, author of The Nordic Diet cookbook — and in restaurants. The New Nordic movement that’s making waves in Europe is led in part by Claus Meyer and René Redzepi, cofounders of noma in Copenhagen, the two-Michelin-starred restaurant that has been named the best restaurant in the world three times in recent years. With its mountains and water echoing the landscape of the northern homeland, the Pacific Northwest was a natural choice for those looking for a place to settle in the New World. People from the Nordic countries — Denmark, Finland, Iceland, Norway, and Sweden — emigrated en masse beginning in the 1860s for reasons beyond just an unforgiving landscape. Those reasons were economic, social, political, personal, and religious, says Lizette Gradén, Ph.D., Chief Curator of the Nordic Heritage Museum. Many immigrants settled in the Pacific Northwest, and today the region
Daytona Strong
boasts a rich Scandinavian heritage. If you know where to look, you can find anything from traditional Swedish crayfish parties (kräftskiva) to classes on contemporary Nordic cuisine. Broder and Viking Soul Food serve Scandinavian food in Portland, as does Scandinavian Specialties in Seattle. But as evidenced in part by the summer 2013 closure of the Copper Gate — a Seattle bar serving Scandinavian-American food and an array of aquavit — options have become more limited in recent years when it comes to dining out. But the similarities of place and cuisine make it easy to incorporate Nordic culinary inspiration at home.
Nordic Eating in the Northwest It would be impossible to follow the Nordic diet entirely while living in the Pacific Northwest without losing the focus on local, seasonal foods. And certainly Scandinavians don’t rely totally on food from their own countries. But
Parsley-Dill Potatoes Makes 4 servings Potatoes are a mainstay of Scandinavian cuisine, and though the Nordic diet emphasizes canola oil, there’s no getting around the fact that butter is traditionally used for making this dish. Our recipe honors a classic preparation while switching things up with fingerling potatoes and the addition of parsley. Ingredients • 1 1/4 pounds fingerling potatoes • Salt • 2 tablespoons salted butter • 1/4 cup chopped fresh dill • 1/4 cup chopped fresh parsley • Juice of 1 lemon
Instructions Place potatoes in large pot and cover with water by an inch or two. Cover and bring the water to a boil. Generously add salt until the water tastes pleasantly salty (the potatoes will get most of their seasoning from this step). Cook until the potatoes are tender when gently pierced with a fork, about 20 to 25 minutes, depending on their size. Drain potatoes, leaving them in the pot. Add butter and gently stir as it melts, allowing it to coat the potatoes without breaking. Add dill and parsley, stirring to combine, and transfer the potatoes to a serving dish. Squeeze lemon juice over the top. Serve immediately, while the potatoes are hot.
Nordic in the Northwest | Nordic Kultur 43
that sense of place and origins remains. However, it’s possible to incorporate the essence of it into your own diet, no matter where you live. Patrice Johnson, a Nordic food specialist who teaches classes on the cuisine in Minneapolis, takes an 80-20 approach, with 80 percent of the food she consumes being made at home using local, seasonal and pesticide-free produce, ethically raised protein, and sustainable fish. “Sure the ingredients available to us are not identical to Scandinavia. But cooking for ourselves, making use of what we have, using the best products we can afford and that are available, cooking them in a simple manner, and adhering to that 80-20 rule can change our lives for the better,” she says. “We benefit immediately from eating healthful food. We build a better environment for ourselves and our children. We support local small businesses.”
Rye Berry salad with Fresh Herbs, mushrooms, Blueberries, Goat Cheese, and walnuts Makes 4 servings
And all of that reflects a bit of the Nordic values in general, too. these days, now that i’m a mother, i enjoy watching my son pick berries, eating the sun-ripened morsels right off the branches as i did as a child. little does he know that he’s beginning the same journey as me, and that those summer afternoons in the sun contain more stories and memories, association, and heritage, than he can imagine. Daytona Strong is a food writer and recipe developer who specializes in Nordic cuisine. Read her blog at outside-oslo.com.
rseradish Cream Grilled salmon with Lemon Ho Makes 4 servings iNGrEdiENtS Horseradish cream • 1/2 cup sour cream ish • 1 tablespoon freshly grated horserad dill h fres d • 1 tablespoon finely choppe juice • 1 scant tablespoon fresh lemon zest • 1 teaspoon grated lemon • 1/2 teaspoon kosher salt • 1/2 teaspoon granulated sugar
Salmon • Extra-virgin olive oil • 1 2-pound fillet salmon, skin-on • Kosher salt • Pepper (optional) • lemon wedges, for serving
instructions for at combine all ingredients. refrigerate to make cream: in a small bowl, and e, tast gle. min can rs ible) so the flavo least 30 minutes (or longer if poss adjust seasonings as desired. on (see note). Brush olive oil on the salm to make salmon: Preheat grill to high grill n and desired. Place salmon flesh side dow and season with salt and pepper, if kness of thic the on ing end dep time may vary for 3 to 4 minutes to sear (cooking salmon grill). reduce heat to medium. turn your salmon and the heat of your about 5 s, enes don red desi hes until it reac skin-side down and continue cooking . of the salmon and the heat of the grill minutes depending on the thickness ges. wed on lem cream and Serve salmon with the horseradish
hand, palm side down, count the seconds you can hold your Note: to check grill temperature, high. for it feels uncomfortable: 2 seconds 2 to 3 inches above the rack, until Recipes and photos by Daytona
44 Nordic Kultur | Nordic in the Northwest
Strong
iNGrEdiENtS • 3/4 cup rye berries (see note) • 2 1/2 cups water • 2 tablespoons extra-virgin olive oil • 8 ounces sliced fresh mushrooms • 1 cup walnuts • 2 tablespoons sherry vinegar • 1 teaspoon kosher salt • 3 tablespoons roasted or regular walnut oil • 1 cup fresh blueberries (5 ounces) • 1 tablespoon chopped fresh dill • 4 ounces fresh goat cheese (chèvre), crumbled instructions rinse the rye berries. Place in a medium saucepan with the water and bring to a boil. lower the heat, cover and simmer for about an hour, until tender. drain excess water and cool the cooked grains to room temperature. the rye berries can be made ahead up to this point and refrigerated overnight. Heat olive oil in a pan. Add mushrooms and sauté over medium-high heat until cooked, about 5 minutes. Set aside. toast the walnuts over medium heat (this can be done in the same pan), then roughly chop. in a small bowl, combine sherry vinegar and salt. Slowly whisk in the walnut oil. toss the dressing with the cooled rye berries to coat, then add the sautéed mushrooms, half of the walnuts, all of the blueberries and dill; toss gently to combine. top with the crumbled goat cheese and the remaining walnuts. Serve at room temperature. Note: rye berries are sold in the bulk bin section of many markets. You can substitute farro or wheat berries, but the yield and cooking time may vary, and the flavor profile will change slightly.
August 16 & 17, 2014
Free Admission!
VIKING DAYS A Nordic Christmas Celebration
November 22 & 23, 2014 Handcrafted Gifts
* Live Music * Nordic Food & Drink * Photos with Santa
NON-PROFIT ORGANIZATION
U.S. POSTAGE
PAID
SEATTLE, WA PERMIT NO.13008
Nordic Heritage Museum Foundation 3014 NW 67th Street Seattle, WA 98117
Syttende Mai Turns 200 4