2017 Spring: Goldstein Museum of Design

Spring 2017

goldstein.design.umn.edu

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spring 2017 exhibitions | collection | events

GALLERY 241

HGA GALLERY

NORTHROP

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CURRENT

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Global Technique, Local Pattern: Ikat Textiles January 28 – May 14, 2017

SUMMER 2017

opening reception: January 27, 6-8pm lecture: March 23, 6:30 pm, 33 McNeal

FALL 2017

Inside Her Clothes June 3 - September 3, 2017

A Catalog of Difference February 2 – April 30, 2017 opening reception: February 1, 6-8pm lecture: March 27, 5pm, 100 Rapson

When you buy a piece of clothing, how often do you look at the inside?

If you are told that a garment is “well made,” what does that really mean?

When you buy something, can you tell if it will last for years, or will fall to pieces in a season? Advances in technology over the past 200 years have made clothing faster and cheaper to make, but at the same time we expect less, in terms of fit and quality, of our clothing than ever before. Most of these changes aren’t obvious when looking through fashion magazines or when the clothes are being worn. However, when turn to the interior of a garment the story becomes visible.

Roots to Healing March 10, 2017 - January 2018

Dutch Complex Housing Jack Lenor Larsen @ 90 To find more information and keep yourself up-to-date on GMD exhibitions and exhibitions-related events, visit our exhibitions page: http://goldstein.design. umn.edu/exhibitions/, and follow us on social media.

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opening reception: March 9, 6-8pm Goldstein Museum of Design GoldsteinMuseum @Goldstein_Museum Goldstein Museum of Design

HAPPENINGS

PEOPLE

COLLECTION

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Graphic design students collaborate with GMD

Students celebrate GMD’s 40th birthday

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Remembering Gertrude Esteros

Spring 2017

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Seeing 40/40 opens

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Daring Design, Rebellious Outerwear

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On the Cover From Working Class to “Wrecking Ball” goldstein.design.umn.edu

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Monday Funday GMD hosted a Student Appreciation event, during which over 100 students enjoyed temporary tattoos, a photo booth, drawing, a digital museum tour, and live music.

Fifty students participated in a cupcake decorating contest. Their peers had one week to vote on our social media pages to determine who would win our new “Keep Calm and Design On” T-shirts (shown in our “Tiny Store” section on page 14).

-B.J.

Winners!

1 Rainbow cupcake, by Morgan Johnston

Students take a break from busy schedules to gather in the McNeal hall atrium. Some instructors allowed students to attend during classtime.

2 Floral cupcake, by Sarah Jacques

For the “Pokemon Go” fans

Congrats to the Chicago Cubs on the 2016 World Series win and on making history! #FLYTHEW This was made before their win…how cool is that?

While other cupcakes didn’t win the contest, they’re pretty awesome in their own ways!

3 CDES cupcake, by Alexandra Gray

Check out more cupcakes and “like” your favorites on Instagram. @Goldstein_Museum

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Goldstein Museum of Design

Seeing 40/40 opens

Students use props in the GMD photo booth.

Students apply design-themed temporary tattoos.

Theo Langason, students decorate cupcakes

HAPPENINGS

Spring 2017

goldstein.design.umn.edu

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March 10, 2017 - January 2018; opening reception: March 9, 6pm Northrop

Roots to Healing A brief survey of the past, present and future of plant-based remedies in Minnesota presented by the College of Biological Sciences Conservatory

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umans depend on plants. There is no us without them. They feed us, clothe us, house us, and heal us. Until the modern era, plants were our primary source of medicine and they continue to play that role for many to this day. But the healing properties of plants extend well beyond the tinctures and tablets in our medicine cabinets.

We derive well-being from the food we eat, the oxygen we inhale, and the restorative qualities of nature that bolster our mental health.

NORTHROP GALLERY

In Roots to Healing, a new exhibition at Northrop Gallery organized by the College of Biological Sciences Conservatory, viewers are invited to consider the relationship between plants -- both common and rare -- and healing. From the lowly plantain to the controversial Cannabis, the exhibition explores the medicinal historical, cultural, scientific, and economic value of a handful of plants from around the world. Each section of this exhibition highlights specific environments (biomes) and plants with an eye to sparking a conversation about the value of plants and biodiversity as a source of healing right here in Minnesota.

in our past, reach into the present not just as remnants of a bygone era, but as evolving practices prolific for building cross-cultural understanding and leading innovation in the burgeoning interest in plant-based healing.

Roots to Healing opens March 10 at the University of Minnesota’s Northrop Gallery. For more information, visit the CBS Conservatory website at http://cbs. umn.edu/conservatory.

- stephanie xenos Director, Marketing and Communications College of Biological Sciences curated by lisa philander Curator, CBS Conservatory Plant and Microbial Biology

Artwork by Andrea Carlson. An artist with longstanding ties to Minnesota, Andrea Carlson’s work has gained critical international attention for its rigorous draftsmanship and cultural commentary. Her Anishinaabe (Ojibwe), French, and Scandinavian heritage provides a rich foundation for her investigations of cultural consumption, history, and identity, and the intrinsic power of storytelling. Carlson’s work has been exhibited at the Minneapolis Institute of Arts, October Gallery (London), The Power Plant (Toronto), and Plug In Institute for Contemporary Art (Winnipeg), and featured at the Smithsonian’s National Museum of the American Indian at the George Gustav Heye Center (New York) and for the Venice Biennale at the University of Ca’ Foscari (Venice). The British Museum, the Tweed Art Museum, the Weisman Art Museum, and the National Gallery of Canada collections include works by the artist. Carlson received her MFA from the Minneapolis College of Art & Design in 2005. More information about Carlson can be found at http://mikinaak.com/.

Minnesota is home to many cultures, each with a unique set of traditions, beliefs, and ways of preparing herbal medicines. Virtually every culture provides examples of plant-based healing. Those traditions, rooted deep

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Goldstein Museum of Design

February 2 – April 30, 2017; opening reception: February 1, 6-8pm; lecture: March 27, 5pm, 100 Rapson HGA GALLERY, Rapson Hall

A Catalog of Difference An exhibition by Andrew Lucia, Cass Gilbert Visiting Assistant Professor School of Architecture, College of Design, UMN Zhetao Dong & Samantha Kowalke, Research Assistants

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Twenty-three students in Associate Professor Daniel Jasper’s “Text and Image” class created graphic design identities for GMD’s exhibition, Global Technique, Local Pattern: Ikat Textiles. With GMD as a teaching client, graphic design students were challenged to communicate the hands-on and highlytechnical nature of the ikat process. The students gained insight on exhibition identity design, and the ikat process in order to create their designs, with many of the designs being inspired by the nature of the ikat process itself. At right are identities by Fa Norasingh and Syndney Jacobson, below are designs by Bai Yansang, Tess Lund, and Hannah Herrig.

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A Catalog of Difference explores light as a generator of formal and aesthetic potentialsfor the material world, calling attention to those differences which make a difference. The exhibition reflects an analysis of change across perceptual and physical environments through visualizations of ambient light and surface curvature gradients derived from imagery and digital models.

Support for this exhibition and programs provided by the Goldstein Museum of Design, the College of Design, and generous individuals. In addition, GMD programming is made possible by the voters of Minnesota through a Minnesota State Arts Board Opening Support grant, thanks to the legislative, appropriation from the Arts and Cultural Heritage Fund.

Printed on recycled and recyclable paper with at least 10 percent post-consumer material.

-a.k.

The University of Minnesota is an equal opportunity educator and employer. To request disability acommodations or to receive this information in alternative formates please contact GMD at 612-6247434.

DESIGN IN THE CLASSROOM

Look for more identities and like your favorites on our Instagram identity showcase, where a new identity will be featured each day. @Goldstein_ Museum

Spring 2017

goldstein.design.umn.edu

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January 28 – May 14, 2017; lecture: March 23, 6:30pm 33 McNeal

Global Technique, Local Pattern: Ikat Textiles

Ikat

patterns are both intricate and bold.

The feathered edges of the pattern simultaneously expose its hand-crafted nature and the deft skill required to create it.

Ikat is a Malay-Indonesian word that means to tie or to bind. In Uzbekistan, these textiles are referred to as abr, which translates to cloud, referencing the soft edges of pattern.

Ikat textiles are created through a multi-staged process that starts with yarns that are stretched out and kept in the exact order in which they will be put onto a loom. The design is first marked on the undyed yarns and then bound tightly with thread; these bound areas resist the dye when the yarns are submerged in a dye bath. Stretching out, rebinding different areas of the pattern, and dyeing is repeated for each color.

When the dyeing is complete, yarns are unbound and loomwoven, revealing the pattern.

The expertise and time that ikat requires makes it a textile that is both admired and mysterious in today’s world of mass produced yardage. Ikat is deeply ingrained in cultural heritage in locations all over the world. In India, for example, ikat is used for basic cotton garments, as well as for the most luxurious silk saris.

Central Asia ikat patterns, which are typically larger in scale than the south, date back to the days of Genghis Khan. Textiles from locations such as Indonesia, Thailand, Cambodia, Uzbekistan, Japan, and the South American Andes will also be on exhibit.

Lecture March 23, 6:30 p.m.

Reception with light refreshments. The exhibtion will be open.

7:30 p.m. 33 McNeal Hall Mary Zicafoose

Stories I like to tell: highlights from my life as an artist and a weaver This lecture is co-sponsored by Weavers Guild of Minnesota and Goldstein Museum of Design.

opposite, from top to bottom: Ikat table runner from Iran, 1940-1958, Gift of Hilma Berglund (1980.008.027) Ikat yardage from Thailand, 1970-1990, Gift of Helen Bentley (1997.069.425) Ikat shawl from the Andes region of Ecuador, 20th century, Gift of the International Institute of Minnesota (2007.016.190) Ikat blanket from Sumba, Indonesia, 1976, Gift of Helen Bentley (1997.069.333)

-J.M. co-curated by mary alice Chaney, Ph.D., Margot Siegel Design Curator

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Goldstein Museum of Design

GALLERY 241. McNeal Hall

photos by Ellen Skoro Spring 2017

goldstein.design.umn.edu

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Daring Design Rebellious Outerwear

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inter is an inescapable force here in Minnesota.

The short, dark days and the punishingly frigid temperatures leave many of us feeling despondent. Here at the Goldstein we’ve been combing through the collection searching for pieces to inspire us to break free from winter’s grasp.

This dramatic late 1920s blue velvet coat with a white sheered muskrat collar may well have been worn by a rebellious flapper. A similar spirit of resistance can be found in the bright color and leather details of this 1970s Bonnie Cashin coat.

Sometimes the best option is to deny the existence of winter altogether. The bright green found in this c.1960 green feather pillbox hat with marabou trim would brighten up any day. This Trina Teal green wool overcoat from the 1960s puts the focus on the inevitable coming of spring.

If the cold is too severe to be ignored, another option is to embrace the weather with something like this 1980s turquois Norma Kamali “sleeping bag” coat or c. 1990 plaid ski cap.

-s.h.

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Coat, 1970s

By Bonnie Cashin Leather and cotton Gift of Jean and Linn Firestone Family

Coat, 1920s Velvet and muskrat fur Gift of Mrs. George G. (Jane Wilder) Prest.

Hat, c.1960 Dyed feathers Gift of Alice Stein

Coat, 1960s

By Trina Teal Wool and metal Gift of Meredith Bloomquist

COLLECTION

Coat, 1980s

By Norma Kamali Gift of Kathryn L. Glessing Ski cap, c. 1990

By Bogner Gift of Dolores DeFore

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COLLECTION: On the Cover

Pumps, sandals, and other feminine styles of shoes make up the majority of footwear in the Goldstein Collection.

That makes this pair of late 1990s gold Dr. Marten 1460 boots all the more fascinating. The metallic upper is in no way traditional. When seen in person, the color of the reflective surface is constantly changing. However, the shape of the shoe is instantly recognizable as the classic British work boot.

various different subcultures. To the embarrassment of the manufacturer, the first group to lay claim to the boots were football hooligans and skinheads.

Adoption by the punk movement was an improvement, giving the brand similar anti-establishment cool in a more socially acceptable way. Punks also provided the brand with inspiration for new products due to their tendency to customize and decorate their boots.

While the soles were invented by Dr. Klaus Maertens in the 1940s, the 1460 model boots were first made after a British company acquired an exclusive license in 1960. The boots were sold for £2 and were quickly popular with men in factories and other working class jobs.

Dr. Martens weren’t sold in the United States officially until 1984. By that time, women were also adopting the 1460 boots. This came as a surprise to the manufacturer, because at the time the company didn’t even specifically make shoes in women’s sizes, just men’s and boy’s. When there was a spike in sales of boy’s sizes, the company thought that it was just the result of more young boys buying the boots.

Starting in the mid 1960s, Dr. Martens boots began to increase in popularity through being adopted by

Attention from the manufacturer, or lack thereof, never seemed to have much of an influence on whether or not a subculture felt a connection to Dr. Martens boots. Musicians and rockers would request boots directly, rather than being courted by the manufacturer.

The first famous musician to wear the boots was Pete Townshend of The Who, who bought his pair back in the 1960s.

However, Dr. Martens boots still show up regularly on musicians today. In one recent sighting, Miley Cyrus wore pair of 1460s, and nothing else, during her “Wrecking Ball” music video.

So, why has such a diverse group been drawn to this one particular boot? It may be because Dr. Martens boots have the power to turn the wearer into a rebel.

Substantial, sturdy, and tough, 1460 boots allow consumers to tap into a counter culture energy. They let the wearers identify as part of one of the many subcultures that have claimed Dr. Martens as part of their uniform.

Advertising campaigns run by the manufacturer in 2011 and 2012 sought to capitalize on this appeal by drawing on the experiences of wearers from past nonconformist subcultures, strengthening the connection between the boots and feelings of authenticity and individualism. This transformation is a kind of modern magic, allowing the consumer to change who they are and gain acceptance into a group through the use of a talisman.

This desire for magical transformation is nothing new. Since before Dorothy had her ruby slippers, shoes have been symbols of magic and power.

Unlike Dorothy, those who wear Dr. Martens are willing to accept the transformative power of a pair of shoes.

-s.h.

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Goldstein Museum of Design

Remembering Gertrude Esteros (1914 – 2016)

Above: Three of GMD’s life members – Dean McFarland, Margot Siegel, and Gertrude near Gallery 241 in 1978 Left: Gertrude Esteros’ official Red Cross photograph, 1942 Top: Gertrude was honorary chair of GMD’s 2011 Black and White Gala.

She models a student-designed mask, made for the event.

Gertrude Esteros, one of GMD’s life members, was 102 when she died in December. She was the visionary behind GMD’s founding forty years ago.

As head of the UMN Department of Related Arts from 1949-1979, Gertrude encouraged faculty to develop teaching collections following the example of Harriet and Vetta Goldstein. However, these collections were difficult to preserve as Gertrude recalled: “[The Goldstein sisters] shared an office that was very crowded. Occasionally, a plate would fall and break. Harriet would say: ‘Well, we’ll just glue it back together.’ Vetta would fume: ‘Soon we won’t have anything that hasn’t been patched or fixed!’”

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he daughter of Finnish immigrants, Gertrude was born in Cloquet, Minnesota. She earned a B.S. (1936) and M.A. (1941) in high school education from UMN and an Ed.D. (1958) in art education from Columbia University. She taught

Spring 2017

Gertrude retired in 1980; in 1993 she received the Regents’ Outstanding Achievement Award as the “visionary and driving force” behind the Goldstein Gallery. The original gallery, now GMD’s Gallery 241, continues Gertrude’s intent of teaching design through exhibitions. In addition, multiple spaces now house the professionally-maintained collection for study by faculty, students, and researchers.

Gertrude’s vision of an object-based learning lab remains a vital part of the student experience at the College of Design. Over 1,000 students each year study objects from the collection.

Thank you, Dr. Esteros!

GMD PEOPLE

Gertrude saw an opportunity to remedy this situation when asked to list her priorities for McNeal Hall’s 1976 expansion.

Knowing that classrooms and studios were on others’ lists, she made a collection storeroom and a gallery her top priorities. She envisioned the gallery as a dynamic lab to expand the impact of object-based learning. This powerful statement resulted in the new Goldstein Gallery complex.

high school and college until 1943, when she became a volunteer for the American Red Cross for two years. She provided support to recuperating service members in New Guinea and the Philippines and oversaw the construction of recreational facilities, often using local materials and discarded military equipment. In 1947, she volunteered in Finland with the American Friends Service Committee. Living in other parts of the world gave Gertrude new insight and informed her teaching with deeper cultural understanding.

-l.n.-m.

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from the director – spring 2017 That’s a Wrap!

GMD’s 40th year has ended and I thank everyone who helped to celebrate this Ruby Anniversary! Thanks to the planners and attendees of the summer fundraising benefit; thanks to the community curators who developed and wrote about the exhibition Seeing 40/40; and thanks to the students who developed and enjoyed the Student Appreciation Party.

GMD STAFF Autumn Beckman Gallery Staff

Christine Fantle Gallery Staff

Good design can impact lives – from warm clothing and safe homes to effective transportation and human-centered health systems. Through GMD, students discover:

Eunice Haugen

Registrar, Exhibitions Coordinator

Sarah Hegge

Dora Agee Waller Collection Assistant

• Exhibitions of sustainable alternatives to “fast fashion”, healthy homes for seniors, and ergonomically-designed furniture.

Breana Jones

Lila Bath Communications Assistant

• Collection objects that inspire empathy for people across diverse cultures and times.

Abbey Kleinert

Dora Agee Waller Graphic Design Assistant

One of our faculty members observed that at the College of Design we ask: “Will this make a difference in people’s lives?” Because of your support, GMD provides opportunities for students to learn how to use design to create healthier, safer, and more harmonious communities. Consider joining as a member or donating to help expand the collection photography and provide accessible exhibitions. I look forward to celebrating GMD’s Golden Anniversary with you in 10 years!

Sydney Komoto Gallery Staff

Keirsten Kupczak Gallery Staff

Barbara Lutz

Administrative Assistant

E Lin Nelson-Mayson

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Jean McElvain Associate Curator

Emily McLaughlin Gallery Staff

Abe Santos Meeker Gallery Staff

Lin Nelson-Mayson Director

Rebekah Njaa Preparator

Tu-Nguyen Phan Gallery Staff

Rebecca Roeder Gallery Staff

Ellen Skoro T-shirts

Photographer

GMD’s “Keep Calm” T-shirts in black, maroon, or teal are $15 in S-M-L-XL sizes. XXL shirts are $16.

Gallery Staff

Grant Taylor Jacob Taylor Gallery Staff

T-shirts are $12 (S-M-L-XL) & $13 (XXL) for GMD members who show a current member card and U of M students, staff and faculty who show a current ID. Anniversary Catalog

Seeing 40/40: 40 Years of Collecting catalogs are $20. Active GMD Members $17

Purchases can be made in Gallery 241 or at (612) 624-7434. http://goldstein.design.umn.edu/visit/store/ to download an order form. Add $5 for shipping and handling.

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Goldstein Museum of Design

NEW AND RENEWING MEMBERS

Irene M Ott

Dr Donald H & Marlene Hastings

GMD ADVISORY BOARD

Marjorie A Alexander

Brad T Palecek & Michael Korby

Matthew Hatch

2016-2017 OFFICERS

Anonymous (Sustainer)

Mary Guilford Plumb

Audrey L & Chris R Henningson

Louis Asher & Lisa Wersal

Lynn Purcell & Gene Valek

Kent Hensley

Prof Marian-Ortolf Bagley

Jerry J Hess

PRESIDENT ELECT

Dr Shirley L Barber

Richard W & Jean Illsey Clarke Fund-Mpls Fdn

Virginia H Homme

Rina Berman

Philip Rickey

Matthew Hatch, RR Donnelley

Carol E Jackson

William L Bloedow

Mark Schultz (Sustainer)

Janet L Johnson

Meredith M Bloomquist

Susan Sell

Marit Lee Kucera

Linda & Phil Boelter

Marilyn Setzler

Beth Bowman, Weavers Guild

Jean E McElvain

Dr Elizabeth K Bye

Swati Sood

Sarah Dwyer, retail consultant

Mary Ellen McFarland

Kathleen E & Paul D Campbell

Prof Hazel T S Stoeckeler

Martha Hedstrom, Periscope

Marcia & Mike O’Connor

Judith A Christensen

Tommy Stublaski

Heather Olson

Mary Lou Hidalgo, writer/ strategist

Dawn Cook

Mariann E Tiblin

Suzanne Payne

Jessica Huang, Fin Studio

Sarah A Cox

Sophia Vilensky

Timothy G Quigley

Neal Kielar, MidModMen+friends

Laura M Daumann

Ms Julia F Wallace

Red Wing Art History Club

Heather Olson, Soladay Olson

Drs Marilyn R & Max M DeLong

Cheryl A Watson

Philip Rickey

Lynn Purcell, writer

Don Drake

LIFE MEMBERS

Prof Julia Williams Robinson

Faye Bye Duvall

Joanne Eicher

Scarborough Fair LLC

Kate Solomonson, School of Architecture, University of Minnesota

Mary Dworsky Cordelia D Early Karen J Fandrey Delores A Ginthner Trude Harmon Christine Hartman Martha Hedstrom Dr Delphine Hedtke Audrey L & Chris R Henningson Kent Hensley Jerry J Hess Virginia H Homme

IN MEMORY OF

Harold H Alexander

By Marjorie A Alexander

CORRECTION: FALL 2016 DONATIONS TO COLLECTION

Ann Carlson Birt

By E Michael Birt

Melanie Spewock & Fred Opie

Gertrude Esteros

By Mary Jo Czaplewski, PatrickRedmondDesign.com, Nancy E Wenkel

Kent Hensley, Hensley Creative

BOARD MEMBERS

Moira Bateman, artist

Gene Valek, KNOCK, Inc. EX-OFFICIO

Interim Dean Becky Yust, College of Design Renee Cheng,

Associate Dean of Research Lin Nelson-Mayson, Director

COLLECTION DIGITIZATION

Louise Fritchie Sandra M & C Robert Morris DIRECTOR’S FUND

Jessica Huang

Anonymous

Carol E Jackson

GENERAL SUPPORT

Dr Donald Clay Johnson

Georgene L Angrist

Janet L Johnson

Louis Asher

Morgan Johnston

Beverly A Bajus

Janet S Kinney

Marlene J Banttari

Gwen Le Fevre

Marilyn O Bartlett

Sheila G Leiter

Beth L Bowman

Carolyn L Lussenhop

Dr Catherine A Cerny

Betty Lyke Urie

Judith A Christensen

Marilyn Setzler Trust

Barbara L Conklin

Lynda C Martin

Jeanne E Corwin

Mary Ellen McFarland

Drs Marilyn R & Max M DeLong

Louise M Mullan

Kim N Faith

Lin Nelson-Mayson (sustainer)

Dr Evelyn Franklin

Marcia & Mike O’Connor

Delores A Ginthner

John R Ollmann

Christine Hartman

All GMD programming is made possible in part by the voters of Minnesota through a Minnesota State Arts Board Operating Support Grant, thanks to legislative appropriation from the Arts and Cultural Heritage Fund and a grant from the National Endowment for the Arts.

Funding for the collection photography project was made possible by a grant from the Institute of Museum and Library Services.

The University of Minnesota is an equal opportunity educator and employer.

Printed on recycled and recyclable paper with at least 10 percent post-consumer material.

To request disability accommodations or to receive this publication/material in alternative formats please contact: Goldstein Museum of Design, 364 McNeal Hall, 612.624.7434.

goldstein.design.umn.edu

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GMD DONORS: Fall/Winter 2016

Jason Howard

Spring 2017

Julia F Wallace

PRESIDENT

Nonprofit Org. U.S. Postage

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

PAID

Twin Cities, MN

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 Tuesday - 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 @Goldstein_Museum Black and white striped shoes, 1988

By Stilbest Gift of Sandy Morris

Cotton canvas high top tennis shoes, c. 1937

By Keds Museum Purchase

Black cashmere tennis shoes, c. 1995

By Superga Gift from the Estate of Marion G. Winzen