2021 Spring: Goldstein Museum of Design

Spring 2021

GOLDSTEIN MUSEUM OF DESIGN

exhibitions

| collection

| events Evening Dress by Bill Blass, 1970 Gift of Mrs. Julius Davis

Contents

Into The Classroom: Fashion History Mystery

FOUR

4

GMD’s Foray into Google Arts and Culture

FIVE

5

SAY IT LOUD Exhibition

SIX

6

GMD’s First Virtual Exhibition

To find more information and keep yourself up-to-date on GMD exhibitions and events, visit goldstein.design.umn.edu and follow us on social media.

SEVEN

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Goldstein Museum of Design GoldsteinMuseum Goldstein_Museum Goldstein Museum of Design SPRING 2021

GOLDSTEIN MUSEUM OF DESIGN

EIGHT

CONTENTS

GMD’s Lighting Project

8

NINE

Meet Our New Mannequins!

9

Jerome Joss Acquisitions

TEN

10 T W E LV E

Board Member Feature: Beth Bowman

THIRTEEN

12 Thank You, Lin!

13 14

goldstein.design.umn.edu

Fourteen

Interim Director’s Note Jean McElvain

15

Fifteen

Sponsors and Members Thank You 3

Into the Classroom: Fashion History Mystery

GMD staff have always brought objects like this dress into the History of Fashion class for students to examine in person. COVID restrictions made this practice impossible during the Spring 2021 semester. Compounding the logistical difficulties of sharing collection objects, many pieces (including this dress) are not photographed.

GMD staff got creative, shifting to short video delivery.

Smartphones, tripods, a GoPro, and the post-production skills of Ebonee Rainwater, have helped GMD produce short videos featuring collection objects. These object videos provide background on objects and close-up imagery that allows students to see details such as stitching, interior construction, and stains from use and wear.

The College of Design’s History of Fashion course asks students to understand dress as an expression of the era and society that produces it. While a variety of sources are used to teach forms of dress over time, examining extant garments from the GMD collection has always been a part of that process. There are some key indicators that assist in dating garments, such as silhouette, but the answer is not always straightforward.

GMD staff explored this issue through a green cotton morning dress that features details indicative of both the 1840s and 1860s.

Clues that point to the 1840s include a bodice with minimal structure and boning. The subdued small roller print and tight neckline are in keeping with American Puritan fashions of the time. However, other clues point to the 1860s. The natural waistline is consistent with the 1860s, unlike the 1840s, which tended to have a longer tapered bodice. The full gathered balloon sleeves with turned cuffs also indicate the 1860s, as sleeves in the 1840s were typically more close fitting and restrictive.

Other clues are more ambiguous, such as the dropped shoulder position of the sleeve. This detail creates a sloped shoulder silhouette, which is a common styleline between 1830-1869. Additionally, the dress is entirely hand-sewn. The sewing machine was not invented until 1846, and while dresses made in the 1860s could have utilized the sewing machine, it was still not commonplace.

The dress also has a yoke detail that resembles a bertha collar, which were popular throughout the 19th-century.

Typically made of lace or gauzy fabrics, bertha collars covered an evening dress’s low neckline, accentuating a woman’s shoulders.

Morning Dress, 1835-1865. Gift of Mrs. Folwell Coan.

In addition to the green cotton dress featured here, GMD staff have produced videos on an 18th century Spitalfield dress, a 19th century bustle dress, and an early 20th century lingerie dress. Graduate student Colleen Pokorny is currently scripting a video on one of GMD’s 1920s-era garments. GMD has launched a YouTube channel to support our new venture into video, providing easy access for the students in History of Fashion and for the general public. We invite you to view the video discussing the 1840-1860 green cotton dress and others on our YouTube channel at https://z.umn.edu/GMDYouTube.

C.P.

SPRING 2021

GOLDSTEIN MUSEUM OF DESIGN

INTO THE CLASSROOM

GMD’s Foray into Google Arts and Culture

Red Mini Skirt by Stephen Sprouse, 2002.

Gift of Mark Schultz.

Vase. 1800-1895. Anonymous gift.

Wedding Dress. 1895.

Gift of Mary Shepardson.

New to the process and anxious to be virtually visible, we tried a two-prong approach. Graduate assistants attempted to edit two previous gallery exhibitions into GA&C’s 15-20 image online format, and GMD staff created a new story titled Unlikely Couples: Reading Similarities across the Collection. Using previously photographed collection objects, the latter story explores the often-overlooked relationship between the design of decorative arts and contemporary fashion.

We soon discovered that previous on-site exhibitions did not have the photographic documentation to support transfer to GA&C’s virtual format. There was no funding for additional photography and we had limited access to our building, which meant that all content had to draw from previously photographed objects. It was also challenging to edit shorter cohesive narratives from larger on-site exhibitions.

Curating specifically for GA&C’s online format proved most successful and prompted a hybridized third approach developed by our registrar, Eunice Haugen.

In story two, Printing Popular Culture, Haugen pulled text and images from previous on-site exhibitions and developed a visually focused theme that required minimal reworking. This story focuses on textile pattern design and its history of reflecting everything from social justice to art movements.

To access these stories and a sample of images from the collection go to: https://z.umn.edu/gmdartsandculture

goldstein.design.umn.edu

G O O G L E A R T S A N D C U LT U R E

Because our galleries are housed within UMN buildings, exhibitions have not been open to the general public since March 2020. By early June 2020, we began exploring free online exhibition platforms with widely available access. Google Arts and Culture (GA&C) was selected, which Wikipedia describes as a “…digital platform utilize[ing] high-resolution image technology that enables the public to virtually tour partner organization collections and galleries and explore the artworks’ physical and contextual information”. GA&C does not refer to hosted content as “exhibitions” but instead “stories”, recommending 15-20 images with minimal text to cater to online browsing habits.

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This past year terms such as “pivot” and “the new normal” were bantered about, typically with the implication of using virtual environments. As an academic museum rooted in object-based learning, making virtually everything virtual felt fundamentally incompatible with parts of our mission.

E.H. 5

HGA GALLERY

HGA Main Gallery, Rapson Hall SAY IT LOUD Opening Fall 2021

Pascale Sablan FAIA, NOMA, LEED, is a busy person.

Although she recently accepted a position with David Adjaye Associates in New York City, Sablan continues her work as founder and Executive Director of Beyond the Built Environment (BBE). This change-making organization “…engages community through architecture to advocate equitable, reflectively diverse environments.”

Sablan’s work strives to increase representation in the field of design, which she identifies as quintessential to her mission. GMD is fortunate to be hosting a stop on her international exhibition series SAY IT LOUD, which has been seen by over 35,000 people since it began in 2017.

SAY IT LOUD, which elevates the work of BIPOC (Black, Indigenous, People of Color) and women designers, is a juried exhibition whose participants come from the region where it travels to. Her own journey in the field of architecture prompted her to tackle issues related to lack of representation, as well as the detrimental effects that misplaced architecture has on BIPOC communities. A strong advocate of betterment for everyone, she promotes the fact that greater diversity enriches all our lives.

The exhibition features projects as well as biographical interviews with selected participants.

Sablan’s work is far-reaching, including a plan for dismantling injustice through a media Memorandum of Understanding (MOU). Among other things, the MOU asks that publications think critically about diversity of content, and pledge to increase BIPOC designer features annually

Pascale Sablan FAIA, NOMA, LEED, designer and curator of the SAY IT LOUD exhibitiion series.

We are thrilled to be partnering with Pascale Sablan on this rich exhibition. Come join us! In the meantime, visit the BBE website at beyondthebuilt.com.

J.M. SPRING 2021

GOLDSTEIN MUSEUM OF DESIGN

GALLERY 241 EXHIBITIONS

GMD is stepping into virtual space with its very first virtual exhibition tour!

Screenshot of the GMD Virtual Tour of Initial Impressions: Renaissance Type and the Grammar of Ornament.

Initial Impressions: Renaissance Type and the Grammar of Ornament was GMD’s Spring 2020 exhibition in Gallery 241, featuring printed ornamental capital letters dating from 1470 to 1690. Through the collaboration of Jacklin Khosravi of UMN’s Imaging Lab, Lin Nelson-Mayson and Ebonee Rainwater of GMD, and Initial Impressions guest curator Bill Moran, GMD is able to bring the exhibition experience outside of its home in Gallery 241.

The development team recorded a walkthrough of Initial Impressions, which was then used to develop a 360° virtual tour of the exhibition. The exhibition was mapped, programmed, labeled, and cross referenced with UMN’s artifact database to provide high-quality images for each of the displays.

Criblée “R” Initial, 1520

goldstein.design.umn.edu

Ornamental “P” Initial, 1520

Users are greeted with a brief introduction narrated

by GMD’s former director, Lin Nelson-Mayson, who provides an overview of the museum, the Initial Impressions exhibit, as well as details of the lent objects that will be seen on display. Users are then able to click and interact with various elements on the screen, including directional guides on the exhibit floor that allow viewers to freely explore the virtual space at their leisure, as well as panels with information on each of the objects on display.

With limited access to our gallery spaces as a result of the ongoing pandemic, this is an exciting first of many steps towards providing a genuine exhibition experience for everyone! A recorded version of the walkthrough can be found on GMD’s website.

Inhabited, Ornamental “E” Initial, 1516-1576

Historiated “S” Initial, 1520

E.R. 7

How many Goldstein employees does it take to screw in a light bulb?

Soon the answer will be none! In 2020, the Goldstein Museum of Design received an Infrastructure Investment Grant from the University of Minnesota Office of the Vice President for Research, as well as support from the College of Design, to replace existing 40-year-old track lighting in Gallery 241 with LED track lighting

We hope to unveil our new track lighting system in late summer, as we anticipate the upcoming exhibition Totally Radical: Designing the 1980s.

The new LED lamps do not have a light bulb as we know it, but rather light-emitting diodes (LED) that generate light from a semiconductor material that integrates into the lamp. This not only saves time in lighting exhibitions, but safeguards staff, reduces waste associated with burnedout light bulbs, and reduces energy consumption by over half. Use of LED lamps also reduces costs of gallery heating and cooling, as the lamps do not generate as much heat as the halogen bulbs that currently light the space Another advantage of LED light is that it produces little to no ultraviolet (UV) light, which is damaging to most object types. Light damage to objects not only causes fading; overexposure can also lead to weakening, discoloration, yellowing, and embrittlement of both natural and manmade materials. Damage caused by light exposure is both cumulative and irreversible. We strictly monitor light levels in exhibitions based on the type of materials displayed.

New ceiling tracks have a tighter grid configuration than the previous system. This will allow for greater flexibility in lighting and exhibit design, and provide consistent lighting throughout the exhibition. The lamps selected for the track have an adjustable beam mechanism, which eliminates the need for separate fixtures for floods and spots. The easily adjustable telescopic lens can slide forward and backwards for wide flood beams or narrow spot beams.

Not to be used as a construction document Overhead plan view of GMD’s Gallery 241.

E.H. SPRING 2021

GOLDSTEIN MUSEUM OF DESIGN

LIGHTING PROJECT | MANNEQUINS

Meet Our New Mannequins!

GMD was fortunate to receive funding from the College of Design for purchasing four new ethnically diverse mannequins, which represent a more expansive demographic and begin to fill the huge gap in representation. People come in many colors, shapes, and sizes, but mannequins used in museums tend to be tall, thin, white, and Eurocentric. While GMD will continue to dress mannequins already in our collection, we recognize that they depict an incredibly narrow range of people. This hinders the accuracy of the intended design and fit of apparel objects in GMD’s collection.

The newly acquired mannequins will be used for gallery exhibitions, photography of the GMD collection items, and for the exhibition of student designs in McNeal’s administrative offices.

Instead, mannequins were custom made in Frida Kahlo’s profile and her body proportions. To create these mannequins, the V&A worked with some of the best mannequin manufacturers in the world, one of which was Hans Boodt of the Netherlands. GMD’s budget did not allow for the development of custom mannequins, but we did find Hans Boodt offered ethnically diverse mannequins based on 3D scans of actual individuals.

These could be painted in any color and altered slightly to fit our needs.

We are very pleased with the look and quality of the mannequins, which you will see in our upcoming exhibition Totally Radical: Designing the 1980s.

Finding these mannequins was not a mere Google search away. Virtual fashion exhibition tours from museums around the world were visited to identify possible mannequins for purchase. In 2018, the Victoria and Albert (V&A) Museum held the exhibition Frida Kahlo: Making Her Self Up. Using traditional fashion mannequins for this exhibition was not appropriate; they did not provide a truthful sense of the wearer, they did not support the curatorial work, and extant clothing objects did not fit on them properly.

E.H. goldstein.design.umn.edu

9

Jerome Joss Internship | Acquisitions

Ebonee Rainwater Graphic Design M.F.A. Candidate 2020 Jerome Joss Intern

The term “curation” is used somewhat widely in today’s mediated culture. People curate playlists, dinner menus, and capsule wardrobes. When curating collection objects for a shared resource, such as the permanent collection at GMD, there is greater responsibility. Those making selections are ultimately complicit in establishing legacy, preserving heritage, and providing catalysts for future curatorial narrations. The past three recipients of GMD’s Jerome Joss Internship, Laureen Berlin-Gibson, Ph.D. (not pictured), Hana Bushyhead, M.Arch., and Ebonee Rainwater, M.F.A. candidate, have been instrumental in widening the curatorial perspective of GMD. The internship asked them to identify objects by BIPOC (Black, Indigenous, People of Color) designers for potential acquisition into the permanent collection.

Over the decades, GMD’s collection has been built on the generosity of object donors, resulting in a rich resource for research and exhibition. While the collection includes thousands of objects designed by people on six continents, GMD has minimal representation of 20th century objects by BIPOC designers. After working with graduate students over the past three years on this curation process, we are now purchasing items identified through their research. GMD has a limited acquisition fund, and we are delighted to have this rare opportunity to hand select objects to preserve for contemporary and future audiences.

The following page provides two examples of objects recently purchased for GMD's permanent collection, which are in alignment with the goals of the Jerome Joss Internship. We will be featuring additional acquisitions in GMD's Fall magazine.

Hana Bushyhead M.Arch Graduate 2020 Jerome Joss Intern

SPRING 2021

GOLDSTEIN MUSEUM OF DESIGN

JEROME JOSS INTERNSHIP ACQUISITIONS

2021 ACQUISITION At the time of Dame Zaha Mohammad Hadid’s death in 2016 (b. 1950), she was referred to as “…the greatest female architect in the world,” but one questions if that sentence needs the word “female” in it at all. Born in Baghdad, Iraqi-British architect Hadid embraced an energy that could not be contained within traditional form.

The small scale of this cheese grater, which Hadid designed for Italian product design company Alessi, is a small contribution to the world of design when compared with structures such as her London Aquatics Centre for the 2012 Olympics or the Guangzhou Opera House in China. However, it reminds us to challenge convention, and rethink the limitations of the modernist design mantra less is more.

2021 ACQUISITION

ZAHA HADID British-Iraqi Product Designer Forma Cheese Grater for Alessi

Delina White, member of the Minnesota Chippewa Tribe, Leech Lake Band of Ojibwe, is a native apparel designer, jewelry maker, and beadwork artist. Her work, which has been on exhibit at many places including the Walker Art Center and the Minneapolis Institute of Art, explores native identity with a focus on gender fluidity.

This dress, which is part of a collection titled IamAnishinaabe, combines contemporary design with traditional imagery. White’s thoughtful approach to design asserts the importance of native designers in contemporary culture, transmitting joy and self-worth to those fortunate enough to wear her pieces.

goldstein.design.umn.edu

DELINA WHITE, IAMANISHINAABE Native Apparel Designer Basketweave Woodland Applique Dress Photographer: Terrance Clifford Model: Jhane Myers

J.M. 11

Board Member Feature Interview with Beth Bowman

Beth Bowman is the President of the GMD Advisory Board. She studied Fine Art and Design in the U.S. and France, earning a Masters Degree in Arts Education at the University of Minnesota. She continues her career in arts administration focusing on organizational development and human resources, working for Olu’s Home and Olu’s Beginnings in North Minneapolis. She engages in various activities, including 40+ exhibitions and volunteer services with many nonprofit organizations.

The mission of the GMD Advisory Board is to enhance design education through fundraising, community advocacy, and volunteer support for GMD. As President of the Advisory Board, Beth convenes regularly scheduled board meetings and presides at each meeting. She serves as a strategic thought leader, collaborator, and catalyst for action representing the museum to various stakeholders, working collaboratively with the GMD Director. Serving on the executive committee, her works include bylaws and policies update, talent recruitment, leadership development, staff support, board exit interviews, leadership training, and resource development.

Her appreciation for design objects grew from her passion for art and design. “My first love is drawing,” she said, “My favorite classes were always studio art, humanities, and other creative-related electives.

What I love about the practice of drawing is that it is really SEEING. Observing, seeing, and problem solving…capturing something…a thought, an idea, a solution, a feeling. Drawing is fundamental to everything really, including all design. A chair doesn’t just appear, it must be drawn first. Clothing is designed or drawn first before it can be made.

Drawing is in everything and so is design. It impacts all of our lives so greatly and when it’s bad, we feel it.”

Beth Bowman, President of the GMD Advisory Board

Beth finds the values of GMD as a “little gem”, a mighty organization that captures one’s imagination and makes our region attractive. She believes GMD continues to provide services and resources of values, reflecting Facing Change (a national initiative of the American Alliance of Museums) and creating increased accessibility through digital engagement platforms in a post-pandemic world.

G.L. SPRING 2021

GOLDSTEIN MUSEUM OF DESIGN

B OA R D M E M B E R F E AT U R E

Thank you, Lin!

| THANK YOU, LIN!

“Lin is a born leader.”

- Eunice Haugen Our previous director Lin Nelson-Mayson retired in January. Lin has been a passionate, endless leader for GMD for over the past 15 years. As many said, GMD could successfully serve as an academic and community design resource thanks to Lin's expertise in museum operations, a wealth of experience, and understanding of cultural fluency. We will miss Lin and her supportive and warm leadership. We wish her the best in future adventures! Happy retirement, Lin! “Lin has been a tireless advocate for the museum, raising its status from what was often called a well-kept secret locally to an institution sought out internationally. She expanded our outreach within the College, raising awareness of GMD as a collegiate resource, and oversaw exhibitions that related to all college disciplines in both Rapson and McNeal. She represented the Goldstein at our state and national museum associations, applied for national and state funding grants, participated in National Arts Advocacy Day in D.C. and Arts Advocacy Day in Minnesota, and maintained an ongoing relationship with our 4th District Congressional Representative, Betty McCollum. She should feel proud of her legacy and we look forward to her continued association with us in some manner during her retirement.”

- Barbara Lutz

See the following page for the notes from our Interim Director & Associate Curator Jean McElvain!

goldstein.design.umn.edu

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Interim Director’s Note

In January, Lin packed up her office in 364 McNeal Hall. For years, the space had hosted conversations about curation, budgets, object-based learning, and museums in general. We continued to discuss all of these things after the March 2020 COVID shutdown, but our focus had shifted. And my work was now interspersed with making my third grader lunch, and devising obstacle courses out of laundry baskets for her PE class.

One day, as I drained the shells for yet another box of macaroni and cheese, I looked at my strainer and realized what an utterly unremarkable product it is. It is an old, white plastic strainer, partially deformed on one side due to a run-in with a hot pan. I don’t remember getting it, and it is certainly not well-designed.

It does not have an ergonomic handle or rubber grips on opposing sides. It does not expand to sit over my sink.

This everyday object has little to offer relative to rich discussions on design. We might rhapsodize about our hand pottered coffee mug or our new Hydro Flask refillable water bottle, but a strainer like this teeters on the edge of a trash can.

Complex issues related to sustainability, social justice, land stewardship, aging populations, mass transit, urban/rural divides, public health, and myriad other issues challenge us to think systemically about design, and act as agents of change.

However, if I am compelled to keep a strainer like this for over 30 years, there might be something to say about it. Maybe something related to product life cycles, consumer behavior, divestment patterns, materiality, or functionality.

Now if only I could walk down to 364 McNeal Hall and have another conversation with Lin… Jean McElvain, GMD Interim Director & Associate Curator

GMD Staff Jean McElvain

Eunice Haugen

Colleen Pokorny

Ebonee Rainwater

Interim Director & Associate Curator jmcelvai@umn.edu

Dora Agee Waller Collection Assistant pokor033@umn.edu

Registrar & Exhibitions Coordinator hauge363@umn.edu

Barbara Lutz Archivist lutzx106@umn

Garim Lee

Lila Bath Communication Assistant lee02169@umn.edu

Dora Agee Waller Graphic Design Assistant rainw006@umn.edu

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Contact us today: adambuhr@umn.edu or 621-624-7808

SPRING 2021

GOLDSTEIN MUSEUM OF DESIGN

LIFE MEMBER

Joanne B. Eicher

Nor Hall & Roger Hale for the Rehael Fund of the Minneapolis Foundation Correction Sandy Kasma

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To join or renew, go to z.umn.edu/GMDmembership goldstein.design.umn.edu

DONATIONS TO THE COLLECTION Ruth Hanold Crane Kristine Erickson Gloria Freeman Brad Hokanson Janet L Johnson Daniel Martin Jean McElvain Lin Nelson-Mayson Mariann Tiblin

DIGITIZATION FUND

Beth Bowman Elizabeth Goebel Jane Hatlevik Amanda Helling Audrey & Chris Henningson Sheila Leiter John Ollmann Irene Ott Kevin Pokorny

IN MEMORY OF

Ellen Cargill Terrell

By Connie Osthus

IN HONOR OF

Charlene A Burningham

By Janet Kinney

Lin Nelson-Mayson

By Linda & Phil Boelter, Beth Bowman, Ruth & Doug Crane, Joanne Eicher, Julia Robinson, Lisa Thimjon

GMD ADVISORY BOARD 2020-2021 PRESIDENT Beth Bowman Olu’s Home/Olu’s Beginnings VICE PRESIDENT Katie O’Neil Consultant BOARD MEMBERS Kelly Groehler Alice Riot LLC Kent Hensley Hensley Creative Kimberly Holifield Glamorous Life LLC Thomas Kane Thomas Kane Design Heather (Soladay) Olson Soladay Olson Lynn Purcell Copywriter Frederica Simmons Mia Shawn Spott RBC Wealth Management Julie Steenerson Fractional CEO Gene Valek KNOCK, Inc. Susan Wittine McDonald Remodeling

MEMBERS AND SPONSORS

GENERAL SUPPORT & ANNUAL APPEAL Georgene Angrist Louis Asher Marian-Ortolf Bagley Donald & Beverly Bajus Barbara Bjork Marjorie Boening Beth Bowman (sustainer) Ann Braaten Catherine Cerny Jeanne Corwin Mary Davenport Dolores DeFore Kristine Erickson Louise Fritchie Trude Harmon Donald Hastings Kent Hensley Lynda Jacobsen Gordon & Janet Johnson

Janet Kinney Marit Lee Kucera Gabrielle Lawrence Jean McElvain Marcie & Mike O’Connor Jennifer Olivarez Katherine & Shane O’Neil Tim Quigley Lou Ann Restad (sustainer) Julia Robinson Susan Sell Marlene & Harlan Stoehr Julia Wallace Claudia Wielgorecki Jean Wilhelm

I

Louis Asher Marian-Ortolf Bagley Shirley Barber William Bloedow Meredith Bloomquist Linda Boelter Beth Bowman Ann Braaten Elizabeth Bye Catherine Cerny Nina Clark Jean Illsley Clarke Sarah Cox Ruth & Doug Crane Laura Daumann Faye Duvall Mary Dworsky Karen Fandrey Beth & Gary Hanson Trude Harmon Jean Hawton Barbara Heinemann Audrey & Chris Henningson Kent Hensley Virginia Homme Lynda Jacobsen Donald Clay Johnson Janet & Gordon Johnson Thomas Kane (Sustainer) Janet Kinney Lynette Kopperud Marit Lee Kucera Pamela Lott Linda & Dave Mona Sandy Morris Robert Nelson Lin Nelson-Mayson Sarah Nettleton Carol Neumann Heather Olson (Sustainer) Katherine O’Neil

Lynn Purcell & Gene Valek Julia Robinson Mark Schultz (Sustainer) Susan Sell Joan Solomon Marlene & Harlan Stoehr Lisa Thimjon Karen Owen Tuzcu Susan Moody Verrett Julia Wallace Claudia Wielgorecki Jean Wilhelm Susan Wittine (Sustainer) Mona Wuertz

INTERIM DIRECTOR’S NOTE

NEW AND RENEWING MEMBERS

On sabbatical Lisa Thimjon MN Department of Health 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,

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GALLERY 241

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GMD Trivia Q. Which potter in the GMD collection also taught at the University of Minnesota?

A. Warren Mackenzie

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SPRING 2021

GOLDSTEIN MUSEUM OF DESIGN