USD Magazine Fall 2022

C O U R T E S Y O F M I N G E I I N T E R N A T I O N A L M U S E U M

[ a p p r e c i a t i o n ]

alking among the glass vitrines inside the newly renovated SOLES graduate takes reins of Mingei International Museum by Matthew Piechalak W RETHINKING COMMON ART

“At the dawn of the Industrial Revolution, Yanagi was concerned that people would lose apprecia- tion for folk crafts, the beautiful pieces made by unknown crafts- men, so he set out to create the Mingei Movement — to celebrate, preserve and ensure the long future of the making of these objects,” explains Hanson York. “We’re trying to get everyone to slow down, appreciate what really matters, and to think about the elements of an object that can have a more meaningful duration in their lives.” The Mingei’s collection is vast. It includes more than 25,000 objects from more than 140 countries. Among the collection are textiles, ceramics, jewelry, toys, tools, furniture, ceremonial and ritual objects — some

“We’re on a good track,” says Hanson York. “Certainly, we want to be more proactive and accountable with how we work with groups in our community to ensure that our exhibitions are relevant, meaningful and reflective of who we’re serving.” The museum collects, preserves and exhibits folk art, craft and de- sign from all eras and cultures of the world. Mingei is a Japanese word that was coined by the phi- losopher Yanagi Sōetsu, which translates to “art of the people.”

Leadership and Educational Stud- ies (SOLES) Master of Nonprofit Leadership and Management and new head of the Mingei museum. This summer, Hanson York took over for Rob Sidner, who retired after serving as executive director for 16 years. This is an exciting time for the Mingei, which reopened in September 2021 following a multiyear $47 million renovation aimed at transforming the museum, which is housed in one of Balboa Park’s original buildings.

Mingei International Museum, Jessica Hanson York ’13 (MA) is passionate as she explains what makes the art collection unique. “I get so excited when someone comes in here and sees an object behind glass and they say, ‘I grew up with one of those on my grandmother’s counter.’ It makes them rethink the things that surround them,” says Hanson York, a graduate of the School of

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