Play

Dear Mingei Members,

No matter how old I get, I will forever associate the onset of summer with more time for play! We take this season to heart at Mingei, which is evident in our Entry Level in particular, where visitors are greeted with whimsical armadillos, a bright mural, and paper flowers in abundance. As the world grows ever more complex, we believe there is immense value in finding time to play and explore through creativity.

At Mingei, play is present in the Tuck and Roll installation, where each animal figure delights with unexpected charm and craftsmanship. I love seeing our visitors with their noses pressed to the case, taking in every detail of the armadillos! On the Exhibitions Level, the emerging artists in the Student Craft exhibition provide fresh ideas and perspective, and spoons in the “Spooniverse” are rendered in a range of lively forms. The Museum’s educational programs invite play through engaging games like Village Crafters, which you will read about in this issue of Communiqué. Most importantly, when community members like you gather in this space for social connections, events, and programs, it fills our galleries with laughter and life.

Even our behind-the-scenes work is infused with playfulness—whether staff members are discovering new craft practices in our library or our curatorial team is developing exhibitions that encourage wonder and discovery. This spirit of exploration and joy is what makes Mingei special.

We believe that when people play, they connect more deeply with art, with each other, and with the creative spirit that lives within us all. Thank you for being part of our community of makers, dreamers, and players! Wishing you a wonderful summer.

Jessica Hanson York
Executive Director & CEO

Layered Narratives: Quilted Stories of Gender and Race at the 1876 Centennial uses quilts of the era, along with accounts of Black American experiences, to recontextualize the 1876 Philadelphia Centennial exposition. This exposition was the United States’ first World’s Fair and the 100th anniversary of the signing of the Declaration of Independence. The Centennial was meant to celebrate U.S. national identity, showcase innovation, and encourage global exchange. Layered Narratives sheds light on the people and stories that were underrepresented—particularly the contributions and voices of Black women and the Black community. This exhibition expands our historical lens, revealing the overlooked and under-recognized stories that exist in parallel with the Centennial quilts.

Quilts, carefully crafted by skilled hands, are a treasured part of people’s innermost lives. Quilts have many meanings and purposes—used as tools for warmth, forms of artistic expression, or acknowledgments of milestones and celebrations. These creations utilize leftover printed or dyed fabrics, repurposed cloth, and even freshly bought yardage, carefully assembled in patterned quilt blocks that have their own significance. Whether it is through the use of personal mementos, the resourcefulness of utilizing scraps at hand, or the symbols in the motifs themselves, each decision tells a story. Guided by trends and personal taste, quilts are time capsules of their period and a reflection of the materials quilters had access to—in effect acting as witnesses to history and lived experiences.

Alongside quilts from Mingei’s collection, curator Olivia Zen Joseph included a piece by Dawn Williams Boyd, a contemporary artist from Atlanta, GA. In Piscean Dancer, Boyd celebrates African American and Black women throughout history and talks about the lessons learned through their experiences. In front of four Black artists are little dancing girls—a reminder of the freedom and joy she enjoys on behalf of ancestral women who may not have been able to enjoy such autonomy. Boyd’s cloth painting highlights the contributions of Black women while using layered symbolism to expand on the strength, resilience, experiences, and history of Black Americans. Piscean Dancer is an example of all the stories and experiences that exist beyond the facade of the Centennial.

"Reflecting on the work of Dawn W. Boyd, which explores Black history and resilience in the face of adversity, I am drawn to the themes of community and connection...

To me, the playfulness and joy embodied in this work—and works like it—stand as representations of hope, memory, and authentic expression." — Olivia Zen Joseph

Tuck and Roll: The Art of Armadillos captures the whimsical charm of the armadillo—nature’s armored oddball. With nicknames like “pocket dinosaur” and “shell puppy,” the armadillo inspires a sense of delight. Though only one species can actually roll into a ball, the image of a creature tucking into itself embodies the playful side of craft and folk art.

The objects on display celebrate interpretations that turn biology into stories and fantasy. Playful molding of materials and the artist's imagination, humor, and resourcefulness create a zany cast of characters. A creature constructed from seashells mimics the layers of a three-banded armadillo, and googly eyes transform beach finds into a quirky individual. In the form of teeny, glass molten swirls, these adorable glass dollops resemble as much the house of a snail as the armor of an armadillo.

One can’t help but say: “Look how cute this one is.” “This one is so funny!” or “This one is my favorite.” Even in the curation of the show, there were unofficial names for the groupings: Flat____Splat, Cutie Patooties, Little Balls, Can You Ear It, or How Long Can You Go.

Tuck and Roll invites us to see beyond objects—to view bowls, toys, and figures as moments of delight and cultural storytelling. In the hands of makers from across the Americas, the armadillo becomes more than an animal; it becomes a muse, a metaphor, and a mirror for the joy of creation.

Teenage years are often an experiment of self-discovery. For the emerging artists of Student Craft 2025, art classes offer fruitful outlets for expression. The invitation to participate in this year’s exhibition asked students to consider the impact of icons in their own lives. Musicians, relatives, religious figures, and social justice leaders were among the subjects for 20 selected works.

“Nina Simone means a lot to me. I really wanted to find a way to use advanced [embroidery] techniques and also highlight her hair, which is such an important part of her stage presence and her character.” — Turin Morgan Harris Burdick, 12th Grade

“I want people to take away that [Van Gogh] was struggling mentally. Most people recognize him only for his paintings but don’t really know his emotions and how he struggled for most of his life. I wanted to use Starry Night, because it’s his most famous painting and people recognize it more. The process took about 30 hours.” — Shyla Kopp, 10th Grade

In a few cases, artists chose mediums they’ve only been practicing since the beginning of the 2024-2025 school year. Trying new techniques has opened the door to a world of creative possibilities.

“That’s actually the first shirt I’ve ever made. As for jewelry, I’ve made necklaces and earrings, and we sold them at an exhibition at my school. I learned textile work through my art teacher this year. The necklace took me a while to figure out what [materials] I was going to use. I took inspiration from African cord necklaces—fabric wrapped around rope.” — Finn McIntyre, 12th Grade

“I’ve been working with metal since the start of the school year. We have metalsmithing as one of our class options, and I thought it would be cool to try it out. It took me about three weeks to make the piece. It was a really fun piece to make.” — Madyson Null, 11th Grade

“This is the first mug I’ve ever made. I started [ceramics] in August of 2024, and I’m still going.” — Omar Herrera, 11th Grade

Student Craft 2025 is on view until August 17, 2025.

Would you trade all of your clay in exchange for leather? School in the Park students have considered this question while playing Village Crafters, a card game developed by Mingei’s Student Programs Specialist, Chiho Saito. Chiho and the Marketing and Design team worked together to create a playful way to teach the history of bartering.

In Village Crafters, students work as one village to create as many crafts as they can. To collect all resources needed to complete a craft, they must barter with other teams. Resources include leather, wood, rock, bamboo, clay, and plant fiber. Craft Cards feature objects from Mingei’s collection: Axe, Fish Trap, Maneki Neko, Basket, Armadillo, Molcajete, Clay Horse, Snow Shoes, Chair, and Vase. Each round includes a “Day Time” session to barter resource cards followed by the “Night Time” in which unexpected events shake up the gameplay. Halfway through, a Currency Card is introduced, and students discover how the introduction of money changes the artisan economy. At the end, students calculate the value of their completed Craft Cards to see the profits of their village.

“Village Crafters has been a total hit with 4th graders! In my research on the history of beads, their use as currency seemed like a fun gateway to teach the lesson. I’ll be honest, the first run was pure chaos with all 34 students trying to barter at once! Over time, we found our groove, and they didn’t want the game to end...

Developing Village Crafters included meetings with game enthusiasts from the Comic-Con Museum and trial runs with fellow School in the Park teachers and Mingei staff. It was important to think creatively and consider potential points of confusion, smoothing out the wrinkles before presenting the game to young minds. The final result is a highly-interactive card game that teaches students about humble resources, Mingei crafts, and the history of commerce.

Loops for Hoops

Some people love a good beach read; others crave a book for the porch swing. A recent addition to the Museum’s library suggests another summer reading destination—the basketball court. This book, Net Works: Learn to Craft Handmade Nets for Basketball Hoops in Your Neighborhood by Maria Molteni, is now on the library’s shelves. Several years ago, Molteni, an artist, discovered empty basketball hoops close by and decided to re-net them. The idea caught on, and she founded NCAA (New Craft Artists in Action) to crochet or knit nets for empty rims wherever they were located. The movement grew, and these works of art, intended for daily use on the playground, are now on playgrounds from Boston to Oakland and as far away as Budapest, Johannesburg, and even Zamboanga City, Philippines. What was a pleasure-filled labor for Maria Molteni and her NCAA colleagues became a way to restore the joy of basketball, artistically presented, to players, young and old.

Filled with information and fun, Net Works begins with a history of basketball, then teaches the reader how to knit and crochet. Next comes a section on the nets and the artists who made them. Finally, there is a section called "Sidelines" filled with delightful miscellany.

Included with the book is a zine, Senda/Sedna, with two articles—one on Senda Berenson, the founder of women’s basketball and the second about Maria Molteni’s latest piece of basketball art, the Star Ball.

Being in the Know While on the Go

One of the joys of folk art is its penchant for witty invention that can lead to unexpected solutions for mundane problems—challenges met with art and practicality. A case in point is the “patchwork” Japanese Farmer's Coat, recently on view in Blue Gold. You’ll find it on page 77 of An Opinionated Guide: Folk Art, a delightful little book that recently arrived in the library. Featuring art of the people from around the world, it describes traditional objects of use through the ages along with their photographs. The library invites you to consult Folk Art, whenever you’re in the Museum.

From balconies overlooking Balboa Park to an intimate courtyard, Mingei offers a wide variety of venues to host unforgettable events. The award-winning building, designed by architect Jennifer Luce of LUCE et studio, includes three levels of breathtaking architectural surprises and commissioned artworks. Our spaces are uniquely designed to uplift the art of the people, including every milestone and moment that we share together. When you craft an event at Mingei, you set the scene for a gathering full of inspiration, beauty, and impact.

ARTIFACT at Mingei is also home to Urban Kitchen Catering, the Museum's preferred caterer and exclusive on-site bar service. Their team of expert culinary designers are dedicated to the art of gathering for groups small or large. At ARTIFACT, craft cooking is always inspired by ancient methods, spices, and botanicals.

Thank you to everyone who attended our Members’ Reception celebrating Mingei’s Spring Exhibitions! We were delighted to mark the occasion alongside our dedicated members and special guests from San Diego and beyond. The morning was a wonderful reminder of the enthusiasm and support that continues to sustain the Museum. We hope you will return to explore the exhibitions again this summer—there’s a good chance something new will be on view since your last visit!

Mingei is grateful to the members and friends who contributed to the Museum’s 2025 Spring Appeal. This year’s campaign supported the core of Mingei’s mission—its exhibitions and programs.

Thank you for being a part of this dynamic community, one where we all believe art and creative expression are more important than ever in our lives.

This fall at Mingei, prepare to immerse yourself in scenes of mid-twentieth century marvels. Characterized by warm-toned woods, earthy textures, repurposed industrial metals, and a post-war invigoration for hand-crafted arts, mid-twentieth century aesthetics captivate design lovers in Southern California and beyond. Three shows highlight nostalgia and nature in folk art, craft, and design.

Inside the Design Center, collaboratively curated by Dave Hampton with Steve Aldana and Todd Pitman, is a vignette of mid-twentieth century interior, lighting, and furniture design as selected by Ilse Ruocco for her 1950 showroom. Ilse and Lloyd Ruocco’s Design Center, located in the Hillcrest neighborhood of San Diego, was a foundation for the modern design community of the 1950s, ‘60s, and ‘70s. This story taps into the culture and community of post-war modernism, valuing groundbreaking creatives and emphasizing California’s distinct mark on mid-twentieth century design.

Boundless: Reflections of Southern California Landscapes in Midcentury Studio Ceramics features over 150 objects from Mingei’s permanent collection, exploring Southern California landscapes through the work of mid-twentieth century ceramicists. Ideated by Mingei curator Guusje Sanders, this show provides a larger context for appreciating Midcentury Modern ceramics, experimentation, and influences. Many pieces in this collection were acquired or made by the Museum’s founder, Martha Longenecker, as part of her initial framework for the Museum itself.

Restitched: Feed Sacks in Mid-Twentieth Century Quilts highlights the resourcefulness of early mid-twentieth century makers through seven colorful quilts. This collection celebrates the ingenuity, resilience, and creativity of feed sack quilters—people affected by the Great Depression in the 1930s and World War II in the ‘40s—who repurposed cotton bags used to package bulk dry goods.