Cindi Strauss is an esteemed figure in the art world, renowned for her exceptional ability to situate contemporary artwork within broader historical and cultural contexts. As the Curator of Decorative Arts, Craft, and Design at the Museum of Fine Arts, Houston (MFAH), her expertise has played a pivotal role in shaping the museum’s esteemed collection, establishing it as a premier destination for design enthusiasts across the United States and beyond.
Over the course of her career, Cindi has curated over 30 exhibitions including major exhibitions on design and craft topics such as Ornament as Art: Contemporary Jewelry from the Helen Williams Drutt Collection (2007); Shifting Paradigms in Contemporary Ceramics: The Garth Clark and Mark Del Vecchio Collection (2012); Radical: Italian Design 1965-1985, The Dennis Freedman Collection (2020); and Electrifying Design: A Century of Lighting (2021). In addition to her MFAH publications, she has contributed writing to design and craft catalogues and journals and has been a frequent lecturer.
During Melbourne Design Week, estliving had the privilege of witnessing her engaging conversation with Simone LeAmon, NGV curator of contemporary design and architecture, in the CURATORS CORNER | IN CONVERSATION WITH CINDI STRAUSS event presented by National Gallery Victoria.
Their dialogue, filled with genuine enthusiasm and shared passion for themes like sustainability and the future of design, highlighted the profound impact of craftsmanship on innovation. In Strauss’s view, “handcraft will always have a role in contemporary design. It is at the heart of every innovation.” This sentiment underscores her dedication to fostering thought-provoking discussions that shape the future of creative expression.
The ‘Microstructures’ aluminium gradient chair by Joris Laarman for the National Gallery of Victoria | Photography by Sean Fennessy
What initially drew you to the world of decorative arts?
Cindi: No one thing drew me to the decorative arts. Instead, it was a combination of experiences ranging from growing up in a home filled with Scandinavian and Italian Design (thereby being exposed to design without even realising it) to taking a seminar on the decorative arts in college (a welcome break from courses on painting and sculpture). Until college, I had no idea you could focus coursework on the decorative arts. When I learned I could and realised that many museums actively collected and exhibited the material, I knew I had found my calling.
Can you share a bit about your curatorial approach when conceptualising exhibitions and acquiring new works?
Cindi: Exhibitions generally have a gestation period of three to five years. So, if I am going to spend so much of my time and energy on an exhibition, I need to feel excited about the research possibilities and the objects themselves. Knowing that about myself, I think long and hard about what will hold my attention. I also think very hard about what type of project will contribute to the ongoing dialogue in the field.
To acquire new works for the MFAH’s collection, I focus a lot on innovation in form, material usage, techniques, and aesthetics. Evaluating objects is not an exact science; rather, it engages a series of questions: What will this work add to the collection? How does it speak to the time during which it was made? Where does it fit in a designer’s career? The answers to these questions and others help determine whether a work will be acquired.
Your exhibition and book, ‘Radical: Italian Design 1965–1985,’ delve into a fascinating exploration of modern living amid the turbulent political landscape of 1960s Italy. What did you find most captivating during your research into this exciting movement?
Cindi: One of the great privileges of working on that show was being able to interview so many of the designers. Their memories were so clear, and their passion was still palpable. Their words really helped deeply explain the broad issues and nuances of the movement and contextualised their designs. With hindsight, they were also able to discuss whether their goals had been achieved and what they felt were the lasting contributions of their work. So much about that period is relatively unknown outside of Italy. Understanding and being able to draw attention to the huge impact that the architects and designers active during the Radical period had on the field within and outside of Europe was incredibly exciting.
Holiday in Cambodia II, 2011 by Bernhard Schobinger | Photography courtesy of National Gallery of Victoria
Lockheed long (1985-86) by Marc Newson | Photography courtesy of the National Gallery of Victoria
Is there a particular period or movement that you find most personally compelling or inspiring?
Cindi: That is a tough question to answer. My first love was American industrial design of the 1920s and 1930s followed closely by Italian Design of the 1960s to 1980s. I began my curatorial career in the mid-1990s, a period of great experimentation and excitement in contemporary design, and I continue to be fascinated by what is happening right now.
In your view, how has the perception of decorative arts and design within the broader art world transformed over the years?
Cindi: We’ve come a long way, baby! The decorative arts and design have garnered so much more respect from the larger art world since I entered the field 30 years ago. It is no longer just the province of a small group of dedicated people. Today, encyclopaedic and Modern and Contemporary Art museums are showing design; contemporary art journals are covering it; fairs are including design galleries in their mix of offerings; and collectors of contemporary art are embracing it as more than just furnishings. In addition to all of these accomplishments, the academy has opened itself up to design so that curators and scholars are being educated in its history and theory. With more knowledge comes more appreciation. There is still a way to go but as emerging scholars, curators, and collectors (and the museums and galleries that rely on them) embrace design, the field will continue to be seen as a relevant art form.
How do you see the relationship between historical craftsmanship and modern innovation shaping the future of design?
Cindi: Craftsmanship will always have a role in contemporary design. It is at the heart of every innovation. Even if an object is 3-D printed, handwork often is still part of the finishing process. For me, the objects that harness the best of both worlds are the most successful. I might even suggest that craftsmanship will play an even greater role in design in the future. Consumers are yearning for authenticity and craftsmanship conveys that trait.
How does contemporary design serve as a mirror, reflecting the values and complexities of our modern era?
Cindi: I think that contemporary design is in a transitional phase right now. For as many designers and manufacturers who are thinking thoughtfully about important issues of today such as climate change, sustainability, and economic disparity and their impact on design, there are just as many who continue to create objects that are blind to the changing realities of our times. Designers have an opportunity and an obligation to consider and offer solutions for today’s problems. Unfortunately, until there is agreement on what those problems and priorities are, design will not wholly reflect the complexities of our era.
The Maquette 072 Masking tape light by Faye Toogood for the National Gallery of Victoria | Photography by Angus Mill
What advice would you give to emerging designers or aspiring curators looking to make an impact in the field?
Cindi: I would urge them to make sure that they know their design history. Incredible objects are being conceptualised today as a new generation considers the needs of society. It is just important to be cognisant of what came before in order to explain why your own creation is so exciting or revolutionary.
What guidance or recommendations would you offer to individuals seeking to deepen their understanding and appreciation of the decorative arts?
Cindi: There is no doubt that the internet, social media, and other new forms of visual communication offer a feast of images and knowledge at our fingertips. However, in order to really deepen an understanding of the decorative arts, there is no substitution for seeing objects in person. Museums are an excellent place to learn about decorative arts. Visit their collections, learn about their objects, and use their resources (lectures, tours, research libraries, etc.). Attend local fairs, visit galleries, and go to artist studio open houses. Through these in-person experiences, you can best understand craftsmanship, materials, form and volume, and aesthetics.
Lastly, what do you do or where do you go to be inspired?
Cindi: Inspiration for me can come from literally anywhere if I am open to it. That being said, travel definitely offers a wealth of opportunities to meet designers, visit museums and galleries, and conduct studio visits. From home, I pay attention to what my colleagues are doing at their museums or galleries, especially those outside of the US whom I cannot regularly visit. Fairs, like the annual Salone de Mobile in Milan or Melbourne Design Week, are some of the best places to see emerging trends. In a few days, I can visit dozens of designers and manufacturers, which is definitely inspiring!