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Designing Stickley

Hello, everyone! DMA resident exhibition designer Jessica Harden here to give you a short and sweet behind-the-scenes snapshot of where some of our inspiration for exhibition design comes from. The Gustav Stickley exhibition was fun to work on because I had lots of great resources, including original photographs and The Craftsman catalogues, which Stickley published with drawings of many of his architectural and interior designs and finishes . . .

as well as records of popular colors of the time. We chose paint colors for the exhibition based on the Sherwin-Williams Arts & Crafts palette. BTW, drawing up plans for the exhibition is also part of my job . . .

as is producing construction drawings.

But back to inspiration and resources—this is a photograph of a model dining room created to show Stickley’s furniture in 1903.

. . . and this is our gallery at the DMA that we designed and built to replicate the original.

In fact, if you look around the Gustav Stickley exhibition galleries, you might notice a number of details that were inspired by Stickley’s original designs. Here, we were inspired by how Stickley used interior cut-outs to define spaces and create interesting thresholds to transition from one room to the next.

We also took inspiration from Stickley’s use of simple trim work on walls to help us define spaces and create a more residential environment for the exhibition. This included using a cap rail to imply a lower ceiling height in our 14-foot-high exhibition galleries.

And just to have a little fun, we took a few chances to let visitors discover glimpses of upcoming galleries and objects along the way.

Even some of the smallest details of the exhibition were inspired by Stickley. Here you can see that the mount for this lamp was modeled after drawings from Stickley interiors and was fabricated by our extremely talented preparators and carpentry staff. They even made new heads for the screws to match the originals!

Gustav Stickley and the American Arts & Crafts Movement is on view at the Dallas Museum of Art until May 8, when it will travel to San Diego to open on June 18.

Jessica Harden is Exhibition Design Coordinator at the Dallas Museum of Art.

Empathy in Museum Design and Interpretation

Wow, what a weird world we are living in!

I want to start by saying how much we miss our visitors. We can’t wait to be able to return to the Museum so that we can continue to create the exhibitions and experiences we’ve all been dreaming about. In the meantime, I want to tell you a little bit about how the Design and Interpretation team at the DMA uses empathy to center our processes and thinking around you, our visitors.

Historically, museum design teams were trained to use an object-centered aesthetic approach, which prioritized object safety and making exhibitions pretty. Over the past 10 to 15 years, however, the way we think about design in a museum has changed. DMA designers place visitors at the center of our thinking and apply an experience- and needs-based approach.

Design and Interpretation is a visitor-centered department that cultivates meaningful communication and compelling experiences. Photo taken from a recent departmental retreat.

The DMA put this idea into practice by creating the department of Design and Interpretation in 2018. The idea was to create a collaborative creative team that places content and the visitor at the center of our processes of creating exhibitions and museum experiences. Our goal is to create rich, dynamic, and engaging experiences that our visitors can explore in deep and meaningful ways. Throughout our planning process, we consider how visitors will use, navigate, and interact with our spaces. Through visitor studies and evaluation, we research and learn about human behavior. We study subjects like environmental psychology, multiple learning types, and how people perceive and process information. We discuss differences in mobility and sensory sensitivity as we strive to be welcoming and accessible for all. We plan for families and groups of various sizes and types. And we have worked very hard toward our goal of providing inclusive experiences for broad audiences, such as creating bilingual and more accessible exhibition content, and working with our education team to expand our offerings that address special needs audiences. A recent example of this is when we provided noise-canceling headphones, “doodle” instructional signage, and braille booklets developed for the exhibition speechless: different by design.

Noise-canceling headphones and braille booklets were offered at the entrance of speechless: different by design.

Now, more than ever, this visitor-centered approach to design and interpretation is extremely important in how we are thinking about upcoming museum experiences. We are researching, learning, and planning for the evolving needs and behaviors of our visitors in the post-pandemic world. We are thinking about how we can address fears and how we can hold a space for complex feelings; we want to ensure that our facilities are prepared and our content remains relevant, relatable, and meaningful.

We understand that humans need ways to express, connect, and process the myriad of emotions elicited by the world in which we find ourselves, and we at the DMA are uniquely equipped to provide our visitors with tools and experiences that can help. Whether it is giving visitors encouragement to express ideas, feelings, and fears through independent activities, or creating experiences that allow our visitors to connect deeply and meaningfully with artists and artwork, we hope to meet the wide range of needs exposed by this global health crisis.

Jessica Harden is the Director of Design and Content Strategy at the DMA.

Designing Mexico

This week we will open the doors to México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde, but work on the exhibition began weeks ago. Exhibition designers Jessica Harden and Skye Malish-Olson shared insight into the process of creating the gallery spaces that serve as home for the works of art during special exhibitions.

Jessica Harden: A lot of the work that Skye and I do is to plan for movement of people and objects and really take into account the overall visitor experience and how people interact with and participate in the exhibition.

Skye Malish-Olson: The planning process definitely varies from project to project. I think the most fun for us is always the color and graphics and how that comes together with the objects.


Image: Barragan House, Mexico City, 1948. Photo © Barragan Foundation, Birsfelden, Switzerland/ProLitteris, Zurich, Switzerland

JH: One of the first steps of working on an exhibition for us as designers is to talk through the checklist (the list of works of art that will be included in an exhibition) with the curators and to understand which objects are the most important. We can then take that information and use that to our benefit in the design.

SMO:  We’re also typically working with a lot of different eras, and lots of times we’ll start with a kind of mood board or just different visual references to give us a starting place, for color, and for how to portray objects in a way that tells a story.


Image: Luis Barragán’s San Cristóbal stables in Mexico City, 1960s. Credit René Burri/Magnum Photos

JH: With México 1900–1950, we worked off of a lot of the plans and designs that were developed for the presentation in Paris. This informed in many ways how we wanted to treat the checklist and some of the spaces, but then we had to take into consideration or own space and our own audience, so we made a lot of adjustments. The 10,000-square-foot exhibition is showcased in two separate spaces, a first during my time at the DMA. The exhibition begins on Level 4 in what has typically showcased works from the DMA’s permanent collection, and then continues on Level 1 in one of our main temporary exhibition spaces.

I met the challenge of a disconnected space with a visually strong and contextually relevant inspiration: the work of Mexican modernist architect Luis Barragán, known for his combination of strong, vivid color with clean, modernist forms. Applied in our México 1900-1950 galleries, these colors and forms, offset from the DMA’s existing architecture, assert the entrances and designated areas of the exhibition. The paint application and dynamic forms help lead visitors through a space that is dense with powerful works of art, without feeling claustrophobic. Bright colored panels of wall frame and highlight the sumptuous color of a number of paintings, while creating visually fresh and exciting lines of sight as one moves through the space. An additional benefit is the way these colors work with the existing architecture and wood and limestone finishes, as Barragán was also known for his use of raw materials. From the big picture down to the smallest detail, the exhibition designer’s task is to facilitate an aesthetic experience from the exhibition content that is greater than the sum of its parts.

SMO: I am really excited about the scale and color in the México 1900–1950 exhibition. It is definitely a rare treat and we’re using all of our space and multiple galleries to house these really large and amazing works. I think having our space activated in this way will be really exciting for our visitors.


Image: Cuadra San Cristobal, Mexico City, 1968. Photo © Barragan Foundation, Birsfelden, Switzerland/ProLitteris, Zurich, Switzerland

Jessica Harden is the Director of Exhibition and Museum Design and Skye Malish-Olson is the Exhibition Designer at the DMA.

Art Customized

The Custom Option Group events are a brand new facet to the DMA Partners program (formerly membership). To create these new groups, we have been listening to our Partners (formerly called “members”) to learn about what they enjoy most at the DMA. We’ve worked closely with other departments in the Museum, and with institutions across the Dallas Arts District, to design and plan events, activities, and tours that are unusual, giving current DMA Partners insight and knowledge into the Museum and the works of art unlike ever before. We’ve planned events ranging from intimate curator-led tours in the galleries, to going behind the scenes at some of our local theaters, to creating your own work of art during an artist-led workshop here at the DMA.

Currently, we have three unique Custom Groups available: Art Focus Options allow DMA Partners to engage more directly with the art that interests them, the Education Focus Options give DMA Partners the opportunity to learn and participate in the art world, and the Admission Options are great way for DMA Partners to share the DMA with their friends and family.

This year, we have already held a few events, including the return of Book Talk, The Warehouse gallery talks, docent- or curator-led tours, and our first event this year: Designing the DMA. This highly requested event featured our very own Jessica Harden, director of exhibition design, and Mandy Engleman, director of creative services, discussing what goes into the DMA’s design process, from typeface to exhibition layouts, and how different design elements contribute to the development of the special exhibitions you love. The response we received from the event was tremendous and extremely positive-–and just what you have been looking for!

To see what’s going on in your Custom Option Group, check out the Events for Partners page on our website, and I hope to hear your ideas and suggestions for new events!

Find out more about DMA Partners here.

Maegan Hoffmann is the assistant manager of the DMA Partners Team.

What I Learned from the Stark Museum

Last week, I traveled to Beaumont with Jessica Harden, the DMA’s Director of Exhibition Design, to present at the Texas Association of Museums Annual Conference.  Together, we presented on the topic of Building an Interactive Art Exhibition with two colleagues from the Stark Museum of Art: Allison Evans, Registrar, and Elena Ivanova, Chief Educator.

Hands-on spaces and interactive art exhibitions have been on the rise in art museums. In 2008, we launched the Center for Creative Connections (C3), a permanent space dedicated to providing interactive learning experiences for visitors of all ages. Our portion of the presentation addressed the changing nature of the C3.  Over the years, the space has evolved and transformed, bringing in new works of art and offering a variety of experiences. The Stark’s portion of the presentation spoke to their experience of developing a temporary interactive exhibition called Explore Art: Materials and Methods Revealed. From July-September 2012, this exhibition enabled visitors to “discover the techniques and tools artists use and have the opportunity to create their own art in hands-on areas.”

When gauging the success of these types of exhibitions, art museum educators are hoping visitors will slow down, spend time looking, and have a meaningful experience with works of art. On average, visitors to the Stark spent thirty minutes in the exhibition. 57% of visitors stopped and looked at works of art for a significant amount of time and 48% of visitors were able to mention a specific work of art that they remembered from the exhibition.

Being a smaller institution, the Stark cannot dedicate a permanent space like C3 within their museum. However, they have been able to implement some of these interactive aspects into their new exhibitions. Take a look at some of the recent interactives they have integrated below.

Many museums look to us at the DMA as an example of how to achieve this type of exhibition. We are fortunate to have supportive staff and donors who believe in the mission of C3, and enable us to continually offer these types of experiences to our visitors. What I learned from the Stark Museum was that small institutions are also prime places for similar initiatives, on a smaller scale.

Jessica Fuentes
C3 Gallery Coordinator

Facing Off

Our exhibition Face to Face: International Art at the DMA is composed of never before seen pairs of objects drawn straight from the Museum’s collection. They are joined across cultures, great distances, and centuries of time to present an entirely new way to experience and celebrate a collection that is thrillingly diverse and over one hundred years in the making.

David Smith’s Cubi XVII and Aristide Maillol’s Flora

Organizing Face to Face required the collaboration of every member of our curatorial staff. Dr. Anne Bromberg, our curator of Ancient and Asian Art, spearheaded its sprawling course, spending weeks and weeks stalking the galleries, storage areas, and even her own colleagues to negotiate across departmental divides and ensure that what came to fruition was groundbreaking.

The result is a rare chance to see some of our “greatest hits” in lively and entirely new contexts. Visitors are welcome to speculate for themselves upon the many ways paired works might be related. I expect there are no right or wrong answers to these investigations, and that the discoveries one can have touring Face to Face are essentially limitless.

Peruvian Panel and Ellsworth Kelly’s Sanary

This is the first pair to welcome you to the exhibition. The composition of both works relied upon geometry and the stunning experience of pure color. The ceremonial textile from the Huari culture of Peru is beautifully composed of hundreds of blue and yellow macaw feathers—the yellow offering soft complement to the naturally iridescent shimmering of the blue.

Sanary, by American artist Ellsworth Kelly, presents a more complex pattern created from recycled paintings. No two colored squares repeat side by side, and like the feather panel, their summation elicits an explosive though carefully controlled punch of pure color. Their paired visual impact must be seen to be believed.

Egyptian mummy mask and Amedeo Modigliani’s Portrait of a Young Woman

Of all the pairings, Dr. Bromberg has said this one raised the most eyebrows among her colleagues, but after placing them side by side for the first time during installation, it became clear that though derived from wholly different civilizations and made for completely different purposes, they were easily relatable as unique expressions of the very human desire to immortalize beauty through portraiture.

Male figure from Nigeria and Naum Gabo’s Constructed Head No. 2

There’s much to be learned—things you may never have noticed before until you’re faced with this unique installation. This pair in particular enables audiences to reflect upon decisions the artists made in depicting their subjects abstractly. One might spend hours ruminating over their own visceral reactions to their striking features.

Eugène Delacroix’s Portrait of a Woman in a Blue Turban and Standing femail figure from the Democratic Republic of the Congo

Our Exhibition Design Coordinator, Jessica Harden, worked closely with Dr. Bromberg to create specific lighting, color, and spatial treatments for every pair in Face to Face. Its dynamic installation highlights the need to take one’s time in the exhibition. Here each artwork can be appreciated more intimately on its own terms.

This is particularly true with the pairing of Eugène Delacroix’s Portrait of a Woman in a Blue Turban and the standing female figure from the Luba peoples of Africa. Lengthy meditations over the artists distinct but relatable choices in depicting their subject’s tranquil and quintessentially feminine beauty are highly encouraged.

An entire case in Face to Face is dedicated to things that sparkle! And here it’s true that not all that glitters is literally gold. The DMA maintains a strong collection of decorative, functional, and ceremonial objects fashioned from precious materials by a variety of cultures for an even greater variety of reasons.

Shiva Nataraja from India and The Dharmapala Vajrabhairava from Tibet

Face to Face’s broad representation (albeit in a small space) of the DMA’s expansive, internationally renowned collection is inspiring. The exhibition not only draws our attention to the mysterious nature of creating and studying art but also to that lesser realized art form of building a collection.

While exploring any museum, it’s easy to forget that a collection is built by people, and at the DMA these people have for over a century now nursed a vision that not only tells the history of art but also the story of our great museum.

Auriel Garza is the Curatorial Assistant for Ancient Art, Non-Western Art, and Decorative Arts & Design at the Dallas Museum of Art.

Friday Photos: Designing Exhibitions Workshop

Last Saturday, a dozen teachers explored exhibition design in a half-day teacher workshop, slipping in and out of the galleries before the crowds waiting for one last look at The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk.  We were thrilled to have Jessica Harden, DMA Exhibition Design Coordinator, take us through various galleries she had designed. As we looked at the work, she enlightened us on the effect of design elements on visitor experience. It was especially exciting to hear Jessica explain her creative process for the Gaultier exhibition, which is full of imaginative elements, such as a satin-tufted display case and graffiti-filled walls!

The teachers spent the second part of the day designing mini exhibitions of works in the DMA’s collection. They considered lighting, wall color, interactive components, mood, and object and visitor safety, pinning their layouts and ideas to project boards. The teachers ended the day by sharing how their chosen design elements expressed the focus of their exhibitions. Here’s the breakdown of our Exhibition Re-design Project.

Enjoy these photos that capture some of our fun morning. Thanks to all the teachers who joined us on Saturday!

Andrea Severin

Coordinator of Teaching Programs

2012 Spring Teacher Workshops

We are officially in the middle of January, and that means that it is time to announce our Spring Teacher Workshops for 2012!

The Fashion World Of Jean Paul Gaultier: From the Sidewalk to the Catwalk at the Dallas Museum of Art

If you have ever wondered how exhibitions are created, then you absolutely must attend our first workshop on February 11th, Designing Exhibitions. Learn about the creativity, challenges, and design of exhibitions at the Dallas Museum of Art with the DMA’s exhibition designer, Jessica Harden. Explore The Fashion World of Jean Paul Gaultier from the Designer’s perspective, participate in art-inspired, design-based thinking projects, and be prepared to look at museum exhibitions in a brand new light.

As you may know, we love the idea of combining art and poetry, so we are excited to promote The Art of Language: Mark Manders and Elliott Hundley as an Adult Workshop that is open to teachers as well as the general public. This evening workshop will take place at the Dallas Museum of Art and the Nasher Sculpture Center on March 8th. Come and explore connections between language and visual art in this workshop, as we examine the work of contemporary artists Mark Manders and Elliott Hundley. Led by Farid Matuk, poet, and Dr. Cynthia King, an English professor at UNT, as well as staff from the DMA and the Nasher, participants will discover each artist’s unique relationship to language and then respond to the exhibitions through writing.

Still Life with Books, Table and Fake Newspaper, Mark Manders, 2010, Collection David Teiger

The Amazon, Joseph Stella, 1925-1926 The Baltimore Museum of Art: Purchase with exchange funds from the Edward Joseph Gallagher III Memorial Collection









Later this spring, on March 31st, The Twenties: American Art, Literature, and History will coincide with the exhibition Youth and Beauty: Art of the American Twenties. Participants will view the varied works in this exhibition and study key American artworks in the DMA’s collection as they explore ideas about art, literature and popular culture in 1920s American life.

We hope to see you at the DMA in 2012!

Jessica Kennedy
McDermott Intern for Gallery Teaching


carolyn_poleroidCarolyn Bess
Director of Arts & Letters Live

Me and my job in 50 words or less . . .
I oversee Arts & Letters Live, the DMA’s literary and performing arts series, which brings some of the greatest names in contemporary literature and the performing arts to the Museum. We invite our talent to respond to the DMA’s collections and exhibitions in creative ways, by writing new poems or choreographing new dances inspired by art.

Three things about me, but not about my work . . .
I love traveling, reading, quilting, antiquing, and enjoying all the Arts District has to offer.
One of my favorite exhibitions at the DMA was China and Glass in America: From Tabletop to TV Tray because I have a slight obsession with china (my cabinets are full).
My experience at the International Spy Museum in DC indicated that I could have been a spy if I’d chosen a different career path.

Favorite three works in the DMA . . .
It was painful to edit this list, because I have too many favorites to count.
Gerald Murphy, Watch, 1925
Gothic Revival Bedstead
Constantin Brancusi, The Beginning of the World, c. 1920

hillary_poleroidHillary Bober –
Digital Archivist

Me and my job in 50 words or less . . .
I am the museum’s go to girl for all things historical, from 1903 to last year. I know, or can figure out, what was done when, by who, and why. I also work to make the museum’s history publicly accessible online.

Three things about me, but not about my work . . .
I’ve been in Texas now for 6 ½ years.
I have a BA in Anthropology/Archaeology and excavated slag and what may have been a stone floor for 7 weeks on my field school in northwest England.
I make a really good coffee cake.

Favorite three works in the DMA . . .
Morris Louis, Delta Kappa, 1960
Gustave Caillebotte, Yellow Roses in a Vase (Roses jaunes dans un vase), 1882
Robert King (Designer) and Albert C. Roy (Maker), Celestial Centerpiece for the 1964 New York World’s Fair, 1964

sarah_poleroidSarah Coffey –
Education Coordinator for Internships

Me and my job in 50 words or less . . .
I coordinate the Museum’s McDermott Internship Program and help facilitate other internships, ensuring that our interns’ time with us is rewarding and engaging. I also keep stats for our education programming and pitch in on other projects as needed.

Three things about me, but not about my work . . .
I got engaged on the Eiffel Tower in Paris.
I love mid-century modern, abstract expressionism, and Mad Men.
I find print mixing easy, but can never decide which top to wear with black pants.

Favorite three works in the DMA . . .
Eiffel Tower by Robert Delaunay, 1924
Untitled (3/00), III by Charline Von Heyl, 2000
Ocean Park No. 29, Richard Diebenkorn, 1970

Katie Cooke –
Manager of Adult Programs

Me and my job in 50 words or less . . .
My job is to make sure adult audiences are having an engaging and fun experience at the museum during Second Thursdays with a Twist, Adult Workshops and Partner Programs. My days consist of booking performers, researching for tours, brainstorming activities, working with local artists and much more.

Three things about me, but not about my work . . .
I am obsessed with corgis, but I don’t have one…yet. I have a running list of about 25 podcasts I listen to regularly, the addiction does not seem to be slowing down. A dream of mine is to visit every National Park in the United States

Favorite three works in the DMA . . .
College of Animals by Cornelis Saftleven
Balinese Head by Miguel Covarrubias
Panel with Feline Figures from Wari (Huari) provincial


Jessie Frazier –
Manager of Adult Programs

Me and my job in 50 words or less . . .
I manage talks, tours, and film programs for adult visitors. I get to connect with scholars, artists, writers, podcasters, and other wonderful people who visit to speak about DMA collections and special exhibitions. It’s the dream job for a lifelong learner like me.

Three things about me, but not about my work . . .
I’m a huge foodie. I love to cook, I used to bake professionally, and I am fascinated by food history. One day I hope to do a little food writing.
I have a basset hound named Jenny (after Forrest Gump)
My favorite books are Orson Scott Card’s Ender series. I’ve read them several times.

Favorite three works in the DMA . . .
Mask with seal or sea otter spirit, late 19th century
Yellow Roses in a Vase by Gustave Caillebotte, 1882
All of the utensils in the American silver collection


Leah Hansonleah_poleroid –
Director of Family, Youth, and School Programs

Me and my job in 50 words or less . . .
Most days, you are likely to find me sitting on the floor in the museum galleries surrounded by babies, toddlers and preschoolers. I play many games of “I Spy” with works of art, read pictures books, and encourage mini dance parties, all to help young children have fun exploring art.

Three things about me, but not about my work . . .
I’ve hiked the Inca trail to Manchu Picchu.
I play the piano and the viola and pretend to play the guitar.
Organizing things makes me happy (and ridiculously nerdy, I suppose).

Favorite three works in the DMA . . .
Ivy in Flower, Henri Matisse
The outside of inside, Olafur Eliasson
Window with Starfish (“Spring”) and Window with Sea Anemone (“Summer”), Louis Comfort Tiffany

harden_poleroidJessica Harden –
Director of Design and Content Strategy

Me and my job in 50 words or less . . .
Let’s see . . . Exhibition design is a little hard to explain. I don’t just design spaces, although this is a huge part of what I do; I design experiences. It’s part architecture, part interior design, part furniture designer, part creative development, part project management, part research, part interpretation, part imagineer.

Three things about me, but not about my work . . .
I’m a Texan, born and bred. My family has lived here since it was the Republic of Texas. I’ve lived in a lot of different places, but Texas will always be my home.
I am a yogini. Most of my time outside of work is spent practicing, studying, and loving yoga. I’ve been practicing on and off for almost 12 years now. I am even planning on getting certified to teach in the very near future.
I refuse to be put into a box, and I am chock full of contradictions. I’m a country girl that loves living in the city. I’m a hometown pageant queen that loves getting her hands dirty. I’m 5’10 and drive a smartcar.

Favorite three works in the DMA . . .
Traction Splint by Charles and Ray Eames
To think that the ubiquitous forms of bent plywood modern furniture started with the resolve and determination to figure out how to fabricate a lightweight and durable splint for the US Navy . . .
Ocean Park No.29 by Richard Diebenkorn
Maybe it is the ordered geometric divisions that create its composition, maybe it is the painterly quality of the artist’s hand, perhaps it is the potency of its fields of color, or the subtleness of the hues within them, whatever it is, it takes my breath away every time.
Un Ballo in Maschera by Yinka Shonibare
There are so many components and complexities to this work of art that you start to wonder what is so special about a painting.


stacey_poleroidStacey Lizotte 
DMA League Director of Adult Programs

Me and my job in 50 words or less . . .
I oversee and help create the adult programming at the Museum including Late Nights, Thursday Night Live, lectures, gallery programs, concerts, and programs offered in partnership with other community organizations. I also work with our Multimedia staff to make sure any programs requiring technical support go off without a hitch.

Three things about me, but not about my work . . .
I’m short.
My favorite band is The Cure.
My favorite book is Pride & Prejudice.

Favorite three works in the DMA . . .
Untitled (Perfect Lovers) by Félix González-Torres
The Singer by Thomas Wilmer Dewing
Bacchic Concert by Pietro Paolini

Martha MacLeod –
Senior Curatorial Administrator for the Curatorial Department and Curatorial Assistant European and American Art Department

Me and my job in 50 words or less . . .
My job has two hats.  When I wear the Curatorial Assistant one, I support the European and American Art Curators with exhibitions, acquisitions and research.  When I put on my Senior Curatorial Administrator hat, I coordinate all aspects of collaboration between the Curatorial department and the other museum departments as well as with the trustees and colleagues at other museums.

Three things about me, but not about my work . . .
I am a terrible cook, in fact I can only make five things, two of which are coffee and scrambled eggs.
The first car I bought had a manual transmission, the salesman had to teach me how to drive it before I could take it home.
I am distantly related to Angus “Giant” MacAskill, who is listed in the Guinness Book of World Records as one of the tallest men known to live.

Favorite three works in the DMA . . .
Silence by Antoine-Augustin Préault
Self-Portrait of the Artist and his Family in his Studio by Paul Claude-Michel Carpentier
Study for “The Spanish Dancer” by John Singer Sargent

skye_poleroidSkye Olson –
Exhibition Designer

Me and my job in 50 words or less . . .
I work collaboratively to realize a vision from an abstract concept to a physically compelling experience. On any given day, you might find me building 3D models my hand, designing casework on 3D software, or happily immersed in paint swatches and fabric samples.

Three things about me, but not about my work . . .
I love to listen to design podcasts, practice yoga, and my favorite film is Paris, Texas

Favorite three works in the DMA . . .
Anne Truitt, Come Unto These Yellow Sands II
Robert Irwin, Untitled
And I am in love with all of the African textiles in our collection. The Egungun on display in particular because it has a life of its own, it becomes animated with dance and is meant to be experienced in motion.


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