LIVE Q&A with MoMA Exhibition Designers (Nov 14)


Hello everyone. We’re here in the Exhibition Model and
Planning Room at the Museum of Modern Art. My name is Lana Hum. I’m the Director of Exhibition Design and Production. My name is Mack Cole-Edelsack. I’m Senior Design Manager on the
Exhibition Design and Production team. Today, we’re here to answer your questions
about how we work with curators and artists to craft the exhibitions you see here at MoMA and what it means to be a member of
the Exhibition Design team. We received a lot of great questions from
the trailer we posted a couple of days ago. So we’ll start with some of those. But our producer will also be
passing some questions along to us. So let’s get to the first question. This is a multiple question, single subject. Essentially, what did you study to
become an exhibition designer? We heard from María López Vlk,
mossykittens, and shkvart. So what did you study to
become an exhibition designer? Well, Mack, I studied the same thing
you studied to become an exhibition designer. I studied architecture and Mack did as well. However, I should note that the exhibition
designers at the Museum of Modern Art come from all different educational backgrounds. We have among our staff people who
studied industrial design, interior design. We have lots of artists on our team as well. In particular, the carpenters and
the framers and the builders. The makers in our department are artists. Many of them are musicians. So I would say that it’s a very diverse
background that we come from. Did you wanna elaborate on any
other educational experiences that I also studied philosophy and religious studies which did not necessarily inform Exhibition Design. I would argue that it does. But now it certainly does. Okay. This comes from nataliealan. What’s the best way for a graphic designer
to transition into an exhibition designer? By continuing education or experience? Could you tell us more about how you
work with the Graphic Design team at MoMA when creating exhibits? Mack? Well, I’ll focus on the second part which
is how we work with Graphic Design. And this is true for most of the
departments in the Museum. We work quite closely with Graphic Design. While they have their own design timeline
and work specifically on title graphics and in-exhibition graphics, we do model reviews
together and we work together in the space in terms of placement and scale tests and
just thinking through how the graphics will interact with the artwork and the flow of the show. It’s a very integrated process. So I would say that a graphic designer can
transition into an exhibition designer. I mean, I think when you’re thinking about
graphic design, you are thinking spatially. That’s where the Exhibition Design team here
intersects with the Graphic Design team here. But I think that we’re all being spatial
thinkers when we work together. But I would recommend for the
transition to do more sculptural things. Like perhaps taking a sculpture class
or studying architecture, those things. And I think when I transitioned from being
a studio art major who focused on drawing, I was interested in architecture. One of the things that was recommended
to me was to take a sculpture class. This question comes from YouTube. Sanna Chang asks, “What is unique to the
way that MoMA approaches Exhibition Design compared to other museums? Have you ever been to an exhibition
that was badly designed? And if so, what about it was off? What kinds of skills are needed to
be a good Exhibition Designer?” Okay. Well, that’s several questions. I’ll take on the first. I don’t know exactly how exhibition
is done in other museums. I find that at MoMA, like the hallmark of
our processes, that we’re very collaborative. I would say that we feel Exhibition
Design is a very critical process. It’s also a very integrated process. I think we work very closely with our curators. We’re lucky enough that we’re
fully integrated into the process. I also think that another way that distinguishes
how Exhibition Design is done here at MoMA is that we have a full team of people, of
builders that we work very closely with. I think that perhaps at other institutions,
I think I know that at some other institutions, the building is outsourced. So it’s more of a process that is aligned
with the way architecture is done where you have idea phase, a design development phase and then you go into a construction document phase. And then those documents
are handed off to a builder and then that’s when the building process begins. We have a much more integrated process, fluid
process where we ideate iteratively and we go back and forth on the ideas with our builders,
with our full teams of carpenters and painters and mechanics and framers. Yeah. To the second part of the question, without
necessarily throwing shade on any specific exhibition, I think we’ve all experienced
being in a space that didn’t feel like it was either married to what it was trying to do or felt generous in the way that we might want it to feel. True. Or maybe wasn’t as considered, well
considered as we would have liked it to be. Right. Sure. Krista Kimble and her fifth grade
students in Haymarket, Virginia. What are some specific ways that you plan
for your exhibit to engage the audience and make them feel an emotional connection? What a lovely question! Did you wanna speak to that? Sure. I mean, I think, in some ways,
that’s what Exhibition Design is. And so some of the specific things we do are,
for example, work in model and really work with the curators and all the other teams on
what it’s gonna feel like as we move through the space that then develops into drawings
and construction documents and eventually the in-gallery installation where, again,
those are exactly the kinds of considerations along with art history and the curatorial
concept that are coming into play. We also work across the other
fields of expertise at the Museum. We work with an interpretive strategy team
to include multiple voices to get different perspectives on the exhibit. We also work with other materials in our collections
like the archives to maybe put more context to a show, give it some historical context. I think, again, it’s about that process, that
collaborative process that we’re trying to engage. We’re trying to think about all the different ways
that an audience can connect into the exhibition. Yeah. I mean, also to just jump on that with some
specifics, I think questions of scale, varying scale, how sound and video are incorporated,
often, we sort of can consider the entire soundscape of the gallery as another layer. Color is an obvious one. So, it’s a great question. Let’s see. From Instagram, chezfoxyjam asks, “If
MoMA published a book on its principles of Exhibition Design, what would be
the most surprising insight?” I think that one of the most surprising
insights would be, in exhibition design there’s so many, again, so many different
people that go into making the exhibition. I think that might be surprising, that
it’s not about a singular person. It’s not about this kind of
singular attribution of authorship. I think that there are so many people that
contribute. That might be surprising. Like I really think that it’s
a collective process. Can you think of other things? It seems right to me. From Manny. The question is, “Hello. Love the channel. My question is how does architecture play
into the designing of an exhibition? Do you work with architects at all? Thanks.” Well, we do. At the Museum of Modern Art, we do
change the architecture of the galleries. It plays a very important part. Mack mentioned kind of the issues of scale
and how we create environments to evoke different types of scale, like maybe grand
scales or more intimate scales. We’re always taking our cues from the artwork itself. So it is an important part of what we do. And to the question, do we work with architects at all? That’s another thing that’s unique at MoMA. I mean, definitely, we work with architects. But we also have like a really great team of
internal staff that come from so many different backgrounds that I feel that we can.
We’re always collaborating with people. So even if we do use architects, I think our team
still completely engages in the design process. And I think also, just to add in, that most
of our galleries were designed as completely open spaces without partitions. Sorry, not most but a lot of our
special exhibitions galleries were. And so whenever we’re putting in partitions,
considerations of egress, sprinkler coverage, lighting, come even more to the fore because
we’re modifying a space that was designed as a completely open plan. And we do have to maintain all the normal
things that any public space has to maintain. Correct. I think we’re also very respectful of the
architects that are part of the building’s history, of our building’s history,
of our entire campus history. So there are the Taniguchi galleries that
we love the proportions of and that we often reference to create a nicely proportioned gallery. We like to respect the details
that the architect has given us. I mean, our campus is made
out of a few different buildings. So among the architects that we’ve
gotten to know via their architecture are the Goodwin/Stone building has a particular feeling and
a particular architecture. The Philip Johnson building has
a particular feeling as well. I mentioned the Taniguchi building. And now we’re in the next phase of an expansion
project, which will give us more spaces to consider and to get to know. Okay. Alexandra via YouTube asks, “What resources,
for example books or websites, do you go to for inspiration, installation ideas,
materials, et cetera?” So we do have a wonderful
resource on the MoMA website. It’s the MoMA Exhibition History. The MoMA Exhibition History is a full visual
catalog of all the exhibitions in MoMA’s past. Does it date back to 1939? So it dates back to 1939. And that’s a fantastic resource
that anybody can tap into. There are links to the catalog when possible. And I find I’m always referencing the Exhibition
History because MoMA does have a great a very robust history of exploration
and Exhibition Design. So, I love to look back at our radical
past and draw ideas from that. Yeah. And I think, obviously, going to other shows. And it’s easy because we’re in the building
but also just, the nice thing about working with such a big team and we have a lot of
designers on staff, getting to see how other designers even on our own team are working
with spaces that we may have worked in before. I mean, I can’t tell you how many times I’ve
walked into a show that one of my colleagues here worked on and was like, “I never
thought to do that with the skylight” or something like that. I think this building, one of the wonderful
things about these open plan galleries and the spaces that we’ve been given to work in
is just you’ve never kind of gotten through every possibility. There seems to be endless possibilities, like
as much as we get to know the spaces, which is great because it’s nice to be intimate with the space. But then it’s wonderful to be
surprised by it at the same time. Okay. Here’s the question. This is a question that comes from
one of our producers I imagine. What are some of the models on the table? Okay. Our team, our wonderful team of exhibition
designers, we work with models a lot. The entire team does. The model’s an excellent tool. And I think people can really relate to models. But we make maquettes of every
work that’s in an exhibition. So we have models at half-inch scale, and a
half-inch scale is equal to a foot in real space. And we have about two or three models for
every temporary exhibition gallery in the Museum so that we can work
on multiple exhibitions at a time. So we make little half-inch scale models
of the artwork that’s in the galleries. And I can show you some of this. This is the Louise Bourgeois Spider that we
had in the atrium space of our Museum. Was that last year, Mack? It was last year. And this is part of our permanent collection,
the Rachel Whiteread Water Tower, which is on the roof of our building and can
be seen from the sculpture garden. These are scale figures, people walking in
the galleries, which is also very important. It helps us understand spatially if there’s
too many works on a floor, if we have enough clear pathways to move comfortably around
the artwork, and also to keep the artwork safe. I think this is a wonderful. This
is actually one inch to one foot. It’s a scale model of our Brancusi. I forget the title of this work but it represents
one of the works that are currently on view in our Brancusi exhibition. Did you wanna show some others? I think this is sort of a mock
model with a variety of things. So this isn’t of a show but this is a real space
in the Museum and some possible works. For example, we have a Charles White here. See, often we print the name
of the artist on the back. Yeah. This is how we work. We move things around. We see how they feel. The lovely thing about the iPhone is that its camera
is almost perfectly at scale eye-level height. So you can actually take your phone and kind
of make a video walking through the model and that ends up being almost as good as a
digital rendering but without all the work. And we also have a nice connection to the
database that stores all the images of the works in our collection so that when we
make these maquettes, we can actually There’s like a program that draws the images from
our database and puts them right into AutoCAD at a one-to-one scale. And then we print them out at
whatever scale we need for a model. That’s very helpful in quickly
iterating through these models. The other thing about the maquettes that I
wanted to note was that, as you can see, there’s so many different styles of maquette-making. It’s a wonderful way to really study an object. I think it keeps us in touch with our
process with what we are as makers. I think it’s a good way to just study an object
and I think really think about what’s evoking the most salient features of a particular object. I really personally love making models. It’s my secret retirement plan. It’s a good one. Oh, this is for me, right? You did the last one? YouTube. YouTube user Abby Broussard says, “So
excited for this livestream. My question is, since design can be so subjective, how
do you decide whether or not a design idea works? Is it based on your individual process or
based on feedback after the fact? Also, how did you hone your
design process in general? Thanks.” This is a great question. So I think that when you ask how do you know
whether a design idea works or not, another thing that I love about Exhibition Design
and especially here at MoMA is that it’s a very rapid process. Relative to other design processes where you’re
putting out a product, like we very quickly iterate through ideas. So I think we take a very experimental approach. So I feel like a design is successful when
we’ve honored an artist’s vision or when we tried an idea in earnestness. We’ve pushed it as far as we could. In terms of like if it’s failed, I don’t know
if I can say that it’s a failure if we went through a very thoughtful considered process
and we kind of pushed it as far as we could go with it. I don’t consider, like even if it’s a critical
failure for instance, if nobody likes it, or if the press pans it, I still
feel like it’s been a success for us. I mean, I still feel if we’ve learned something
from it, if we’ve pushed an idea, if we took a chance, if we took a risk, then it’s successful. Yeah. Did you… Yeah. I think also one of the great things about what
we do is we get to see whether or not it works. Something we tried and we’re hoping that visitors
would choose to make this extra turn and it turns out most of them didn’t and so this
corner of the gallery ended up being emptier or less viewed We learned something. As you said, that’s something we learn from,
and actually getting to be in the space and see how people interact with it was amazing. And the critique is part of the process. I think that we invite critique. I know nothing we put out there is
going to be absolutely perfect. I think that if we can keep listening and keep
open, then I think it’s a successful process. And if you see that something is unsuccessful
before we open and we have a chance to fix it, we do. Yes, this is true. What’s next? Should we pick from here? All right. Okay. This is coming from
renee_pascual via Instagram. “What’s the most challenging part of
designing the exhibition space? Also, what has been the most difficult exhibit
that you guys have ever worked on?” So I think one of the most challenging
parts of designing the exhibition space. Well, there are many challenges. And the exhibition design, each
exhibition will pose its different challenges. I would say we’ve had some. One example of
a challenge is kind of butting up against what’s possible in the building, because the
building, we like to change our spaces and we like to think of our building as a
living thing that changes personality. We do, as I said before, want to respect
the original architecture of the building. We’re asked sometimes to do things that might
not seem very comfortable in terms of changing our building forever. But we appreciate the challenge. We’ll always give it the exploration. We’ll always try to like push it and
see how far we can go with it. And we actually are excited by the
possibility that we can change it. We wanna find the way to do it. So some of the most challenging exhibits we’ve
worked on have been the most rewarding. I love the example of the Robert Gober exhibition,
The Heart is not a Metaphor, where we did something that we may have…
we had to figure out that we don’t do… It seemed like a challenge, but we
cored a part of the building slab. We removed part of the building slab for an
artwork and that turned out to be incredibly exhilarating and incredibly exhilarating to
figure out how to solve that problem with Robert Gober. So, yeah. I would say that the challenges
are really exciting as well. Do you have other experiences, Mack? You’ve had a lot of challenges. It’s funny. Yeah. There are these technical challenges and then
also, often in terms of the space, I find something that comes up again is balancing
a desire to really have a structured path through space while maintaining a feeling
of openness and not being controlled. And so I find often, like particularly with
developing the floor plan, that’s the thing that’s really exciting and also really challenging. That is true. And also our curators often time will want
to keep a chronological thread through the galleries and sometimes that’s difficult because
you can’t, as Mack says, control people. But you wanna suggest. You wanna give them enough visual
cues that you’re suggesting a path. We should go to the next one. From Instagram, joee_richman “What was your most exciting exhibition to
design and your most technical?” Well, I guess exciting could be good and terrifying. It’s a show we don’t always talk about, but
the Bjork exhibition was really thrilling. We did amazing things and also not just that
exhibition but I was thinking about this thing and what we were gonna talk about. You mentioned Robert Gober but coming… This was after that, right? Bjork was after. Right. So right after Robert Gober, we did Scenes
for a New Heritage, Bjork, Latin America in Construction, and Jacob Lawrence,
all in a rather short period. And I just remember, I think of that. I know it’s not one exhibition
but that period is just being Very challenging. Challenging and exciting and a moment where
the team we have now really like bonded a lot because some of us were pretty new at
that time and we all were kind of working with each other and helping each other where
we could, and we’re all in a lot of places. And I just remembered that being quite exciting. I agree, Mack. It had such a high opportunity for learning,
that we were learning to work with each other as a fairly new team. But I think we all showed, again,
our commitment to the artists. We did things that were challenging technically
and we were doing things that were challenging. It’s just an interpretation. But I agree with you. I’m very proud of the way
that we all work together. And I’m really impressed by how
eager we were to just try new things. That was the time of really trying a lot of new things. And most technical… My mind wanders to something else actually
that was before my time here, which was a chandelier I had to work on that required
an engineer to actually do static modeling on a 3D model to test point loads on, I think
it was 140 different ceiling points. I mean, as far as pure technical,
that was one of the I remember that project, Mack. That project, it impressed me
when you showed it to me. Sometimes installing a Richard Serra can be
the most technical thing going on even though it seems like it’s just one thing
moving into a building. True, yeah. And technical things, it’s not just scale
that define like a technical challenge. I mean, it could be figuring
out a climate control case. Those challenges are really successful.
I mean, challenging. And I can tell you one example of where we…for
the Picasso sculpture, the Picasso sculpture show. Matthew made a climate control
case that performed so beautifully. We tested it for, I think it was how many
months, like three months we tested it. And it was declared this amazing success. But it did, once we just got it into the space,
it still performed but it required much more maintenance when it was just sitting
like in a very challenging space on the non-climate control space. And, of course, it just performed beautifully. But like once we got it to the gallery, it did require more maintenance than we thought it was going to. Okay. Oh, shame on you. So for those of you who saw the trailer,
you will appreciate this question. vic_tttor from Instagram wants to know. He only wants to know why
he, Mack, smells like a salad. Mack doesn’t smell like a salad. It was during this time that we talked about
the Bjork show where you were just trying to put nutrition like in the most
efficient possible way into your body. It was efficient nutrition. Exactly. It was efficient nutrition. So with all things, Mack, you solve problems
so beautifully, you solved that one. You had a box of arugula on your desk and
you were just eating from it because… All day. That way I knew that I’ve had the
minimum by the end of the day. I’d had plenty of vegetables. So that’s why we’re here. We’re problem solvers here. That was a great way to solve a problem. This is from Mike Sorgatz who can be
reached at @mikesorgatz on Twitter. How do you manage traffic flow through exhibitions? How do you balance the need for people to
contemplate work versus avoiding bottlenecks? That’s a great question. Well, we have good partners in this. We have excellent security team. Like the question suggests, it’s really about
achieving a balance and it can be pretty tricky. We’d like to create environments that are
appropriate for the artwork, of course, but we also have those practical considerations
that the Museum has about 6,000 visitors, average of. Six or eight. Six or eight, six to eight. And we can actually experience numbers
far greater than that during busy days. We try to keep certain distances
away from the artwork, for sure. We try to keep clear pathways. I mean, these pathways are also…not only
are they good for visitor flow, but they’re good for art movement as well because there’s
the practical concern of installing the artwork. So we do have to keep clear path work. We just have to remember the visitor experience. And so in that way, we try to design enough
space to circulate around the artwork. Right. Again, managing traffic flow or managing the
flow of people through the space is one of the chief things we’re thinking about with curatorial
and all our partners in various departments. So I think it is about…it’s rhythm. You can use a single-entry room
as a way to create a quieter space. And sometimes we do have to have a security
officer posted at the entry to a single-entry room so that it doesn’t get too full. We have had experiences where we even had
to have line management within a show. This is true. And that VEN security had managed beautifully. Once a certain number of people are in the
building, you can’t totally prevent bottlenecks. Yeah, I think the principles of Exhibition Design
and good circulation hopefully helps us. We’ve modeled a couple different solutions
like you said, just a controlled entry and monitoring how many people
are in the gallery at a time. Those are ways in which we can manage visitor flow. I mean, sometimes, not frequently, but sometimes
outside consultants had been brought in to actually model… That’s true. Human flow through an exhibition or through
a public space as we’re rethinking entries. We’ve also reacted very quickly to times when
we are expecting high attendance where we will…for instance, when the atrium was in
installation, if we can manage to kind of open up a gallery before it’s ready, if we
can just stanchion off works that are still in installation. We’ve done that to just kind of provide some
relief, provide some more seating in the Museum. And we want everyone to have
a positive visitor experience. So we are constantly considering those things and
we’re working together to figure those things out. For instance, the time that I just mentioned
that we put some more seating in the atrium. I think we worked with our security,
head of security on that. And we’ve got a phone call and we tried
to react very quickly to respond to it. Okay. This comes from nautilus belauensis. That’s a great name. It’s a beautiful name. You can’t see it on camera. Well, maybe you can. Belauensis. Yes, it’s very beautiful. From YouTube. How do you choose the color
palette for an exhibition? What were your favorite pieces of art
or exhibitions to work with and why? I love the color question. I think we both have different experiences to share. The color palette, it’s one of the
more fun parts of our job I think. And choosing the color, the inspiration
for color can come from anywhere. It could just come from like a vision that
the curator has or that the designer has. It could come from the work itself, something
that we’re trying to draw out of the work. We’re always considering the work. It has to look well with the work. When you’re around the work enough, a color
will just come to people like at the same time So we’re all standing there looking at the artwork. There can be something that just suggests itself. I love the process that we went through with
Christian Rattemeyer on the Boetti show, the Alighiero Boetti show. And Boetti is an Italian conceptual artist
that worked in the 1960s and he used very humble materials. He used cardboard and paper and aluminum. For that first gallery, Christian actually
thought of the color of a newspaper but of an Italian newspaper which is this like beautiful
peachy color that was just so wonderful and subtle and humble. It kind of had this glow to it that was so beautiful. And for the other colors in the gallery, we
drew upon Boetti’s tapestries and did a little research into what yarns he used in his tapestries
and discovered that that yarn company had their original colorway and
were still making these yarns. And so we got a bunch of samples of those
yarns and we kind of drew inspiration and selected a few for the colors in the gallery. That process was just so fun and I love going
to all the yarn stores in New York City to find samples. The painters will paint us samples. Some of those are behind us. Sometimes we’ll bring them out to our storage
facility in Queens to hold this color next to an artwork or we’ll go into the gallery
and see how it looks with the real lighting. Sometimes you have to work with the catalogue
to see what a piece…because that’s the best we’re gonna get because it’s coming
from a lender or something like that. And that’s really important to test
it out in the galleries, like you say. We often will test things like that out
and other things in the gallery. Like we’ll do paint swatches right on the
wall because the lighting, of course, is important and the color of the floor. So we have terrazzo floors. We have wood floors. And so we really try to test the color before choosing it. And another thing that is wonderful about
this color choosing process is the way people describe color and the way like it’s in their
heads and like you’ll hear curators wax poetically about like the color of a faded rose petal. Yeah, it’s just wonderful. It’s like you’re writing the poem of colors. It’s just like beautiful and wonderful
to get inspiration from that. And then favorite pieces of art or
exhibitions to work with and why? Oh, man. That’s a tough question. So many, and I think…I still haven’t gotten
to work with the piece of art that if you had asked me when I started, I was
most looking forward to working with. I won’t mention it by name. But I was actually thinking about Walid Raad’s,
I think it’s called Scratching on Things I Could Disavow, which was an entire stage
set and performance that sort of comprises a single work. And I was just remembering how much
fun that was to work on, how complicated. Matthew and I worked on that together and
had to actually divide up different components because it was so complicated and it went
everything from an actual sculptural object to an exhibition copy to a collaboration with
our carpentry and painting teams on like tearing up a wall, just in that one piece. And then our handlers hanging artwork high up. Like on that one piece in the atrium was kind
of everyone’s work and then being used by the artist as a performance space to lead
visitors through, not just creating Very full process. So that’s one that I would… That’s great. Alison Spangler asks, “Can you speak to
collaborating with artists on Exhibition Design? Any fun anecdotes.” Actually, working with an artist is one of
the most exciting and interesting things that we do, I think. And you just described working with Walid Raad. I loved working with Robert Gober
who is an artist that I had I saw his installation at Dia in 1990
something and it just impressed upon me so much. I mean, I found, I saved the
little brochure that it… I was like going through some things
and I saved a brochure from it. And so when we were doing our show of his
work here at the Museum, I was just so thrilled. I think it was such a memorable experience. I think the generosity of the artist when you’re
working with them, how they put themselves out there and they invite you into their process,
which I feel is such a gift and I always feel honored when that happens. I love working with artists and all the decisions become There’s a million decisions
that go into making an exhibition. And I just love the thinking around all those
decisions and really getting to know the process and the artist as a result. It’s pretty indescribable. I’m sorry. Did you want to share something
like about working with an artist? I mean, you’ve also worked with… Its’ great. It’s really one of the prime joys, is working
with the people we work with and artists are among them. I remember there was a show where the artist
had blintzes brought almost daily so that they didn’t have to leave the floor and we
had to set up an area and make sure CBS was on board and keep it away from the artwork. It turned out one of the artists I worked
with once was a college friend of my dad’s best friend. So that was kind of hilarious. And I managed to bring him to the opening. It’s that thing where when you’re working
with people collaboratively and things are going well, it stops being, oh my God, this person And it goes from Robert Gober to Bob. And it goes from Lana Hum to Lana. It goes from Brian Rana to Brina. Not Brina, to Brian. That got weird. At a certain point, everyone’s just talking. I mean, going back to Walid, I remember when
he talked about Kenny the painter because Kenny was touching up his wall every
day and like they became friendly. I think that’s one of the beautiful things
about the way we work is just that some of those barriers fall away and we all
get to like do good work together. That’s right. reid.dickie How closely do you work with curators
and what is involved in those interactions? You wanna talk about that, Mack? I think as we’ve sort of been saying all along,
it is a very close collaboration when it gets to the Exhibition Design component. There are many other components of an exhibition
besides the actual physical gallery realization. For example, on a show like this, which isn’t
a show, all our hands will be in there. I mean, that’s how close. My hand will be here and someone
else’s hand will be there. And that’s how closely we’re working. Yeah. I think the curatorial process, again, I feel
lucky that we’re also invited into that process. And I think that we do work very closely
from ideas right into execution. And all those practical things, those production-related
things, like the making of the show, I think we work all the way through from just thinking
about the big concept until the last pieces hung on the wall or installed. No. You are getting all the best questions, Mack. Kenneth Swoyer wants to know,
“Is Mack named after maquette?” No. I’m actually named after the truck. But it is one of these things where it might
have influenced you subconsciously to become an architect, I think. Yeah. That’s fine. I’m gonna go with that. If I ever had named Charo after Charette,
that would be more interesting. Okay. It sounds like we’re wrapping up. So we just wanna say thanks to all the folks
who tuned in from India, Denmark, Germany, Turkey, Mexico, the Dominican Republic, Denver,
Madison, Wisconsin, New York, this very building and elsewhere. All right. Sorry. If you enjoyed this, please check out other
videos on MoMA’s YouTube Channel. We’ve done more of these Q&As,
with curators, conservators, and more. And if we didn’t get to your question during
the live Q&A, please post them again on this video and we’ll try to answer in the next few days. Thanks so much for tuning in. Keep sending us questions and let us know
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don’t miss our next release. And thank you again for watching. It was really fun. Thank you. Thank you. Thank you. Thank you. Thank you.

6 thoughts on “LIVE Q&A with MoMA Exhibition Designers (Nov 14)

  1. Je suis nouveau sur YouTube si vous vous pouvez regardé à ma chaîne et de vous abonnez je serai ravis😘

  2. Thank you for this Q&A, absolutely great! If you have time to answer anytime in the future – I would love to know how has your design practice changed in the context of mediatization of culture in the past few years? What role does media and technology play in your design process? Thanks!

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