Carnegie Museum of Art
Connecting people to art, ideas, and one another.
Role
My work at the Carnegie Museum of Art focused on making exhibitions and programs accessible and engaging for the public through bold visual identities, printed pieces, and digital assets.
My work at the Carnegie Museum of Art focused on making exhibitions and programs accessible and engaging for the public through bold visual identities, printed pieces, and digital assets.
Team
Brette Richmond, Associate Director of Design and Publishing
Zachary Riggleman, Photography Manager
Shaheen Qureshi, Associate Editor
Erin Barnhart, Design and Publishing Studio Manager
Brette Richmond, Associate Director of Design and Publishing
Zachary Riggleman, Photography Manager
Shaheen Qureshi, Associate Editor
Erin Barnhart, Design and Publishing Studio Manager
The Carnegie International is North America's longest-running exhibition of contemporary art, bringing together artists from around the world every four years. For its 59th edition, I supported the Design Director's visual direction by designing a suite of visitor- and donor-facing materials, from opening weekend event collateral to interpretive publications, gallery guides, and resources used throughout the exhibition's run.
Opening Night
Environmental graphics for the 59th Carnegie International opening celebration, including menus, table signage, and digital displays that guided guests throughout the event. Large-scale animated building projection, extending the exhibition's visual identity across the museum campus.
Website animation
Created the looping hero animation for the 59th Carnegie International web page, using artwork by participating artists to introduce the exhibition online. The animation continues to serve as the homepage hero, extending the exhibition's visual identity into a dynamic digital experience.
Performance presented as part of the 59th Carnegie International at the Thelma Lovette YMCA, one of the exhibition's presenting partner sites. Inspired by Ross Gay's poem of the same name, the production explores Black joy, flight, and collective movement through poetry, music, video, and performance. The brochure features cover artwork by a student designer from the Thelma Lovette YMCA.
Designed the exhibition brochure for Tomorrow Was Yesterday, an immersive animation by Torkwase Dyson exploring offshore oil and gas extraction beneath the Caribbean Sea. Produced to connect Dyson's offsite presentation at the Kamin Science Center with her installation at Carnegie Museum of Art, the brochure guided visitors between the two locations. Printed with metallic blue Pantone ink to evoke the reflective surface of ocean water, it unfolds into a 12" × 20" poster, extending the experience beyond a traditional exhibition handout.
Diagrammatic gallery guide for Saloua Raouda Choucair's presentation in the 59th Carnegie International. Created in response to the large number of small-scale works on view, the brochure helped visitors navigate the gallery while providing artwork locations and contextual information to support a closer reading of the exhibition.
Exhibition Brochure
12-page brochure to promote and educate visitors in advance of the 59th Carnegie International. Available at the admissions desk alongside visitor maps and other introductory materials, the publication served as an accessible introduction to the exhibition, highlighting featured artists, curatorial themes, and essential visitor information.
Programming Brochure
Seasonal programming brochure highlighting educational and public programs at Carnegie Museum of Art, with a special focus on events presented in conjunction with the 59th Carnegie International. Displayed at the admissions desk alongside the exhibition brochure, visitor maps, and information guides, it served as a key resource for helping visitors engage with the exhibition beyond the galleries.
Winter Heat
The weather may be cold, but this party brings the heat. For one night, the galleries stay open late, with the Hall of Sculpture transformed—lit up and filled with DJs and dancing. Now in its fourth year, the design used color and layered textures to echo the lighting of the space, radiating warmth throughout.
Parties all summer long in the Sculpure Court
Inside Out is Carnegie Museum of Art’s free summer performance and music series, originally established in 2021. For its fourth season, I expanded the program’s visual language through new, bold, and playful shapes that emphasize motion, activation, and movement. Designed primarily for social media, these assets invited the community into a space for celebration and connection, centering queer and marginalized voices while reflecting the energy and joy of the weekly gatherings.
Marketing campaign for Black Photojournalism spanning out-of-home and digital platforms, including bus wraps, bus shelter ads, billboards, and Google/Meta placements.
The visual system draws from editorial traditions, using a light gray to create an archival tone. Select assets incorporate a newspaper-inspired photo layout to reinforce the journalistic roots of the work.
Gala drew inspiration from what she called the “dredges” of the museum’s collection—objects that often remain overlooked or undervalued. Together, we were guided by the distinctive forms and presences of these pieces. To echo this sensibility, I chose silver ink for the brochure and wall text, a color that suggests reflection, both literal and conceptual. The deep red grounds the design in a sense of power and authority, evoking associations with monarchy and ritual, while also highlighting the layered histories embedded in the objects.
Charles Harlan drew from the dual nature of fire as both warmth and destruction. In this show, this is epitomized in the form of a brick chimney. The layout and structure of the design in the brochure echo the stacking of bricks. More broadly, the approach reflects Harlan’s recurring interest in the industrial, agricultural, and domestic aspects of the built environment. A palette of warm gray and red underscores the tension and dialogue between the industrial and the natural.
For Fault Lines, I drew from the exhibition’s focus on the entangled histories of the Atlantic World. I used river forms on the gallery guide and wall text to signify both natural boundaries and conceptual “faults” between European and Caribbean worldviews. This visual language echoes the exhibition’s exploration of art, empire, and the ruptures within cultural exchange.
For after school, I drew from objects traditionally tied to classrooms, like magnifying glasses, notebook paper, and erasers. I abstracted them into forms suggesting building blocks and architecture. This visual approach reflects the exhibition’s focus on the structures that shape education: from the physical design of schools to the systems, metrics, and histories that organize how knowledge is created, shared, and contested.
All exhibition and event photography courtesy of Zachary Riggleman