Minda Dowling
Minda Dowling didn’t set out to become a hotel art curator, mostly because the role didn’t exist when she began her career. But over the past forty years, she’s helped shape an industry, bringing intelligence, humor, and a deep sense of place to the art collections of some of the world’s most iconic hotels. In this conversation, she reflects on her unconventional entry into the field, the transformative power of storytelling through art, and her recent work at Palm House in Palm Beach, a project that captures her signature mix of elegance and irreverence.
CAN YOU TELL US ABOUT YOURSELF?
My name is Minda Dowling, and I’m a hotel art curator — something I’ve been doing for the past 40 years. I actually studied Renaissance and Baroque art and architecture, which makes me a very good tour guide when people come to visit me in Italy. I’ve only ever worked in the art industry since I was 21, starting as a gallerist while I was still at university.
What drew you to hotel art consulting, and how has your approach evolved over the years?
It wasn’t even a career path when I started.
“The idea of curating art for hotels didn’t exist — we were lucky if a hotel had a poster on the wall.”
I transitioned into it after moving from New York to England in 1983. I met someone in the picture framing business who had this idea that hotels might need art. He offered to open a company with me that would provide art for hotels, using his frames. That was the start, in 1984.
At first, it was soul-destroying, going from a fine art background to putting posters on walls in subpar hotels. But then I started getting asked to work on country house hotels, which was unexpected — especially as an American in England. I came in with fresh eyes, and that turned out to be valuable. Over time, I immersed myself in English design history, spent time in the V&A, read World of Interiors, and visited stately homes to better understand the period aesthetics.
© “All Mine” and “Donald Leas” by Slim Aarons
Is there a linear path to this type of career? Was there when you started?
Not at all. When I began, hotel art curation wasn’t a thing. Now, there are tons of companies like mine all over the world, at all different levels.
“I feel incredibly humbled to think I may have played a role in helping create this industry.”
Was there one hotel project that really changed things for you?
In the late ’90s, Ian Schrager and Steve Rubell brought their hotel group to London, and I worked on their first two properties here. That changed everything — not just for me, but for the hospitality industry. Suddenly, hotels became destinations. You’d go to a hotel for dinner or to hang out at the bar.
“It shifted the whole culture around hotels and made them social spaces.”
© “Luis the Wrangler II, Boca Raton” by Dean West.
How do you adapt your approach to different cultural and design influences?
That’s the beauty of what I do — every time I start a new project, it begins with a blank page. Even within the same city, each hotel has its own story. My job is to tell that story through art. I always try to go local: I want to work with artists and craftspeople from the place I’m in.
“It’s about embedding the essence of the place into the fabric of the hotel.”
That’s the DNA I aim for in every project.
What role do you think hotel art plays in shaping a guest’s experience, beyond just aesthetics?
I want guests to learn something. When I finish a project, I spend a week onsite talking to everyone from housekeeping to management, telling them the stories behind each artwork. That way, if a guest asks about a piece, anyone on staff can say, “That’s by this artist, and here’s the story.” It makes everyone feel invested, and it adds a layer of meaning for the guest.
“It's not just decoration — it’s storytelling.”
© “All Things Pink” by Tim MacPherson
Is your work mainly around art and murals on walls or does it expand to other areas of design around properties?
I work with all forms of art — photography, sculpture, two- and three-dimensional work — whatever the project requires. I don’t touch cushions or textiles, but I collaborate closely with interior designers and architects. It’s a team effort, and the most exciting part is when you bounce ideas off one another and suddenly, the whole vision comes together. Ideally, the art shouldn’t stand apart — it should feel seamless, like part of the whole experience.
When you began curating the collection for Palm House, where did you start?
Palm Beach itself was the starting point — I know the area well because my parents lived nearby for 25 years. I’d never worked in America before, but I’d worked with the owners — who are British — on several other hotels, and I couldn’t say no. The building was originally from the ’70s and looked more like an old-age home than a hotel, so I decided to embrace the era and inject a little wildness into the project.
“I wanted it to feel like nothing else in Palm Beach.”
Palm Beach has such a distinct identity — colorful, glamorous, and steeped in history. How did the location influence your selections?
“I leaned into the spirit of the ’60s and ’70s — think Lilly Pulitzer, pinks, eccentricity.”
Because the hotel is owned by Brits, I also wanted to be a bit cheeky. There’s a saying here: it “takes the piss,” which means, there’s layers to it. That’s what I wanted: a little wit, a little joy, something to make people smile. Life is serious enough — if a piece of art can make someone laugh, that’s powerful.
© Palm House Hotel
How did you bring that PLAYFUL energy into the collection?
When you walk into the hotel, you walk straight into the bar — so I said,
“Let’s set the tone immediately. Let it feel like a party the moment you arrive.”
That’s why we installed a massive shell wall and a surreal tapestry — think Little Mermaid meets Alice in Wonderland on acid. We also included photographs like the woman in pink with her pink poodle and pink Cadillac — to me, that’s so South Florida. I wanted it to be over–the–top in the best way.
From MacPherson’s pink Cadillac and poodle to Dean West’s Luis, what do you hope guests take away from the pieces you’ve selected?
That they’re on holiday — and that it’s okay to let go, have fun, and enjoy the moment. Whether it's a photo that makes you laugh or a bold color that lifts your mood, the art should help you feel like the party has already started.
© Artwork by Christa Wilm at Palm House Hotel
“The shell wall is absolutely the centerpiece.”
I knew it had to be a “wow” moment because of the scale of the space. I found this amazing woman, Christa, who lives in West Palm Beach and works with shells. It was totally meant to be. That wall tells you everything you need to know about the hotel from the second you walk in.
How do you see hotel art evolving in the coming years, and what excites you most about where it’s headed?
“Art in hotels is now expected — especially in the high-end space. It’s no longer an afterthought.”
Guests are more educated, more visually literate. They go to museums, galleries, and they expect more from a hotel. I remember early in my career, a designer named Bob Lush told me: “Our job is to create a stage for people to experience their moments.” That stuck with me. Whether it’s a meeting, an afternoon tryst, or a once–in–a–lifetime holiday, we’re building the backdrop for life to happen.
© Palm House Hotel
What is your favorite hotel to stay in when you travel?
When I travel for myself — not for work — I try to stay somewhere small, with a strong sense of place and history. I don’t want to stay in a big corporate chain. I want it to feel like home. That’s what I look for in a hotel — something intimate with real DNA.
What can we hope to see next from you?
It’s been a busy stretch. I’m working on the Savoy in London — we just turned over the first 30 guest rooms. I’ve got a project with the Mandarin Oriental in Vienna, the Conrad in Hamburg opening in September, a lovely country house hotel in Hampshire, and a hotel in Rome, which is one of my favorite cities. I’m also finishing a job in Marbella. It’s a lot — maybe too much — but I still love it. People ask when I’ll retire, and I say, “When they close the box — with a bit of a fight.”
“There are still so many stories I want to tell.”
© “Star Of Legs” and “Geoperfection” by Brad Walls