PACKING + PLACING
Once you’ve decided which of your artworks are going in the exhibition, or you’ve let the artists know which of their works have been selected, you now need to pack them up.
There are lots of different options when it comes to packaging artwork, some are cheap and disposable like bubble wrap and some are a bit more expensive but reusable like crates.
It’s worth spending that extra bit of money now if you can afford it on getting something with a longer life span than buying something temporary every time you need to send or deliver a piece of work.
Something to do that will save you time at the end of the exhibition is to label your packing, so you know which artwork belongs in it when it comes to taking down the exhibition.
PACKAGING
There are some great options out there now like Kvatt and Artpakk who have created reusable protective pouches for 2D works; they are ready to go and are also good for storing artworks in your home or studio. Card Packs are another option for 2D works, you can make these to any size yourself out of cardboard.
For 3D work, the simplest option is a cardboard box with paper in it to support your work. This might work for some types of art but not for all, and you may require something stronger.
Another option would be a T-Frame. This doesn't use as much wood as a crate but offers more protection than cardboard. The work is fixed inside the frame, and you have the option of added Correx to the sides for more protection.
Crates are made from wood and have foam inserts to protect your work and offers the most protection out of the packing options. If looked after, these can last for a long time. If you’re good at woodwork you can make these yourself to save money, otherwise you can go to professional art shippers who will make one for you. If you need to send multiple works, you can opt for a multicrate. This will save you money and use less wood than if you were to make crates for each work. It also reduces the volume for transport, which may mean you only need one van instead of two. Multicrates can also be used for different works in the future, you can pad out any space with foam inserts, this means you can get many uses out of it.
If you get a crate made professionally, make sure you go with a supplier who can make you a crate that is ISPM-15 certified. This is a mark of compliance for international shipping. Whilst the exhibition you are currently planning might not be in another country; you may be asked to exhibit internationally in the future.
If you make the correct type of crate now you don’t have to get another made specifically for international travel. Thinking ahead is one of the key things you can do to be more sustainable in your practice!
TRANSPORTATION
You will need to consider how you will get the artwork to the venue. If it's your own work, are you driving it there yourself or do you need to take it on public transport? If the work is too big for public transport and you can't drive it there, do you have a friend you can ask for help?
When working on a group exhibition with several artists, you can ask them to bring their work on the day that you are installing the exhibition, so they are also there to help as well as deliver their work. This also helps to reduce multiple journeys to the venue, lowering carbon emissions.
If you have big work, lots of work, or you need to pick up the artists work, you may need to hire a van. Check the dimensions of the vans available to make sure all of your work will fit. Try to arrange all of the collections on one day, again this will help to reduce the carbon impact of your exhibition.
You will want to take out insurance for your exhibition. This is important if you end up in charge of transporting other artists artwork. The insurance you will need is Public and Product Liability Insurance. This covers the artwork if it is damaged whilst in your care, as well as if a member of the public is injured during your exhibition.
CONDITION REPORTS
Either you’ve received the works from the artists you’re working with, or you’ve brought the artwork to the venue. It’s good at this point to unpack the work and undertake a condition report.
In this process, it’s worth photographing the stages of unpacking the work, so you remember how to pack it when you take the exhibition down. Your insurance company may also request copies of the photographs so this is another good reason to take them.
Once the work is out of its packaging, take a look at the object. Has it sustained any damage in travel? This could be the edges of frames being dented, sculptures cracking or breaking, or paper works being creased.
If it’s your own work, you can now work out how to fix it. If you are borrowing work, then you’ll want to inform the artist of the damage so they can advise on the repair or come to the venue to fix it or they may recommend a professional like a conservator to repair it. These condition reports are especially helpful if you are working with other artists so you can prove if work was damaged whilst in your care.
PLACING
Once you’ve taken photographs and completed the condition reports, you can start placing the work according to the plan you made earlier. It’s good practice to not put works directly on the floor to prevent further damage; you can use scrap blocks of wood to rest works on and lean them against the wall or use their existing packaging.
Once you’ve placed everything where you think it should be displayed, take some time to walk around the space and study the work.
Now it’s in the venue, some works might not work together aesthetically or maybe you got some measurements wrong and a wall is too small for the painting you wanted to place there. Don’t worry if your plan changes, this is totally normal and in the nature of curating.
Move things around if you’re not 100% certain, usually you will see if works don’t work together easier than if they do work together, and this will help you make your decisions.
