• Installation

    Published on 03-08-2010 03:00 PM
    1. Categories:
    2. Art/Object Handling,
    3. Materials,
    4. Installation,
    5. Conservation

    By T. Ashley McGrew
    Friday, March 28, 2008, Auditorium, The Getty Villa

    This is a report to members of PACIN who were unable to attend this event. Below is a list of the papers presented at the event followed by my typically windy account of what transpired (impatient folk please just skip to the end for the brass tacks).


    ...
    Published on 03-08-2010 02:43 PM
    1. Categories:
    2. Fasteners/Hardware,
    3. Installation
    Article Preview

    By Richard Hinson

    I can’t say how many times I’ve been asked the question, “How did you get that painting to stay on the wall?” Hanging a large painting on a wall poses many challenges and great potential for catastrophe. There are several factors that need to be assessed before proceeding with hanging a large, heavy painting. The weight alone of a large painting creates the possibility of dropping the object damaging both the frame and the painting, not to mention the potential of injury to
    ...
    Published on 03-08-2010 01:59 PM
    1. Categories:
    2. Art/Object Handling,
    3. Installation,
    4. Rigging,
    5. Project Management
    Article Preview

    Brent Powell, Coordinator Art Handling
    National Gallery of Victoria, Melbourne Australia



    Geoffrey Bartlett "Messenger"

    In January 2003 the primary logistics started to be put into place for the re-installation of outdoor sculptures for the newly renovated National Gallery of Victoria Sculpture Garden. Five sculptures were to be installed in the garden and one sculpture removed from the present site before the grand reopening of the newly refurbished building on December 4th 2003.The sculptures from the NGV collection were August Rodin's "Balzac", William DeKooning's "Standing Figure", Henry ...
    Published on 03-08-2010 01:41 PM
    1. Categories:
    2. Materials,
    3. Installation,
    4. Security
    Article Preview

    By Steve Short, Portland Art Museum



    Evolution and production of exhibit object mounts arise out of a variety of reasons:

    • The need or desire to optimize "view"-ability within the context of the display.
    • To provide or maintain a degree of security for the object.
    • Geographical factors, the museum or gallery is in an area known to experience the occasional earthquake, tremor or seismic jolt.
    ...
    Page 3 of 3 FirstFirst 123