Hanging 101. Tim Crowley,
Collections and Exhibition Technician, Ashmolean Museum
Tim
Crowley started to work at the Ashmolean in 2009, when the museum was
refurbished and opened a new extension. Tim has worked on numerous projects,
including permanent galleries and temporary exhibitions such as Jeff Koons, Andy Warhol and Francis
Bacon/Henry Moore.
Tim’s
talk focused on the preparation of 2D works before they can go on display or on
loan, and covered: the choice of glazing and backing, the best (or worse)
display location within an exhibition space and the choice of hanging fittings.
Glazing
and backing
Ideally,
a work is glazed and backed, especially before going on display. The glazing
acts as a physical barrier between a painting and the external environment and
protects it against many threats such as dust or visitors’ fingers. It also
offers climate regulation and in some cases, UV filtration.
Glazing
can be acrylic (Perspex) or glass (often laminated low reflective glass).
It
is important to identify the type of glass used on an artwork before packing it
for a loan as some types of glazing will require taping while tape will damage
others (LLRG for example).
The
best way to tell the difference between Perspex and glass is the weight of the
glazing. Glass will also be cooler to the touch. Laminated glass generally
makes a dull sound when taped.
Perspex
is generally used for larger works as it is much lighter. However, low
reflective acrylic is generally more expensive than laminated low reflective
glass.
Materials
for backing can also vary: from soft fabric film, hardboard, twin wall polycarbonate,
etc. A rigid baking is recommended as it will protect the work during the
handling and reduce the risks of puncture. However, the backing can also add to
the weight of the painting. Twin wall polycarbonate is a good option as it is
light, transparent, rigid and includes a UV filter, but it is expensive
(whereas hardboard is cheap).
Hanging
fittings
Ideally,
the fittings will be attached to the work before the works goes on loan and the
work will be hung to the wall with at least 3 point of contact.
Many
different types of fittings are used in museums and galleries to hang 2D works.
All of them have their pros and cons and every institution or technician have
their preferences.
During
his talk, Tim detailed some of the hanging fittings used at the Ashmolean:
Tim
insisted that, if the preparation of the artwork itself is key, it is also
important to prepare the area where the artwork will be displayed.
Where
NOT to hang an artwork.
Artworks
should not be hung on external walls, above heat sources, in high traffic areas
(risks of degradation), in direct sunlight or under picture lamps, in areas
where food is prepared or consumed, on plasterboards thinner than 12mm, near
heavy fire doors, lifts or IT services (vibrations) or near non-secured doors
or windows for small works (theft).
When
installing an artwork, we should also always be attentive to the environmental
conditions (stable temperature and relative humidity within an appropriate
range is required).
Wall
structures
There
is often a level of uncertainty in museums and galleries about the appropriate
type of wall structures necessary to support an artwork.
The
main materials used are plywood, plasterboard and MDF.
If
you are not sure about the type of walls you have, a simple test is possible:
put masking tape on a drill, drill into the wall up to the masking tape and the
residue on the tape should indicate the type of structure: dust/powder =
plasterboard; small hardwood fragments = plywood; softwood spirals = MDF; red/orange
dust = brick; grey dust = concrete (avoid drilling in concrete walls if
possible as it is very hard, dusty and messy and creates vibrations).
A
screw should never continue to spin when installed. If this is the case, it
shouldn’t be used to hang an artwork.
Screws
are generally very strong and the weight capacity/strength should be detailed
on the packaging. However, the solidity of the wall should be more of a concern
than the solidity of the screws. A wall structure without wood won’t be as
solid and it may need to be reinforced (by adding plywood for example) or more
hanging fittings may be necessary to secure the work on the wall.
There
is not ideal way to securely hang an artwork on a wall: the different options
won’t be efficient, secure, aesthetic, easy to use and cheap at the same time.
This is why it is important that the different options are discussed
collectively with technicians, curators, conservators, registrars and lenders
as early as possible in order to assess the risks and the resources and decide
on the most appropriate solution.
Delphine
Charpentier, Assistant Registrar (Loans), National Galleries of Scotland
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