In the early 2010s I was inspired to devise a pedestal that doubled as a crate. This idea came from working on two Vitra Design shows that traveled with knock-down peds which were assembled by embedded casket lock hardware. These were terrific in look and stability, but added many more heavy but delicate objects to package and transport. I wondered for 12 years how to achieve a more streamlined, compact, durable means of transporting things in the peds as crates or making crates that could become peds.

Butt-joint fastener, otherwise known as a casket or coffin lock

They are ALSO known as Blind Panel Connectors

Vitra Design Museum cases installed

Several projects almost provided opportunities to fabricate multi-function casements, but timing, budget or shop capacity never aligned for production. Also, many bosses saw only risk and trouble, or couldn’t understand the technical aspects to approve the time to develop such a creation. I did design a set of 15 peds, created for a to-be-travelling show, which were made of Salt Board (high pressure textured laminate on recycled chipboard) with the intention that they were extremely durable, looked authentic, and matched SITEs standards of transport of display furnishings. When flipped and padded out properly, these could at least travel their accompanying bonnets, but that was all work to be done at a much later date than the exhibition schedule allowed.

We all know that everything has a right time and place. Preparing to send art with WCC to the Seattle and Hamptons Art Fairs in 2022 we needed a compact way to travel and display a medium size, durable wood sculpture. We also had a stockpile of crates, one of which perfectly fit the Gil Bruvel sculpture both as a crate and sales stand. Being that this was to go to two art fairs, we also wanted a solution that was transformable quickly and sustainably = no paint or high grade finishes, mostly single handler managed.

The first phase of this project was to develop a low impact method for one person to load/unpack the 3’ diameter 100# object. Slider board loading was chosen as the best method, using ram-board (compressed paper-pulp board) lined with 1/8” ethafoam sheeting for board and skids beneath, and lining the crate walls with guide strips of 1-2” ethafoam. Acidic mitigation was not a goal of this production; in most cases archival materials should be considered for more delicate objects (I.e.: double layer coro-plast or blue-board, marvel-sealed MDF/O). We had a stash of ram-board large enough, the crate walls were raw plywood for a wooden object, and this was not going to be in the crate for more than 2 weeks per trip.

For loading the crate is laid on one marked side, the art is placed on its back on the slider board with minor padding. Then the art is slid into place at the bottom of the crate aligned to the wall pads. The loaded crate is stood upright, the object is further padded into position with tyvek pillows full of styronuts.

A bundle of white fabric (plus other wrapping supplies) rides above the art – this will be used to dress out the crate for display. There was an unexpected void above the sculpture that perfectly fitted another much higher value and lighter piece that could ride on the foam side slats and ram-board pull flap.

Continuing on this theme of multi-purposing, the pedestal for a smaller artwork was blanket wrapped and used (upside down) as a crate for collapsible furniture, print racks, packing supplies, and a dollie – to which this was all strapped for simple handling.

Coming back to our Sunny crate/ped – the only step requiring two people is to lift the art off the slider board and onto the fabric dressed pedestal, or off display and onto the opened slider panel for packing. Padding out the art and closing the crate, or initial opening, tipping, and fabric dressing are all easy one person activities. Dressing out the empty crate was done by tightly folding two layers of white cotton fabric over the top and sides with double stick tape at seams and bottom. Running a line of tape along each full length edge and surface allowed for a smooth pull around the box and for crisp folds at the top, which required a bit of tucking of layers.

The crate had 2” high skid feet that were covered with white gaff tape, which also helped create a lifted toe kick presentation. I think I was as happy as the artwork for this fairly sunny solution.

Have you used a crate in an interesting way? Do you have a favorite fabric for wrapping? Put it in the comment below.

Sean works with West Chelsea Contemporary, here is a bit about them:

West Chelsea Contemporary is a world-class gallery offering museum-quality art in Austin, Texas, and New York City, focusing on 20th century and contemporary art predominantly in American, Asian, and European post-war movements. West Chelsea Contemporary opened in October of 2020 under the direction of Lisa Russell, who has operated this gallery since founding Russell Collection in 2002. With this gallery rebrand, her vision is for West Chelsea Contemporary to satisfy the evolving demographic and style of Austin’s culture by showcasing everything from mid-career and emerging artists to legends like KAWS, Yayoi Kusama, Keith Haring, Shepard Fairey, Andy Warhol, Blek Le Rat, Mr. Brainwash, FionaRae, Roy Lichtenstein, Takashi Murakami and more. West Chelsea Contemporary clients are assisted by an expert staff dedicated to providing the highest level of service. For more information, please visit https://wcc.art/ or @wcc.art on Instagram.

The Western Australian Museum put this video together and wow did they pack a ton into 5 minutes and 25 seconds. It certainly does not cover everything, but if you have new team member this would jump start their training. There is of course a ton that goes into being a museum professional (art handler, art preparator, museum technician, etc) and no one video can house it all. Slowly buy surely we’ll get every last detail here on MuseumTrade because that’s what being in a trade is all about, learning on the job and learning through self study – from apprentice to journeyman and so on.

Do you have a video you love or rely on, send it my way so I can categorize it for future generations.

Covered in the video:

• Glove options – pros and cons

• Handling Techniques & Mechanics

• Dangers

• Route planning

• Placing items

• Communication

• 2D & 3D handling

• Stacking

• …and don’t forget to look for loose items or parts!

If you can’t use volume right now, here is the transcript:

In this video, I’m going to talk to you about how to safely handle objects in your collection. Poor handling technique causes far more damage to Museum objects than any other factor. For this reason, it is important that handling is kept to a minimum that everyone is aware of correct handling procedures. Firstly, the oil from your skin contains acids and salts that can create permanent staining. This damage may not be apparent right away.

It’s therefore really important to wear gloves when handling objects. White cotton gloves are commonly used as they can be washed and reused. It is a good idea to have a special container for use gloves so that I kept separate from clean gloves. I prefer to use Nitro gloves for object handling. Use powder free gloves to avoid transferring powder to your collection and make sure that they fit well so that you can feel the objects you are touching.

This option works particularly well for slippery items such as a large bars, friable items such as bath paintings, rough surfaces such as corroded, iron or splinted, wood, and delicate items such as paper or textiles. While wearing gloves protects the objects you handle. It’s also important to be aware of safety issues when handling Museum objects. Always ask for assistance when moving a heavy or large item as this is the safest for both your back and for the object. If possible, use trolleys or dollies to help safely move heavy items and as the last thing you want to do is drop them.

Some Museum objects can also be toxic or dangerous. This includes items affected with mold, items made from lead or radioactive material, live ammunition, leaking wet specimens, containers filled with all medicines or pesticides and natural history specimens. As older items were often treated with toxic preservatives such as arsenic, these items may require additional productive equipment or specific advice, particularly for large objects. Know your route and plan before you move. Do you need any additional assistance and you may need someone to walk with you to open doors or spot.

Does the object have any weak points? Are there any detachable components that should be removed or secured? Is it support trolley or box required? Asking these questions can make the difference between safe transport and a broken object. It’s good practice to prepare a place for the object to go before moving it.

Remember to remove or cover any July buckles, watches, lanyards, or pens that may cause damage to the object. It may seem like common knowledge, but take care not to knock others over when removing shelved items. It may be necessary to remove some objects in order to safely access the one you want to move. Always use both hands when lifting the object. Depending on the size and shape.

You can often use one hand to support the objects on below or using the other to study it. Always handle objects by the strongest point. Do not rely on handles or other attachments, as these features may no longer be properly affixed. Also, try to move only one object at a time unless they are all secured in a box or a trolley. When you’re packing or moving objects.

Support should always be used for fragile items that cannot support their own weight. If you are placing items in a box or a support, consider the safest orientation. To prevent the item from toppling or rolling, you may need to use cushions or foam blocks to prevent movement or to separate multiple items. Always move slowly and carefully when carrying objects and when working with others. Verbally discuss your actions before and during the move.

Large items such as furniture should always be listed, never pushed or dragged directly on the floor. Make sure to secure. Remove any loose components such as drawers before lifting and never pick up chairs by their arm. Rest till back. When using a trolley to move large furniture or large items, they should generally be placed on their normal orientation and not rested on their sides or corners, which can cause damage to the joints.

Documents and works on paper should be lifted carefully and then place on a support or in a folder to move them. For paintings, it is safest to move them vertically. Use two hands, one at the bottom and one other side. Do not hold the work from the top of the frame or by its decorative elements. Avoid touching the back of the canvas as this can cause serious damage to the painting if the reverse of the painting has a secure handling strap, these can also be used if you’re handling a small painting by yourself, face the painting towards you.

For larger works that require two people to carry it, the work should face outwards. If placing a painting on the floor, place pads or blocks underneath it, they should be high enough to prevent any decorative elements from touching the floor. A piece of polyethylene foam or a piece of card to separate the work from the wall can be handy. If you are required to stack several paintings, they should be placed face to face, back to back at the end of the day. Making sure you handle your collection correctly will help you keep your collection well organized and limit the chance of your items accidentally getting damaged, especially when handling or sessioning fragile items.

It pays to be confident in your abilities, something that can help steady. Shake your hands. Thanks for listening.

Keep on Tricking Ya’ll

Matt

Here’s a really nice one from the Metropolitan Museum of Art, celebrating 150 years last year (2020), WoW. I’m sure they had many gala’s planned for the whole year, hopes, dreams, and fundraising dashed by COVID-19. Nonetheless, I’m super glad they released this beauty back in January. Look at all the craftsmanship and time it took. There are definitely some areas where things haven’t changed all that much, art preparators, museum technician, conservators, woodworkers, metalsmith, all working hand in hand to get it done. Well, they actually didn’t call out art preparators or art handlers in this piece. I wonder when those titles came online? Can someone help me track that down?

The video is silent, so I’ve added the transcript and time stamp so you can skip ahead if you prefer, it’s just over 25 minutes, you may not have that long to spend. In addition I’ll add in my own commentary here and there (think Mystery Science Theater 3000 style). The description below their video reads as follows:

Sumptuously shot in richly contrasting black and white, this lyrical series of vignettes provides a window into the hidden workings of the Museum. Employees punch time clocks; janitors dust the galleries; conservators handle textiles and armor; curators puzzle over fragments of ancient statuary. It begins and ends with footage of workers entering and leaving the Museum, a moving homage to the first film ever made, Workers Leaving the Lumière Factory (1895). (*see below*)

As part of The Met’s 150th anniversary in 2020, each month we will release three to four films from the Museum’s extensive moving-image archive, which comprises over 1,500 films, both made and collected by the Museum, from the 1920s onward. This includes rarely seen artist profiles and documentaries, as well as process films about art-making techniques and behind-the-scenes footage of the Museum.

0:15  BEHIND THE SCENES: The Working Side of the Museum, Produced by: The Metropolitan Museum of Art

0:28  Few visitors familiar with the galleries of a modern museum realize the amount and scope of work involved before an exhibit is ready for the public. In addition to the expert knowledge required for the selection and classification of objects, the amount of manual labor is considerable(.)

Just to be clear, the curator has “expert knowledge”, but the craft folk who make it all happen, make it look beautiful, make it as perfect as can be, they are the “manual labor”; that’s it. At least it says it’s “considerable” manaul labor.

I wonder how many car types and styles there were in 1928, they all look pretty similar.

1:14  The Fifth Avenue entrance to The Metropolitan Museum of Art(.)

1:29  The Museum maintain its own workshops. Here are to be found carpenters, painters, upholsterers, metalworkers, printers, letterers, gilders, and photographers, all of whom are called upon for cooperation(.)

The next time someone is weeding vinyl I want to call them a “letterer”, but I think that would be a disservice to the work of a true letterer. Do you think the ö over cooperation was a typo or something particular from that time?

1:49  The rear entrance(.)

Hats and nice dress all.

Do you think the sweeper could work, I dunno, anywhere else? Clearly done for the shot, but awkward.

2:36  Where works of art are received from all over the world(.)

...and some with questionable provenance. Incidentally, this is one of the few scenes, if not the only, with a guy smoking. I expected more.

What’s with the guy and the palette of paint? “Conserving” already? Slat a lil paint, good to go.

3:01  Every object must pass through the Registrar’s Office. Here a careful record is made

3:51  Next comes the Photograph Division, where everything must be photographed before being put on exhibition

Look at that pro drape move, now you see me, now you don’t.

4:42  Here are stored over three hundred thousand negatives, covering the entire range of the Museum collection

WOW 300,000 images in 1928. Does anyone have a connection to the Met? I’d love to know what they have 100ish so years later!

5:03  Before an exhibit can be installed, show-cases must be made and pedestals built

Does anyone use the word “showcases”? It’s not a bad term, but I haven’t ever heard it used in the museum context.

5:12  The Carpenter Shop

I love those big ol camps. Plywood, mitered joints, sanding with the grain; solid work.

5:29   The Paint Shop, where finishing touches are added

Do you think that’s black lacquer he’s apply by hand? And how about that whicker chair that guy made. I mean I could make a solid museum bench, but I’d be hard pressed to whip out a chair like that!

What’s with the close up of the brush dry work? Is this just posed by the director, or maybe one of you can guess what’s being applied?

5:56  The Metal-Case Shop. A show-case under construction

6:16  Metal rods for the framework

Is that solid steel bar he’s cutting? That’ll be heavy, whatever he’s making.

6:31  Cutting the glass

7:17  The Gilder’s Shop

Ok, so aside from the sweet hand work on this guy, look at the custom tray he built from scraps of what-not. IS there a fun term of looking around the shop and whipping up a quick tool, tray, support device, etc???  There should be. Put your ideas in the comment below…

7:40  The Molder’s Shop, where plaster work of all kinds is done

Pretty quiet here.

7:57  The upholsterers

8:27  The storage vault and workshop where cinema films are assembled

Why is she wearing gloves and he isn’t?

What’s this shot with the security guard? B roll that accidentally made it in? I mean I like seeing the guy and his uniform, he does a descent job of not looking right at the camera, but….

9:29  In the Armor Workshop. A suit of armor is mounted on a manikin, constructed in the Carpenter Shop(.)

Interesting spelling of mannequin.

I like how the mannequin’s hands have joints in them, nice touch. The guy is demonstrating proficiency bordering on carelessness. I don’t think I knew suits of armor were so light. I guess it makes sense.

11:03  In the Egyptian Department is a room devoted to the treatment limestone objects(.)

11:23  Because of the difference in climate between New York and Egypt, the salts must be removed to prevent disintegration(.)

11:55  After the surface has been protected, the block is immersed in water and left to soak(.)

Does anyone know what he might have been brushing on to “protect the surface”. How about the lean into the bath? Tough on the back going in and out!

For a moment it looked as though he was about to take a little taste to see if there are any salts in the water.

12:28  The Water is tested at intervals of two weeks until no salts remain(.)

Doesn’t this feel like lonely basement work? Like no one sees this guy all day and he has a particular smell at the end of the day.

13:07  The effect of climate on a block of stone which has not been treated(.)

13:22  Objects are brought to the office of the Classical Department for inspection(.)

My favorite part in the scene is how he almost left the room in the wrong direction, she doesn’t flinch though. Was film too expensive to reshoot that wee lil scene? Maybe it was shot on the very last day, folks were tired and under caffeinated…

13:49  A shop for mounting and repairs

“Hmm, does this piece fit, how about this one, no just put that back on the pile. No organization for me thank you” This HAS to be a director choice right? No way his job it to put a pot (or whatever that is) back together  and he doesn’t have all the pieces laid out in front of him.

“Yep, I’m here to drop off this priceless marble head, I’ll leave it here on the corner of the table for you and leave before you get here, have a swell day Joe”

14:18  The correct angle must be decided upon before this marble head is mounted(.)

14:44  A room where tapestries are mended(.)

Look at how modern the middle light is, bare lamp on a wire, so chic.

15:14  The labels and posters that one finds in the galleries are all printed in the Museum workshops

Where hand-lettering is done(.)

Man, can you imagine cranking out the labels, by hand!

No Mr. Curator, you can’t change your mind, Sigrid just hand lettered that label, sorry.

15:48  The Printing Shop

15:54  A type-setter

16:05  One of the large presses

16:31  A smaller press – Museum leaflets are being printed

Do you think any hand accidents happened on this machine?

16:47  They are folded (…)

I see folks in development still doing this kind of thing. Not much changed here.

16:58  (…) sewed (…)

Well, ok , I don’t see much sewing of collateral anymore.

17:08  (…) and trimmed, ready for distribution

17:26  Printing a poster from a zinc plate(.)

The best I can make out what gets printed is this:

“American Industrial Art, Tenth Annual Exhibition of Current Manufacturers (maybe?) Designed and Made in the United States.” And down below it says “Gallery of Special Exhibitions” and there’s more below that, but it’s not discernible, maybe someone from the Met will read this and can clarify all the details of this poster?

17:53  The collections in the Museum are divided into Departments, each headed by a Curator. Among other duties, he is responsible for the arrangement of the galleries under his charge(.)

The gallery to be arranged is the one in the Department of Decorative Arts. The Curator determines the general plan of arrangement(.)

“HE” is responsible “HIS” charge.  Not many female curators back in 1928 I suppose.

So what is junior holding up here? A photograph of the piece, a drawing with dims, materials and such? And check out the card catalogue for all of these cards. One for every object I’d suppose. Yikes!

18:45  The head painter submits samples of color for the walls(.)

He’s fairly well dressed for being the head painter. Not painting much these days I suppose.

Notice “head painter” did not get the same capitalization treatment as the “curator” received earlier?

19:03  After preliminary flat painting the walls are “mopped” to secure effects of texture and broken color(.)

The phrasing for this section is a bit odd, but I think it means they are sponge painting the walls, top to bottom. That’s a ton of work and hard to get right. Again, real craftfolk here.

19:25  When the painters have finished, the objects to be shown are brought up from the store rooms(.)

The flatbed doesn’t look too clean.

19:46  The curator and his assistant direct the placing(.)

I like how junior just has his hands in his pockets, along fro the ride, watching dad do the work.

20:14  The upholsterers hang the draperies of a Louis XVI bed(.)

Back then you really needed someone dedicated to holding the ladder. Have you ever had the pleasure of going up an old wood ladder? It’s truly different if you’re used to aluminum or fiberglass.

20:48  The carpenters lend a hand(.)

I like how junior uses his pen to “conduct” the height of the painting, “an inch higher, now that side, a little lower, now both go up, let’s see…”.

22:20  Arranging a case

22:55  Labels

What does he whack in between the two pieces of glass at the end there? A wedge perhaps?

23:18  Before the gallery is open to the public, representatives of the press are given a private view(.)

In come the men, then in come the women. Hmmm.

We all know the drill on press preview right? Get done, but if not, get out, stop work while the press preview the show. Then get back to work and get it done, perfectly, before the opening. Aha yes.

24:07  Five o’clock

I guess it means it’s time go back to work, no time to enjoy the triumph, no opening party for the men and women who put it all together. This is still true for some of us.

25:05  THE END

I hope you enjoyed the video and commentary. Please let me know in the comments if you’d like more of this…

For reference, as mentioned earlier, here’s the original video this Met piece paid homage to:

“Workers Leaving The Lumière Factory in Lyon – also known as – La Sortie des Usines Lumière à Lyon”