Behind the Scenes: Installing an Exhibit
Once the gallery has been emptied of artwork and the walls have been patched and painted, the work of installing a new exhibit begins. While we plan our exhibits two years ahead of opening day, there are always little tweaks and adjustments that need to be made when we start bringing new art into the Alice C. Sabatini Gallery.
Choosing Art
As part of our planning process, we choose as many pieces as we want. Hooray! This is a really fun part of an exhibit, exploring the collection to see what will fit. We often choose more than 100 pieces during this phase. The recent gallery remodel allows us to hang more pieces than the old space did, so we average around 60-80 pieces now after our final edit.
For the Forest Bathing: a Walk in the Trees exhibit, we did a deep dive into the library's collection of prints - woodcuts, etchings, engravings, lithographs, etc. - to pull out pieces that were tree-related in some way. Because the print collection is so large and because most of it was acquired before any of the current gallery staff worked here, we often come across pieces we've never seen before.
Scale It Up
To help us envision where pieces will go, we refer to our scale model of the gallery. This model allows us to put the walls and cases in different configurations to decide how the exhibit will flow. We don't want our visitors to end up in a corner because we didn't plan our layout properly.
Up to this point, we've been looking at the art in the exhibit as little images printed on paper. We move these around our gallery model to decide what pieces should be together and where they should go.
Installing Art
Once we've chosen the pieces we want in an exhibit, we lay out the artworks in the gallery according to the plan we've developed. This is the first time we see all the pieces together in one space. This is also the time when we realize our plan may need a few tweaks here and there.
Move It a Little to the Left
A big one might be that we put two framed works side by side and they just don't look right together. If it's a matter of scale, we might stack two pieces vertically next to a larger piece to balance it out.
The goal is to have an open feel to the gallery, with each piece having space to "breathe." We don't want works crowded so close together that they lose their visual impact in the clutter. We also don't want them too far apart where they seem stranded by themselves.
Artwork - check. Risers - check. But wait, the pieces in the case still look weird. Maybe if we moved that piece to this riser and the other one over there. Nope. It's still off. How about half an inch to the left? An inch to the right? Maybe if we rotate it 90 degrees? That's it! Perfect.
The Lights Come On
Once all the artwork is installed in its proper place, it's time to set up the lights. This can take a day or two of going up and down a ladder, making adjustments as we go.
As we start lighting, we think about how intense the light should be on a piece. Ceramics and glass can handle more light without being damaged than works on paper.
Next, we work on spotlighting each piece. This is where the process can get tricky. To be able to light properly we need thorough knowledge of our lighting system. Which filter should we use for that piece? Should the spotlight be circular or rectangular? How do we make sure we highlight each piece in a case without shining lights in our visitors' eyes?
Exhibit Opens
Gallery Staff in Action
This video is a time-lapse of us hanging paintings and prints for the Forest Bathing: a Walk in the Trees exhibit. You'll see us using a laser level to hang everything with the same center height, and a smaller level to make sure the artwork itself is straight. We want everything to be just right before we open our doors.