Sometimes artwork and objects are dispersed back to the lenders who own them.  Other times, exhibitions travel on to another institution for display.  This was the case with European Design Since 1985: Shaping the New Century. Remember it? A portion of this IMA-organized exhibition is now on display at the High Museum of Art in Atlanta.

High Museum of Art

Often, when the IMA sends an exhibition to another institution, our registrars, curators and/or conservators accompany the artwork to the borrowing institution so that we may oversee the installation.  Associate Registrar Brittany Minton, Conservator Richard McCoy and I were lucky enough to travel to Atlanta to work with the High Museum to make a second showing of European Design a reality.

Traveling an exhibition is always a fun and challenging experience.  You are in an unfamiliar gallery space working with staff you’ve just met.  You have a set amount of time to get a show completely installed before you head for home.  In this case, it meant moving crates, unpacking over 250 objects, inspecting them individually to ensure they traveled safely, and installing them in their exhibition locations…..all within two weeks.

Here’s a quick overview of exhibition installation:

1. Unpacking

Euro Design travel crate

Brittany and High Chief Preparator Cayse discuss unpacking Tord Boontje’s Night Blossom from its crate

Each crate is carefully unpacked.  Traveling artwork requires specialized packing which helps each object withstand the stress of travel.  Each container is designed specifically for the object that it holds.  Many thanks go out to IMA’s amazing packing and crating team: Rob Waddle, John Ross, Jesse Speight, and Jim Bayse.  I may be partial, but I think they create some of the most thoughtful art packing.

For example, here’s how Philipe Starck’s Bedside Gun was packed:

2. Condition Reporting

After an object is unpacked, its current condition is thoroughly checked against a report of its condition prior to travel.  This means spending quality time with every single object in the exhibition – be they spoons or sofas – and taking note of every nick, spot, scrape, smudge or accretion.  You have to keep an observant eye on your collection to ensure that it is not changing due to stress during travel.

3. Installation

High Designer Jim and Preparators Justin and Cayse installing Mathias Bengtsson’s 03 Slice

Often, installing an object can simply mean placing it onto its pedestal or platform.  However, some of the objects in Euro Design require special attention.  For example, Tejo Remy’s Milk Bottle needs a specific mount in the ceiling and special attention from the High’s electrician.

Installing Milk Bottle with High carpenter Gene and electrician Jimmy

4. Final placement

Though much preparation is done by both institutions ahead of time, one must always expect the unexpected.  Often, an artwork won’t really reveal itself to you until you are standing in front of it.  One might be surprised by how big an object is in person or by how its color interacts with the objects around it.  Designers and curators may find it necessary to move an object a few inches to the right for better viewing or exchange it with another item that will ensure that visitors have a more comprehensive exhibition experience.

Discussing placement of Mathias Bengtsson’s C8 Spun Carbon with High Curator Ron Labaco (in green)

Many thanks to the High staff:  Jimmy Bryce, Cayse “Mash Three” Cheatham, Jody Cohen, Gene Clifton, Ed Hill, Brian Kelly, Steve Keys, Ron Labaco, Justin McNeight, Berry Perkins, Caroline Prinzivalli, Tommy Sapp, Amy Simon, Nicole Smith, and Jim Waters – for showing us the meaning of Southern hospitality.

Thanks y’all!

Euro Design will be at the High from June 5, 2010 to August 29, 2010.  While you’re there, I highly recommend checking out The Allure of the Automobile exhibition.  Just remember, the ‘61 Aston Martin is mine.

After the High, Euro Design travels to the Milwaukee Art Museum where it will be shown from October 6, 2010 to January 9, 2011.  See you in Wisconsin!

Don’t get me wrong, the downfall of a two-timing governor is fascinating. Typically, I’d be all over that story, but Wednesday’s The New York Times (NYT) had more thrilling tales buried deep within…

What could possibly be more captivating than a bona fide sex scandal? If you peel yourself away from page 1 and dig deep into the paper, past sections B, C, and D, and continue all the way to section H, you’ll find the NYT’s annual special section on Museums. It’s 44 pages dedicated to the art, business, and people of museums.

I’ve spent the majority of my short career at the IMA, so I’m not sure what other museums do on the fateful Wednesday in March when the Museum section is published, but I am fairly certain that the scene is similar. For the first 30 minutes in the morning, there is a hush that settles over the administrative and curatorial offices. Everyone is silent as they comb through the articles – coffee in hand – searching for articles that mention the museum. By 9:30 am the silence is broken with the first flurry of emails. If your museum is mentioned, these emails have subject lines like: “Kudos”, “Congrats”, and “Have you seen this?” The organization then settles into a collective afterglow for the next few hours as the business of the day is tackled. The second round of emails begins after lunch as folks begin to read rather than skim the articles. These emails usually are a bit more critical with comments such as “that is an interesting quote they used,” “I wonder why they chose to feature fill-in-the-blank museum in this article?” and my favorite from this morning, “Who knew there was a cryptologic museum?”

I love the NYT’s Museum section because I love museums. On the morning it is delivered, I get so excited that I can’t do anything else but read it cover to cover, over and over again. Office door shut, eyes glued to the words, I anxiously flip the crisp, thin pages as I search for details or nuances I may have missed the first time around. It’s pure, unadulterated Museum-geek porn for me. Sure the picture of the IMA’s Design Curator, Craig Miller, in yesterday’s article titled “A Curator Who Even Considers the Office Chair” isn’t as sexy as a Playboy centerfold spread, but I think it’s pretty danged exciting. My knees went weak when I read the first line of the article, “Killer Statue – Psyched about the Site.” Dan Frost opens with “THE Indianapolis Museum of Art has its own video channel on YouTube.” YES!!!

For most people, I’m sure that the sex scandal on A1 yesterday was a bit more titillating than the article about museum research on H1. However, if for no other reason than to discover what earthquakes, slumber parties, and Eddie Izzard all have to do with museums, you should read the articles in the Museums section.

Are Museums more interesting than a political sex scandal? I guess it’s a matter of personal preference. I’ve told you what I think. Tell me what your thoughts are.