I am a UK-based self-employed Art Technician, who travels around my local region to different galleries and museums to install art exhibitions.
Sometimes I handle famous and expensive artworks or priceless artifacts, but most of the time it's probably artworks you've not heard of. This includes 2D work like paintings, 3D work like sculptures, video projections, screens, sound systems, computers, and room-filling installations. Sometimes we work directly with living artists to help produce their work.
Happy to talk about technical stuff i.e. how artworks are transported, packed, fixed to the wall, what sort of fittings are used, how an exhibition is spaced out, hung, arranged etc; or to talk about working in galleries, or any questions from artists about how to prepare works for exhibition etc
I'm also a practicing artist, and historically both a filmmaker and gallery curator - so happy to answer things relating to that sort of thing too.
Because it's a pretty niche job I may have to keep some details vague for privacy etc.
I'm doing a public talk fairly soon on "what I do", and I need to know what sort of things people are potentially interested in, so I can focus more on those in the talk - so any relevant questions would be really helpful to me, thank you.
Whats your favorite fastener and driver combo?
How do you deal with installations in antique/ historic buildings?
How do you decide what mounting/ fastening, etc.. system to use when it comes to a piece or instillation? How can I use that as someone who wants to have art around the house?
Do you have a sense of art when it comes to the instillation aspects itself? Like are there instillation's you think are "better" as art than others? Are there any rules of thumbs you could share in this regard?
Fastener/Driver: I like a Torx head when available - but most commonly we use PZ2 screws, generally 3.5mm x 30mm. I tend to use a Makita 484 for light work, or a 486 for heavy work. Some works are "no power tools" (micro-vibrations can damage the work), so they go in with a Wera ratchet screwdriver. Fixed to the work, I prefer Springlock fixings.
Historic buildings - This varies - normally if a place is regularly showing work, this has been sorted in advance (often years ago), but there are cases where we would have to build false stud walls in front of the existing walls - sometimes you're allowed to put a few holes in the original walls to hold the false walls up. You generally need a plan/diagram and long conversation first. Sometimes you need to invent fixing methods - I remember making some metal clamps with a sort of inert foam inner collar to clamp gently round some pillars which were on a "do not damage these at all" list. ** Mounting/fastening:** These are mostly down to style, weight and security (and cost). Sometimes the venue has a house style, or the artwork owner/lender can specify fittings, sometimes the curator has a preference, sometimes they ask me for recommendations.
A few common fitting types
Top left is part of a Ryman Link Hanger, used for heavy artworks. you put one on the wall, and one on the artwork, then a sort of T-bone shaped bit twists between the two. Generally used on very heavy things which need to be lifted with pneumatic machinery.
Right hand side are two sizes of mirror plates, which are pretty standard and very secure - for expensive works they're often used with security screws. The downside is that they're visible, and sometimes they're thought of like "ears sticking out".
On the left going downwards are a small Ryman hanger, a Springlock, a large Ryman hanger and a strap hanger. The ryman/springlocks are all invisible fixings - they go on the back of the work, and mount onto a screw you've already put in the wall, then a security plate slides in, to lock the screw into place. You generally need a special removal tool to take them off. They're popular with curators because they're not visible, they're relatively secure and they can be very quick to install. The strap hanger isn't used often, but can be attached to a hook, screw or a sort of security bracket.
In a domestic install (a house) it's far more common to use cord and a picture hanging hook or nail in most cases - though they can be easily knocked or stolen. If you're installing works in a corridor or staircase, or long term I'd probably lean towards mirror plates (if you can cope with the "ears"), or Springlocks (if you can get them in your country). You can paint out the mirror plates the same colour as the wall. Mirror plates are screwed in from the front (two screws into the work, one into the wall on each side), Springlocks are placed over a screw which is already on the wall.
Mirror plate £0.30 a pair
Springlock £2.00 a pair
Ryman Hanger £10.00 a pair
Installation: You can definitely tell a bad install. In theory, if I do my job well, you don't think about the fact that I must exist.
One main rule of thumb is "centre lines" - generally works in galleries are hung centre-aligned at somewhere from 135cm to 150cm from the floor. 150 used to be the most common hanging height, but things have drifted downwards in recent years, as a nod towards wheelchair accessibility etc. 135cm is considered very accessible, 150 is considered to often look best. 140 and 145 are compromises - and most things are hung at this height these days.
For spacing, generally the works are equally spaced on a wall (e.g. the gaps between works are the same), with an extra 10% - 20% gap added on the ends, especially in corners. Corners visually "pull the work into the corner" making the gap look smaller.
There's a lot of difference in taste and style regarding labels - whether they go next to each work individually, or whether they're put to one side, to not ruin the view of the work itself.
Curatorially, exhibitions are normally ordered and grouped carefully - now that depends on the content, for example, sometimes a specific work will only fit in one place - but otherwise, things tend to be deliberately placed. For example, a collection of works can be grouped in a narrative or chronology to be read clockwise around the room, or works of similar colour or theme would be grouped together. It's considered what is "within the same view", or what sits opposite, next to etc, what the lighting requirements of different works are.