This document provides guidelines for handling art works, including receiving, documenting, packing, and unpacking art works. It discusses appropriate wrapping materials like Tyvek, glassine, acid-free tissue, and bubble wrap. It also covers hanging mechanisms, condition reports, basic electrical safety, and audiovisual setups. Proper planning and a well-stocked toolkit are emphasized for safely transporting, storing, and displaying art works.

2. Tal R: House of Prince , 2004, installation view, mixed media, Douglas Hyde Gallery; courtesy Douglas Hyde Gallery Literally Based on H.Z., 2006, Installation view Kerlin Gallery

3. CONTENTS receiving works documenting crating and packaging wrapping materials general wrap method sorting work pre-hanghanging mechanismscondition reportselectricsbasic AV guide

4. RECEIVING WORKS opening crates open unscrewing from bottom of crateif you can lie crate flat (size and weight) even better checking for damaged wrapping if wrapping has any damage take picture for archivecondition report damage wrapping badly wrapped damage in transit sometimes if not properly packed work damages in transit, again, document before removing artwork opening wrapped flatworks face down on soft wrapped (jiffy) table or flooruse art knife at an angle away from work to cut tape

5. documenting crating and packaging document crate take image of identifications on crate, ie number, where from, title, etc document layers of crate when opened, document each layer that is removed to allow for easy repacking document isolated wrapped work isolate the work from the crate and document its loose wrapping materials (carry frame, etc) store wrap in crate if reusable replace and consolidate all materials in crate for reuse when work is repacked re crate empty crate and label as empty replace all screws/bolts and label as “empty” on tape accross corner of crate

6. CRATES

7. Wrapping Materials TYVEK (R) GLASSINE ACID FREE TISSUE BUBBLEWRAP POLY (HEAVY DUTY CLEAR SHEETING)

8. TYVEK - ideal material for archiving of all materials and textures - Water resistant, yet breathable - fabric like waffle material - white - ph neutral, resistant to mould, tear-free - Drawbacks - very expensive http://www2.dupont.com/Tyvek/en_US/index.html

9. GLASSINE Glassine is an acid-free neutral protective sheeting. It is translucent, off white in color, with neutral pH. Glassine can be used for interleaving prints, photographs, drawings. Also suitable for wrapping and glassine packaging. Drawbacks - it can crease easily (best to have no creases across the surface of a wrap)

10. ACID FREE TISSUE - Archival non- buffered acid free tissue - machine made - high alpha cellulose, has a neutral pH - no deckles, and a smooth finish. - It is suitable for interleaving, wrapping, and cushioning - It is sufficiently soft for use with textiles, padding for textiles.

11. BUBBLEWRAP - different types; large bubble for sculptures and packing out crates antistatic pink double bubble for framed works double bubble for framed works single bubble for external wraps (not surface) - Bubblewrap and paintings, dangers! - cushioning, good for corners and general padding use.

12. JIFFY (FOAM) It is lightweight, slightly abrasive, water resistant. It prevents scratches of frames It cushions against shock for fragile objects & surfaces. Custom perforation and thickness available cuts one direction, hand rips the other (lengthways) useful for covering surfaces for layouts of work or tabletop use Rips easily so needs poly layer too

13. Glasstape protects the image from breaking glass in transit fold tape at end for easy removal low tack tape clear of frame edge 5mm overlap of tape edge

14. RECOMENDATION GENERAL FLAT WORKS FOR LONG TERM STORAGE AND SENDING OF WORK - top layer Tyvek, second layer polythene. bubble wrap corners for extra protection. FOR SHORT TERM STORAGE AND EASY TRANSPORT - top layer poly, second layer jiffy, last layer polythene. bubble wrap corners for extra protection.

15. GENERAL WRAP METHOD

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28. SORTING WORK PRE-HANG - white gloves (clean) to handle all paintings (and all non-slippy sculpture) - nitrose gloves to handle all unframed photo works (eg ciabachrome, lambdachrome) - dense sponge blocks to rest paintings at 5-10 degree slant to wall on a flat expanse of wall. - check for loose screws, art knives, etc., on floor first. - remove emptied crates from space. - artist/curator placement with extra sponge blocks at hand for movements

29. HANGING MECHANISMS What type to use and when to use? In practice rather then make new holes in the back of a work you use existing hanging mechanism. Lately, if permissions are there, we replace existing fittings with Rymans. The basic premise is two fold; what is safest, what will take the weight. - d - rings & strap hooks & mirror plates - mirror plates - rymans - oz clips - for travel frames in crates - string hanging - we don’t use. - cleats

30. D-RINGS & STRAP HOOKS & Mirror PLATES D-RINGS - screw sits into d ring, no string used, not hung from frame STRAPS - screw sits into strap. Flatter, so closer to wall. MIRROR PLATES - screwed in while painting is held in place one side at a time, front of mirror plate to be painted colour of wall. Secure, but ugly solution.

31. RYMANS - PREFERRED METHOD RYMAN plates attached to back of work. 2 screws with measured distance sit on wall. The work then slots into screws, the protective cover (“keeper” sits into slot from side. A small screwdriver is needed to remove security “keeper”.

32. OZ CLIPS - For pre Travel FRAMED WoRKS 0Z CLIP Similar to D-rings Arm branches out to attach to crate holding device Arm slides back in for exhibiting neatness

33. FRENCH CLEAT FRENCH CLEAT Used for heavy works (usually photo) to spread weight accross wall. Great for plasterboard walls (try find supporting wall strut for good purchase on screws)

34. GENERAL HANG METHOD

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39. GENERAL HANG METHOD WORK MIDPOINT OF ALL WORK WORK WORK WORK AVERAGE MIDPOINT OF ALL WORK = 142CM

40. GENERAL HANG METHOD WORK X X 60 MIDPOINT OF ALL WORK DOWNHEIGHT HEIGHT OF WORK (HEIGHT OF WORK DIVIDED BY 2) - (DOWN-HEIGHT) + MIDPOINT OF ALL WORK = WHERE YOU SCREW INTO WALL

41. GENERAL HANG METHOD WORK X X 60 MIDPOINT OF ALL WORK DOWNHEIGHT HEIGHT OF WORK (128/2 = 64) - (14) + 142 = WHERE YOU SCREW INTO WALL 128CM 14CM 128CM X 70CM

42. CONDITION REPORT NOTING DAMAGE Comparing forms by release latest update with lent work Reasons for condition reporting Damage and what to do Comparison images (camera)

43. ELECTRICAL WORK Worldwide difference in types; http://en.wikipedia.org/wiki/Domestic_AC_power_plugs_and_sockets We have type G plug. 230 V (formerly 220v and frequency of 50 Hz) Live wire is brown earth is green/ yellow neutral is blue.

44. WHEN TO CALL AN ELECTRICIAN If you ever need to answer any more questions, then call an electrician. If you are required 3 phaze power for large power hungry audio visual installations. If you need to run projectors from the light track this is rare, call an electrician to evaluate the AMPAGE Av gear from the USA 120V and 60HTZ with Type A and B plugs. step down voltage converter - downsize current WE CAN - change fuses, extend extensions using chock blocks and heavy insulation

45. if you don’t know what I mean by this, don’t touch the electrics .

47. AV - VIDEO 1 - HDMI 2 - COMPONENT 3 - COMPOSITE 4 - S-VIDEO

48. AV - PROJECTORS ASPECT RATIOS 4:3, 16:9, 16:10 LUMENS MOUNT THROW

49. AV - SOUND AMPLIFIER Power in Watts Gain in Decibels Gain is output ratio signal;strength LOADSPEAKERS Rated power input before clipping Ohmage capacity http://www.marktaw.com/recording/Electronics/OhmsAmpsandSpeakers.html

50. AV - SOUND CONNECTIONS 3 pin XLR 1/4 Inch JACK RCA Speaker wire (unbalanced)

51. TOOLKIT Basic toolkit for hanging. Hammer, screw-gun, spirit-level, saw, hack-saw, electric screwdriver, plyers, paint scraper, snips, stanley blade, retractable art blade. Masking tape, brown wrap tape, gaffa-tape, insulating tape. wrapping materials. Screws (20’s, 40’s, 70’s), masonry nails, raw plugs (red, brown, plaster-plugs). Filler (spackle), Flexible Chalk and Paint matching.

53. SUMMARY importance of a toolkit assessment and planning around work value of work all work delicate - regardless of aesthetic vulnerability of artwork repair worst case scenario

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