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| A selection of photographs on NovaMuse |
review of a recent webinar held by Connecting to Collections, called ExhibitingPhotographs . It was presented by Emily Phoenix, the Head Preparator at the George Eastman Museum in Rochester, New York.
This
webinar focused on the particulars of properly and safely exhibiting
photographs of various kinds (photos, negatives, daguerreotypes, etc.…). To get
a better sense of the factors involved in displaying photos, the webinar was
divided into a few distinct parts: Matting and Framing, Mounts, Installation,
Lighting, the Use of Reproductions and Maintenance. For each of these subjects,
there were practices that were recommended and ones that it was suggested
curators avoid as well. Finally, Connection to Collections also provided
follow-up resources for anyone wanting to advance their knowledge beyond what
the webinar provided.
Matting and Framing
Properly framing your photos is the beginning to any photography
display. The webinar facilitator noted that one of the most important things to remember is that any materials
used in backing and framing should be of the highest quality possible,
specifically archival quality. This includes the frames themselves, as well as
the backings and mats within the frames. If photo corners are used, it is also
recommended that they are made of archival paper as opposed to polycarbonate,
as these are not always reliable.
Mounts
Understanding how to mount your frames and other photographic
artifacts is key to safely running a photograph exhibit. A variety of
unusual techniques were shown, including the use of pins and magnets,
specifically for artifacts that want to be shown in their entirety, such as tin
prints. Magnets can also be used to mount larger pieces that you are unable to frame
properly. The float mounting technique was discussed, where the corners
of the mat are folded to make the picture look as though it is floating on the
backing. For large, contemporary pieces, partipants were encouraged to consider dry
mounting, a process which uses a sheet of polycarbonate to hold down larger
pieces and keep them flat and held in place. However, this process can be
costly and is very difficult to reverse, so keep that in mind.
Installation
The next part of the webinar discussed considerations for when you are preparing to install your exhibit.
First off, make sure you are using the right kind of gloves for what you need.
If you are handling photos directly, it is advised that you use nitrile gloves,
as they provide the most stable grip on the artifacts. If working with frames,
however, it is suggested that you use nitrile-palmed fabric gloves, as they are
sturdier than nitrile while still providing a decent grip.
Another
point to consider is the hardware used in hanging and securing your frames. The
most seen hardware includes cleats, d-rings and hooks. Specifically, it is
recommended that if you have eyelet screws in your pieces, that they be
replaced with d-rings for improved stability. It is also important to ensure
you secure your displays, whether that is with t-screws or wires. This will
ensure that visitors do not damage the often delicate photos in your exhibit.
Lighting
As with most displays, ensuring the safest levels of light is
extremely important to ensure there is no additional degradation. The facilitator suggested that photos can be much more difficult to deal with, for two reasons. One, many
types of photos are very sensitive to light levels, and thus need to avoid
direct light. However, the second issue is that some types of photos, such as
daguerreotypes and other prints, require direct light to be properly seen. In
these cases, the best recommendation is to use switches and timers to limit the
amount of light these photos are exposed to over a short period of time.
Use of Reproductions
Reproductions of photographs are something that can be used in lieu
of the original artifact if needed. Here, the facilitator suggested that you should not use reproductions if it is not necessary because using them can cause unexpected
issues. One of the most significant is the potential for copyright issues to
arise, especially if artists are still alive. However, reproductions can also
be used as décor in non-gallery spaces, as well as for poorly monitored spaces
where there is a concern that guest might touch the items. Thus, curators
should consider carefully before they use reproductions in their gallery or
exhibit space. This is not an opinion that is shared or accepted across the museum field, but provides some good points to ponder.
Maintenance
The webinar wrapped up with a conversation about maintenance. As with any displays, careful maintenance is key to keeping them in
good shape throughout their entire life cycle. This includes regular and
thorough cleaning of any surfaces, as well as any frames and tools. However,
maintenance also includes monitoring the temperature and humidity of the
displays, to ensure they do not get too high or low and potentially cause
damage to the artifacts. As well, monitoring the area around your exhibit will
ensure that you notice any damages such as leaks that may cause harm your
exhibit before they grow too big. Finally, monitor your adhesives and other
mounts to make sure they are not damaged in any way that may cause a major
disaster or emergency in your exhibit.
In conclusion, this was an excellent and useful webinar! It was very thorough and gave excellent and valuable information for any curator that is hoping to use photographs in a future exhibit. I would highly encourage anyone who is interested to watch the recording on Connection to Collections’ website, to get more detail on specific topics than I can put in this review. Anyone interested can also get access to a variety of resources there related to exhibiting photography, including a variety of links leading to books and sites with additional information.
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