1. Complete answers to the 3 red questions below:
Studio Art Unit 4
Complete answers to the 3 red questions below:
2014. Q8. (12 marks) Discuss the different approaches to the preparation and presentation of artworks in two different exhibitions spaces you have visited this year.
2013. Q1. Explain two methods the curator of a public gallery would use to ensure the conservation and preservation of the artwork when it is on display to the public marks
2013. Outline the considerations needed when presenting this artwork for exhibition in a curated online art gallery. (4 marks)

2. Role of Curator Curator Manage the gallery’s permanent collection
Responsible for planning, coordinating and researching current and future exhibitions
May be required to give lectures and assist with education programs
Responsible for cataloguing works of art and researching artists and artworks that the gallery is planning to acquire/exhibit
Maintain/catalogue detailed records of the gallery’s permanent collection and artworks on loan
Liaise with artists when working on exhibitions and have an awareness of conservation and preservation factors in the gallery environment
Contribute to the writing of catalogues or other print material relating to the exhibition/collection

3. Role of Exhibition Designer
Responsible for the organisation of the gallery space and layout of the artworks in exhibitions
Put together layouts and floor plans, which sometimes require 3D scaled models or mock-ups. Models may include details such as movable wall placement, plinth and projector sites, seating, placement of artworks etc.
Will take care of selecting colours to paint walls and printing wall text (didactic panels)
Offer advice on framing, mounting and general presentation of artworks
Will liaise with curators to determine artwork placement
Make decisions about height of hanging artworks, distance between artworks and the flow and aesthetic of the exhibition

4. Role of Director Responsible for the financial decisions
Acquisition of artworks
Development of marketing strategies
Allocation of gallery staffing roles and resources
Must create a long-term vision for the ongoing development of a gallery’s collection
Work collaboratively with all gallery staff, especially curators

5. Preservation & Conservation
TEMPERATURE & HUMIDITY
Both can cause fading, discolouration or decaying to works on paper and garments.
Temperature would be kept within degrees C range
Humidity approx 55rh (relative humitidty). At 67 percent mould is prone to grow.
Both temperature and humidity would be measured by a thermohydrograph (bonus terminology!) and controlled using sophisticated and precise air conditioning systems
PEST, INSECT, BUG CONTROL
When in storage the piece would be kept in Solander boxes-airtight controlled boxes to prevent pests from feeding on or causing damage to the paper, for example, droppings can mark the paper.
The piece would be kept in cool dry areas and regular cleans and checks would take place to ensure no pests had done damage.

6. Task 1: Find a picture of a thermohydrograph
Insert picture here

7. Task 2: Solander Box research
1. What is a solander box?
2. In what ways does it protect artworks?

8. Preservation & Conservation cont.d
LIGHT
Both natural and artificial light would be monitored.
The piece should be displayed at no more than 50 lux as paper has a high sensitivity to light energy. The light would be measured by a lux meter.
The piece would be on a 1:3 ratio-1 month on display, 3 months off. In the period of no display it would be kept in darkness. Ultraviolet light would be filtered, for example with the use of special windows and light bulbs - tungsten light bulbs would prevent damage.
DIGITAL MEDIA
Can be the most vulnerable to damage if they are not migrated to new formats as old technologies become outdated.

9. NGV
Mission:
“to illuminate life by collecting, conserving and presenting great art”
Supported financially through:
benefactors
federal government
state government
memberships
donations

10. NGV International: Role & Purpose
NGV CCP (collect, conserve, present)
1. Collect: source artworks
2. Preventative conservation (everything eventually degrades)
3. Present:
Promote art to the public
Educate the public
Role = what is done
Intention = what they hope to achieve
Public Gallery – to show a huge variety of work
Funded by government
Aim is to educate people about the variety of art which exists
Curators + exhibition designer (architects/interior designers) + conservationists (drycleaning experts etc)

11. NGV: Responsibilities to Preserve/Conserve
Example Question: What can the following people do to assist in the preservation of artworks? ARTIST: Archival quality materials (eg acid free paper) Frame artworks Storage and moving of artworks prior to sale Liaising with curator to select best materials for preventative conservation CURATOR: 50lux (tungsten or halogen lights as they have no UV output) Temperature between Humidity 50rh (relative humidity) – too moist = mould, too dry = cracking Resting artworks ration 1:3 (3 months on display, 9 months in storage) PUBLIC: Following gallery rules – no food or drink No touching of artworks No flash photography

12. Promotional Methods (marketing)
Promote gallery, exhibition, programs through:
Advertising in print media (eg newspapers – ads and/or feature articles, art journals, magazines)
Advertising on television and/or radio
Banner ads
Bus Shelter Booths
Flyers
Take care of mailing lists
Publish newsletters
Organise invitations for opening nights
Arrange press releases
For larger ‘block-buster’ exhibitions they may do larger advertising campaigns including signs and posters placed in high-profile contexts (eg trams, television etc) and may also work with other organisations to promote exhibitions
After the exhibition preview (or opening night) critics and art journalists will usually write reviews that feature in magazines and newspapers
All depends on budget and audience. Eg: advertising on Gold Fm won’t attract young adults;)

13. Alternative Art Spaces
NOT FOR SALE
City of Melbourne art program
Shop fronts / windows (eg Craft Victoria
Artist studios often do tour groups
Street Art

14. There’s more… Auction houses: Art fairs and festivals
Secondary art market – re-selling artworks
Art fairs and festivals
Arts support programs
Corporate spaces (acquire art to define brand/reputation)
Outdoor spaces (development of community)
Virtual & online

15. Online Art Galleries http://www.tate.org.uk/ http://www.warhol.org/
Find Andy Warhol’s work ‘Trash’
Find Andy Warhol’s ‘Gold Marilyn’
Find Andy Warhol‘s ‚Flowers‘

16. Past exam questions ROLES & INTENTIONS: EXHIBITION SPACES
2015: Question 9 (14 marks) Describe how your understanding of the exhibition of artworks has been influenced by the curation and exhibition design in two different exhibition spaces you have visited this year.
2014. Q8. (12 marks) Discuss the different approaches to the preparation and presentation of artworks in two different exhibitions spaces you have visited this year.
2014. Q5. (6 marks) Compare the roles of two of the following art exhibitions spaces:
A commercial gallery
A community environment
A virtual exhibition space
An artist-run space
An alternative space
2013. Q8 (10 marks) Compare and contrast particular characteristics of two exhibition spaces that you have visited this year.
2012. Q4. Describe the roles of the following exhibition spaces. 8 marks
Public gallery, Commercial gallery, Artist-run space, Curated online exhibition space

17. ROLES & INTENTIONS: EXHIBITION SPACES continued: 2011. Q6
ROLES & INTENTIONS: EXHIBITION SPACES continued: Q6. Identify an art gallery or other art space where you have viewed an art exhibition this year and discuss the following: The role of the art gallery or art space. The intention of the curator or artist. The presentation of the artworks. 15 marks Q7a. Identify 2 different art exhibition spaces you have visited this year. Compare the roles and particular characteristics of each exhibition space. 7 marks Q7b. Discuss the intention of the curator or artist in displaying the artworks in each exhibition space. 7 marks Q3. There are many types of exhibition spaces. Choose 2 from the following list and compare their role and purpose: Public gallery, Commercial gallery, Artist-run space, Auction house, Theatre or performance space, Virtual exhibition space, Cinema 4 marks Q3. Describe and compare the role of any 2 of the following: Public galleries, Commercial galleries, Other art spaces (virtual, artist-run, auction houses, outdoor spaces) 4 marks Q4a. Select one artwork from the detachable insert. Discuss what the role of a curator would be in preparing and exhibiting the chosen artwork. 3 marks

18. Past exam questions contd.
EXHIBITION SPACES: CONSERVATION AND PRESERVATION Q2: Select one artwork from the detachable insert. Describe conservation considerations and methods involved in storing this artwork. (6 marks) Q1. Explain two methods the curator of a public gallery would use to ensure the conservation and preservation of the artwork when it is on display to the public. 6 marks Q2. Select one artwork from the detachable insert. Explain three conservation methods the artist or a gallery curator could use to preserve the artwork. 6 marks Q5. Select one artwork from the detachable insert. In order to preserve or conserve this artwork in a public gallery, what could each of the following people do? 9 marks The artist, The curator, The public

19. EXHIBITION SPACES: CONSERVATION AND PRESERVATION continued: 2010. Q2
EXHIBITION SPACES: CONSERVATION AND PRESERVATION continued: Q2. Select one artwork from the detachable insert. Describe three different considerations a public gallery could respond to when protecting the artwork from damage. 9 marks Q5. Select one artwork from the detachable insert. Conservation of the chosen artwork requires consideration of specific factors. Identify 3 factors and explain how they can be used to conserve the artwork. 6 marks Q5. Select one artwork from the detachable insert. Imagine you are a curator in a public gallery. With reference to materials, lighting, temperature and/or storage, discuss the considerations and methods involved in the conservation of the selected artwork in your gallery. 6 marks Q4b. Select one artwork from the detachable insert. What would be the considerations and methods of conserving and storing the chosen artwork? Q3. An artwork in a specific artform has been selected for a travelling exhibition. Nominate the artform (eg. Oil on canvas, ink on paper, silver gelatin photograph, digital media etc). Explain issues and processes involved in the conservation of the artwork for this exhibition Q3. Discuss the damage that could occur to an artwork in a specific artform if it were to be exposed to: Extremes of temperature, Intense light, Inappropriate storage. 6 marks

20. Past exam questions contd.
EXHIBITION SPACES: PRESENTATION & PROMOTION Outline the considerations needed when presenting this artwork for exhibition in a curated online art gallery. (4 marks) Q8. Discuss how artworks were presented and promoted in two different exhibition spaces that you visited this year. 10 marks Q7c. Discuss methods and/or considerations involved in preparing and promoting the artworks in each exhibition space. 7 marks Q4c. Select one artwork from the detachable insert. Explain how the artwork could be promoted and marketed in a commercial gallery. 3 marks Q3. An artwork in a specific artform has been selected for a travelling exhibition. Nominate the artform (eg. Oil on canvas, ink on paper, silver gelatin photograph, digital media etc). Explain issues and processes involved in the conservation and presentation of the artwork for this exhibition. - Presentation Q4b. Discuss the promotional and/or marketing considerations involved in preparing an exhibition in either a public gallery or an artist-run space. 3 marks