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EXHIBITION

DESIGN

HANDBOOK

Art 619

Professor: Kevin B. Chen

San Francisco State University

This print coursepack and its electronic counterpart are intended solely for the

personal use of purchaser, all other use is strictly prohibited.

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Art 619: Exhibition Design Handbook - SFSU

1.0 INTRODUCTION

1.1 Info. & Grading Criteria

1.2 Contact List

• Gallery General

• Important People

• Where to Print

1.3 The Never, Never List

1.4 Safety

1.5 Art Handling & Packing

2.0 EXHIBITIONS

2.1 Exhibitions Defined!

2.2 Gallery Floor Plan

2.3 Professional & Faculty Artist Exhibitions

2.4 Student Artist Exhibitions

Stillwell Juried Student Exhibition

• Undergraduate

❖ Registration

• Jurying: Process and Criteria

• 2nd Year MFA • Leo D. Stillwell Collection

❖ Legacy

❖ Accession and Catalog System

2.6 Spring MFA & Senior Open House

3.0 GALLERY JOB DESCRIPTIONS

3.1 Gallery Director & Gallery Manager

3.2 Project Manager

3.3 Operations Manager

3.4 Registrar

• Tasks within the Fine Arts Gallery

• Handling Artwork

3.5 Stillwell Collection Manager

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3.6 Publicity Coordinator

3.7 Image Archive/Documentation Coordinator

• How to Build a Photo Archive

• Scanning for the Archive

• Flickr

• General

3.8 Installation

• Niches

• Lighting & Lighting Grid

• Matting & Framing

• Installation Etiquette

• Accessible Exhibition Design

3.9 Graphic Design/ Signage Coordinator

• Vinyl Cutting Guide 3.10Labels: Formatting

3.11Didactics

• Guidelines for Developing Didactic Panels

• Guidelines for Editing Artist Statements 3.12Education Outreach Coordinator

• Creating a Program and Planning Tours

• SFSU Tour Planning Packet

3.13Gallery Attendant Coordinator

3.14Community Outreach Coordinator

3.15Development Coordinator

3.16Catalog Coordinator

3.17Reception Planning

4.0 GLOSSARY OF TERMS

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(1.0) INTRODUCTION

The San Francisco State University Fine Arts Gallery serves as a forum for

both professional and student art exhibitions, and as a professional workshop

for students enrolled in ART 619. Class members are involved in and are

responsible for every aspect of the production of one professionally curated

exhibition and one exhibition of SFSU student work per semester. Areas of

responsibility are assigned to student managers who are in turn accountable

for performing and/or supervising all related tasks.

1.1 CRITERIA FOR GRADING

1. It is mandatory that each student work an additional 3 hours outside of class time each week on class projects.

2. An effort must be made in each task that you do. Quitting a job

because you don’t want to bother will result in a lowered grade

for the day.

3. Participation and working as a team are essential. Just because

you’re not signed up for a job does not mean you cannot be

recruited and expected to participate in every aspect of the gallery.

4. A good attitude and cooperation are essential!

5. Efficiency and competency are also criteria for grading.

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1.2 CONTACT LIST

Gallery: Fine Arts Building, Room 238

Phone: (415) 338-6535

Gallery Office: Fine Arts Building, Room 236 Fax:

(415) 338-0502

Web: www.gallery.sfsu.edu

Key People

Sharon Bliss, Gallery Director:

(415) 338-6942 sebliss@sfsu.edu

Kevin B. Chen, Class Professor:

(415) 596-8756 kevinbchen@sfsu.edu

Matt Itelson, Publicity and Press Releases:

(415) 338-1442 mattl@sfsu.edu

Creative Arts Technical Services (CATS):

(415) 338-1778

Where to Print

Oversized and Color Copies: Use the Bookstore Copy Center:

Mezzanine Level, Cesar Chavez Student Center

Regular/ Black and White Copies: Use the Art Office copy machine (the code is

posted in the gallery office, on the wall near the clock).

Exhibit Announcements:

PS Print: 2861 Mandela Parkway, Oakland, CA 94608

(510) 511- 2009

www.psprint.com

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1.3 THE NEVER, NEVER LIST

• NEVER use white, double sided foam tape or stick Velcro to the walls.

Adhesives can permanently damage gallery walls and surfaces. Instead,

please use staples.

• NEVER paint without making sure floors and surrounding areas are

thoroughly protected first. Always have a wet washcloth on hand to

clean up any splatter before it dries.

• NEVER leave used paintbrushes and rollers in the sink!!! Clean

everything, even if you weren’t the one to use it. Rollers should be

wrung out by hand to dislodge any paint caught in the wool. Do not

leave rollers laying flat in drain tray as they will soak up the water,

destroying the roller and/or contaminating fresh paint used the next

time around.

• NEVER leave anything, especially hammers, on top of ladders or any

other high places such as moveable walls.

• NEVER lean off-balance when on a ladder.

• NEVER drag objects across the floor.

• NEVER handle art objects without gloves.

• NEVER pick up an artwork by the top of the frame, or with only one hand.

Always lift with one hand squarely on each side and ask for help, even for

objects that are only slightly heavy.

• NEVER use glass cleaner on Plexiglas. Glass cleaner will fog up and ruin

Plexiglas. Use a Plexiglas cleaner like Brillianize Plastic Cleaner. Do not clean

Plexiglas with paper towels; always use a clean, non-abrasive, soft cloth

(paper towels will scratch Plexiglas).

• NEVER forget to include funding sources on all announcements for

exhibits.

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• NEVER use software (including font styles) that is incompatible with that

of the gallery office. All information, didactics, labels, flyers, etc., should be

saved on one of the student computers for next semester.

• NEVER order announcements or postcards without first confirming the

quantity needed with the Gallery Director.

• NEVER use large paper plates at a reception - food runs out too quickly.

• NEVER, NEVER assume anything or follow orders blindly. If

something does not make sense, ask for clarification and a second

opinion before proceeding.

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1.4 SAFETY

• Always have a spotter or a partner when moving walls, moving and

hanging heavy objects, and moving and climbing on ladders.

• Pick up and account for tools as you work.

• Watch for overhead light fixtures when moving walls and ladders.

• Maintain and set new standards and remember…. There is no “I” in

“TEAM”!

• Use caution when handling and unscrewing hardware as you are

mounting walls to ceiling beams.

• Make sure both feet have a secure footing while standing on a ladder.

• When changing lights, use the ladder that does not conduct electricity.

• Work with caution when using hazardous chemicals and mineral spirits.

• Always use caution when working with electricity and keep away from

water when working with electrical tools.

• BEWARE: tools can be harmful.

• Use caution when working with sharp objects such as box cutters or

screwdrivers.

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1.5 ART HANDLING AND PACKING

BASED ON NATIONAL PARK SERVICES MUSEUM HANDBOOK (PART 1)

A. IMPORTANCE OF PROPER HANDLING

Physical handling is often overlooked as a source of potential damage to

museum or gallery objects. Although it is largely a matter of common sense, proper

handling is essential to object preservation. Careful treatment of objects is a key

element in a preventive conservation program

Obvious examples of damage due to mishandling is the ceramic or glass

object that is dropped and shattered into tiny pieces, or a document that is torn. In

other cases, damage may not be evident immediately. For example, metals can

corrode from being handled without gloves, or a painting can later crack as a

result of bumps and jarring that occurred during transport.

Handling objects as infrequently as possible is the best way to prevent

such damage. However, day-today curatorial care often requires handling art and

museum pieces. Objects are usually moved and handled during activities such as

cataloging, photographing, housekeeping and packing for shipment.

Damage resulting from mishandling museum objects is preventable. Proper

handling of museum objects is largely a matter of developing an attitude of

sensitivity to objects. It is the responsibility of the entire staff. Observing the

standard practices and rules for handling museum objects can ensure the safety of

each object.

B. PRACTICES TO ENSURE OBJECT SAFETY

1. Establish Written Rules.

The preparation of written rules on handling helps to foster a professional

attitude and respect for the objects involved. Provide all staff with a set of written

rules for handling museum objects. Post these rules in museum storage areas.

Ensure that all staff and outside researchers involved with handling objects read

and follow the rules.

2. Use Proper Supplies and Equipment.

Ensure that equipment used in handling museum objects is of good quality

and in good repair. The use of object support trays avoids the unnecessary handling

of art.

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Handling equipment may include flatbeds, carts, dollies, pallet lifters, and

object support trays. It also includes the supplies used with the equipment, such as

foam pads used to line cards and trays, furniture pads, acid-free tissue and cotton

gloves.

Before moving an object, inspect equipment to ensure that it is safe for the

objects and the handler. Adequate supplies should be on hand. If equipment or

supplies are inadequate, postpone moving the object. Never take risks with

museum objects.

3. Plan ALL Tasks Associated With Handling and Moving. Planning

is essential before handling museum objects. The movement of objects must

never be considered routine. Thorough, advance planning helps to keep the

movement of objects to a minimum. Planning also reminds the handler each

museum object is special.

The planning process includes the following considerations:

• The object’s structural characteristics and condition.

❖ Consider stresses that handling and moving will place on an object. An

object may be extremely heavy, fragile or unstable and therefore will

require specialized equipment or more than one person to move it.

• The people required.

❖ Evaluate the experience of the people involved. Assign specific tasks to

each person. Movers should know where the object is to go, the route to

be taken, the equipment to be used and the time needed to complete the

move. If necessary, provide people with a set of written instructions.

• The Object’s New Location.

❖ Ensure that the location is prepared and ready to safely house the

object.

• The Route for Moving an Object.

❖ Ensure that the route selected is clear. Within a structure, study spaces

through which the object will pass (doorways, stairwells, etc.). Be aware

of all surfaces with which an object may come into contact. If possible,

avoid tight fits. If the objects are to be transported outdoors, move them

when weather conditions pose minimum threats. If an object is

transported a long distance or to a location at a different elevation, be

aware of weather conditions at the final destination in order to determine

the type of protective container that would be best to use.

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• The Personal Health and Safety of the Handler.

Plans should address any health or safety hazards involved with handling

objects, such as lifting heavy objects that might cause back or hand injuries;

handling potentially dangerous objects and touching or inhaling fumes or

particles from fumigated objects or natural history specimens treated with

preservatives.

C. GENERAL RULES FOR HANDLING MUSEUM OBJECTS

• Handle every museum object as though it is irreplaceable and the most

valuable in the collection.

• Never smoke, eat or drink while handling objects.

• Do not wear anything that might damage the object. To avoid scratching and

snagging surfaces, be careful of pocket contents, jewelry, watches, belt

buckles, nametags, etc.

• Use only pencil while working near objects to avoid applying a permanent

damaging mark. Never use ballpoint, fountain, or felt tip pens near objects.

Use measuring tapes and magnifying glasses with extra care to avoid

touching the object and causing accidental damage.

• Keep hands clean, even when wearing gloves. All materials and surfaces in

contact with the object must also be kept clean.

• Wear clean white cotton gloves, except when handling objects like

ceramics and glass that are too smooth to grip safely through gloves, or

objects which have oily or tacky surfaces that may attract cotton fibers. Do

not use white cotton gloves when handling plant, bird, mammal, insect

and wet specimens. Surgical gloves or white cotton “sure -grip” gloves can

be worn when handling objects with a smooth surface.

• Save all information that is associated with an object (tags, labels).

• Know the condition of the object before moving it.

• Ask the following question: What is the strongest part of the object?

Observe an object’s center of gravity and lift it by supporting its

strongest structural component. Do not lift an object by protruding

parts; such as handles or rims, these areas are often weakest.

• Handle only one object at a time, using both hands. Use on hand for

support and the other hand for balance. Objects with more than one

component should be handled individually (such as a teapot and lid).

• When handling an object for cataloging or research, it may be necessary to

place it in an unstable position. Exercise extreme caution in these

situations. If distracted, set the object down on a stable base or surface.

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• Never hurry when handling art objects. Handling requires total

concentration on the object and the moving involved. Move slowly.

• Search all packing materials for additional pieces before discarding.

• If an object is damaged during handling, record the incident. Save all pieces.

Report the accident to the appropriate personnel. Take photos of the

damage if possible.

D. GENERAL RULES FOR MOVING MUSEUM OBJECTS

• Lift objects. Do not push or drag them. Support objects from the base and

side.

• Lift objects by their most stable surface. Do not handle objects by

projecting parts (handles, rims).

• Do not overload carts or containers. Make sure objects are padded,

secured, and separated from other objects. Padding should be acid-free

materials (suggestions of approved packing materials to follow).

• Do not allow objects to protrude beyond the sides of containers or

moving equipment.

• Exercise caution if there is a need to walk backwards when moving

objects.

• Make sure objects moved together on a carrier are of the same size,

weight and material.

• Take the container to the object, not the object to the container.

• Ask for help when moving large or heavy objects. Take no risks with

museum objects or personal safety.

E. IMPORTANCE OF PROPER PACKING AND SHIPING

One of the most hazardous times for museum objects is during travel.

Applying appropriate techniques and procedures for packing and shipping objects

are essential elements of a preventive conservation program. The hazards of

transit are numerous. Objects in transit may be subject to rough jarring or

dropping by movers, continual vibration on an airplane, or exposure to elements

on a loading dock. Travel hazards include: improper packing, shock, vibration,

sudden changes in temperature and relative humidity. Humidity fluctuations can

weaken adhesives and cause soluble materials to migrate. Vibration may dislodge

object attachments. Theft, vandalism and loss are other risks.

The goal of protective packing is to consider the worst possible hazards that

an object may face during shipment, then to overcompensate thus minimizing

those hazards. Ensure that objects are packed in such a way that the container and

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packing materials absorb shock and vibration, that the internal crate environment

buffers against external temperature and relative humidity changes, and that

packing materials do not pose a potential risk of damage to the object. EACH

OBJECT REQUIRES A UNIQUE PACKING SOLUTION. A properly packed container

makes the crucial difference between whether an object arrives safely or damaged.

F. PREPARATION FOR PACKING AND SHIPPING OBJECTS

1. Inspect and Document the Condition of Each Object.

Determine if the object can be safely shipped. Carefully examine each object

considered for shipment to determine if its condition allows for safe travel. The

structure or condition of some objects, like fragile glassware, wooden musical

instruments, paintings on wood, pastel paintings, charcoal drawings or cracked

porcelain, may preclude their safe travel. Consult the Regional Curator.

Documenting the condition of objects identified for shipping may require a

conservator.

Before shipping, document the condition of all objects. This way, if damage

occurs during travel the outgoing condition report will be documented for

insurance purposes. A portable light source and magnifying lenses can be used to

identify signs of separation and lifted parts. Note areas of previous repair. Repaired

areas might be weaker than the original fabric and therefore more susceptible to

damage. Repaired areas may also be stronger so that adjacent original material

may be vulnerable to damage. With furniture, check to see that all attachments and

joined sections are firm and make sure paintings fit tightly into their frames.

Making sure the glazing is secure and that there are no loose wires or hangers. Also

check for tears at the canvas edges. Examine objects for signs of biological

infestation.

Photograph objects before they leave your possession to provide visual

record in case the object is damaged or lost during shipment.

2. Determine Method of Shipment.

The receiving party very often may determine the method of shipment. Also

the value of an object may determine the method of shipping. The choice of

shipment very often determines the type of external case needed. The fragility of

an object and the transportation distance are also factors to consider.

3. Prepare a Workspace for Packing.

Select a space that is accessible to the museum storage area that does not

require moving objects up and down stairways and around tight corners or though

narrow doorways. Equipment needed for packing includes a sturdy table with a

padded surface, scissors, tape measure and a box cutter or knife. Pad a work

surface for textile objects with unbleached muslin over polyfiber batting. Keep the

table free of tools and other material while packing.

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4. Allow Sufficient Time to Pack Objects.

Good packing techniques can require hours and in some instances even days.

It is important to schedule enough time to ensure that objects can be packed

properly without a rush.

G. PACKING THE OBJECT

1. The Exterior Container

Good quality and design of the container in which an object travels

contribute to the object’s chances for safe travel. The exterior container is always

selected before packing because the choice of container is based on specific

criteria.

Criteria for selecting a container depend on the physical characteristics of

the item being shipped, the amount of space needed for the interior packing

configuration appropriate to the object, the method of transportation, and the

distances and duration of the trip, environmental changes, and how often the

object will be packed and unpacked. A good museum container is puncture proof,

lightproof, watertight, and protective against shock, vibration and environmental

changes. Materials used for shipping include metal, wood, cardboard and

polyethylene.

The best method of fabricating a container:

Building a wood container requires considerable carpentry skill and

knowledge of packing techniques. Generally, nails and glue can be used to

build it, but screws must be used on the lid once the object is inside.

Never use nails because of the jarring vibration caused by hammering,

the possibility of piercing an object, and the jarring caused by prying

nails loose during unpacking. Line the interior with polyethylene or

plastic sheeting and make padded braces to stabilize the object at its

points of greatest weakness. Gaskets, handles, skids and batons should be

added for protection. Casters should be placed on large containers to

facilitate movement.

When containers are shipped, they are often exposed to temperature

variations, which can affect the object inside. Hygroscopic materials such

as wood, paper, natural fabrics and silica gel can act as useful buffers

against rapid relative humidity changes within the container.

A packed shipping container should be neatly wrapped and labeled. Poorly

constructed and shoddy looking wrapping invite rough treatment, whereas a

properly wrapped box will encourage care by handlers. Craft paper is an excellent

exterior for cardboard boxes.

Shipping containers need clear identification markings. Put arrows on the

sides to signify which end is up and letter neatly on the top face

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“OPEN THIS SIDE”. The package should be labeled “fragile”. Do not mark package

with phrases, such as “works of art: or “museum object” which may attract thieves.

Adhere all labels with tape to ensure that they remain affixed for the entire trip.

Centrally locate the typed or printed address. For added protection, place a

duplicate label inside the package. Mark the total number of boxes on the address

label. If the address is a PO Box, include the telephone number on the label. Always

include the name of the recipient in permanent marker directly on the carton. This

procedure will ensure that if the wrapper is torn, the package will not have to be

opened.

2. Positioning the Object Inside the Container.

Evaluating the object’s structure and planning for the worst -case travel

scenario are critical in determining the object’s orientation inside a packing

container. Consider the object’s weight and center of gravity and imagine which part

of the object will receive the least breakage if the package is dropped. The heaviest

part of the object should be placed low and as near to the center of the container as

possible. Flat art works covered with glass should always travel vertically. Detach

and pack each component of an art object separately, for example, pack the teapot

and lid, each in their own set of materials. Make a support for heavy portions of an

object. Do not pack objects of extremely different weights in the same container.

3. Covering and Wrapping the Object.

An initial covering is used to protect objects from abrasive packing materials

and to serve as a moisture buffer. Use soft, unbuffered, acid -free tissue paper for

most objects. As much as possible, avoid tape when covering objects beca use the

tape can adhere to the object. Instead, tuck the tissue in on itself or into an

appendage. Be careful not to exert stress on the object by wedging tissue too tightly.

Never crumple tissue in wads. Insert smooth pillows of tissue between objects.

The appropriate initial wrap for paintings is glassine paper. Do not use

plastic polyethylene sheeting as a preliminary covering because it traps moisture

from condensation when temperature changes occur during shipment. This

situation creates the risk of mold growth and other adverse reactions in the event

of high humidity. When shipping archeological metal in polyethylene bags, be sure

to punch a hole in the bag before inserting the object to prevent condensation.

After covering the object, make sure all projecting parts and handles are

covered and padded with additional material (“rounding off” the object). After this,

wrap the entire object once more with one sheet of tissue. Since this layer does not

come into contact with the object, you can use tape to secure. Label this exterior

layer of wrapping with object identification

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4. Cushioning the Object Inside the Container.

Packing materials “float” the object inside the container. A general rule of thumb is

to provide at least two inches of cushioning between objects in the same container

and between the container walls. Allow 3-4 inches between very fragile objects.

Weight, fragility and sensitivity to environmental conditions are criteria to consider

in determining the number of objects to be packed in one container.

A variety of techniques can be used to cushion objects and provide shock

absorption. Selection depends on the fragility, size, construction of an object, and

mode of transportation. These techniques include double- boxing, cavity packing

and padding negative spaces.

• Double-Boxing

Double packing (packing an object in two sequential boxes) is an

excellent cushioning procedure to use. To do this, immobilize the

object and cushion it inside the box. Pack the first box inside a second

box that is at least 2 inches larger on all sides. Completely fill the

spaces between the boxes with newspaper or foam. Corner blocks or

plastic shaped like doughnuts can be used instead of cushioning

between the boxes. Corrugated fiberboard or wood can be used for

either of the two containers.

• Cavity Packing

Small to medium sized objects can be packed in successive layers of

polyethylene foam sheets. This technique is clean and easy to use in

repacking. To protect against the abrasive polyethylene material,

cover the cavity with soft, unbuffered, acid-free tissue.

• Padding Negative Spaces

A method to use for less fragile objects is to round off an object in

tissue paper, then wrap it in successive layers of air-cap, place it

inside the container, and pad the remaining spaces of the container.

Pieces of soft foam can be used to fill in the excess area. Traditionally,

expanded polystyrene foam (packing peanuts) placed loose in the

container creates a situation that allows for the migration of an

object. Loose packing peanuts obscure vision and add to the anxiety

of the unpacking process. If packing peanuts are used, put them in

small polyethylene bags and use the bags to cushion the wrapped

object(s).

To make a cushioning brace, measure the distance between the object

and the container and build polyethylene blocks and mounts to fill

the space. Open objects (pots, baskets…) should be

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lightly filled with tissue to prevent collapse caused by the force of

surrounding packing material pushing in on the object. Cover the

polyethylene with a less abrasive material to protect the object.

Before closing the container, place packing material above the object

to prevent movement if the container is overturned.

However, the object must not support the weight of this material.

Avoid too much compression so that padding material does not cause

damage to the fragile object. Cushioning material should support and

enclose, but must not compress.

Packing materials should be positioned firmly around all enclosed

items so that no part of any item contacts the container walls and so

the contents cannot shift position. Upon completion of packing, the

container should be lightly jarred to determine if there is movement.

If so, it must be repacked.

6. Packing Materials

Considering the nature of the object, its particular needs and the time it will

be in transit are all crucial considerations when selecting packing materials. For

instance, crumbly objects like ancient glass, slip- surfaced ceramics and corroded

metals are susceptible to mechanical damage caused by abrasive foams. Acidic

tissue should not come in contact with acid sensitive works. Plastic bubble wrap

and foams may leave imprints on polished metals, varnished wo ods, oriental

lacquer and other smooth-surfaced objects. To prevent such damage, curators

should select appropriate materials for each packing situation.

Packing Materials: The following list identifies materials commonly used in packing

objects for transit. The list is divided into materials used for specific functions.

Covering and wrapping materials (materials that come into direct contact with the

object must not stain; be abrasive, or be acidic.)

• Glassine Paper- Still, translucent, glossy texture. Use only for short-term

storage (less than 30 days). Recommended for covering paintings, prints,

and bottles with labels, books or objects with a crumbly or oily/tacky

surface. It will not adhere to dry varnish, waxed or other sensitive surfaces.

Only use new glassine paper, because it deteriorates with age.

• Tyvek- Slick, smooth, micro-porous, non-woven polyethylene sheet: an

alternative material for glassine.

• Tightly Woven Nylon- To put over cushioning foams to protect the object.

Make sure material does not come in contact with the surface of delicate

materials. Avoid using felt. Felt attracts pests. Knitted cotton (available in

rolls) is a good, soft liner for ethafoam supports.

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• Soft, Unbuffered Acid-Free Tissue Paper- For covering basketry, metal and

textiles. Do not use with protein materials like silk, wool or leather or on

photographs. Excellent for rounding off appendages and for filling in negative

space.

• Unbleached Washed Muslin- Ideal for wrapping sculpture and textiles.

Wash this material several times before using it to remove sizing and

soften.

• Mylar- Acid-free, clear, stable synthetic (polyester) film. Has an electrostatic

charge. Good primary protector paper. Never use on pastels or charcoal

drawings.

• Blanket Pads or Quilts- Ideal for covering large sculptures or furniture

pieces.

• Acid-free Folders- Ideal to cover unframed prints, documents and

photographs.

Cushioning Materials: Materials designed to absorb shock and moisture.

A variety of foam products are available to use with the packing techniques

described above. Each type of foam must be used correctly to achieve adequate

shock and vibration absorption. Each foam product offers different cushioning

qualities; so a combination of foams may be used. New products are continually

being developed.

• Air- Cap- Plastic (bubble wrap) with trapped air bubbles. Use with bubble

side facing away from object’s surface. Bubbles can leave impressions on

an objects surface. Several layers must be used to maximize the effect.

Susceptible areas like painting corners should receive additional layers.

Always buffer the object with tissue or muslin to prevent cargo sweating.

• Expanded Plastic “Peanuts” or “Potato Chips”- Peanuts are messy; they

settle and cling to surfaces. Dangerous to remove if they get caught in

appendages and they retain moisture. Use only with small, light objects or

in polyethylene bags. Instead of “peanuts”, it is recommended to use plastic

“potato chips” with interlocking surfaces.

• Polyethylene Foam Sheets- Light, easily handled; creates a moisture barrier,

and is shock absorbing and chemically inert. Sections can be joined with a

heat gun, glue gun or double-faced tape. Available in various densities,

thicknesses and textures. Use only white, avoid pink or blue colors.

Expanded, closed-cell foam (Etha-foam) can be abrasive- best to use to

support cushioned objects in a container. (Volera is a similar thin foam

sheet, best used with heavy objects).

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• Polyurethane Foam- Available in white or gray. Good thermal insulator,

excellent for cutting out object shape. It is not inert; it off-gasses, absorbs

moisture and may be toxic if it catches on fire. Never store museum objects

on a long- term basis with this material.

Boxing materials:

• Double-Strength corrugated fiberboard boxes.

• Foam-Core- Polystyrene foam sandwiched between two layers of clay-

worked craft linerboard. Used as an inlay between prints.

• Tri-wall Corrugated Fiberboard- Use as a base for objects and to design

unique boxes.

• Marvel Seal- Laminate of polyethylene (aluminum foil for impermeability

and nylon for puncture resistance); use as a box liner (maintains

microclimate).

Shipping Materials: NOTE: Never allow tapes to come into contact with surfaces of

museum objects.

• Cellophane and Masking Tape- May be used to attach packing materials, not

for closing outside of containers.

• Pressure- Sensitive Plastic tape- sticks to a variety of Surfaces and

shapes, good for sealing the outside of containers.

• Water Activated Paper Tape- Use 3” width for sealing containers and

attaching craft paper.

• Strapping Tape- Only use for closing containers, do not use on exterior

wrap of container.

Storage of Packing Materials: Keep packing materials in a clean, dust free, controlled

environment. If possible, store materials in an environment that is environmentally

stable with a humidity between 40-65% RH. If crates have absorbed more moisture

than is recommended for museum objects, allow the crate to acclimate to an

environment equivalent for at least two weeks before use. Open the lid to speed

interior adjustment. Before packing, check all materials for insect infestation.

Place an inventory list of all contents inside the lid of each packing container. If the

packing configuration is complicated and if unpacking in an incorrect order can

cause damage then include written unpacking instructions or a sequence of photos

showing the proper packing/ unpacking techniques.

H. SHIPPING THE OBJECT

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One of the most important factors in selecting a particular art packer or

carrier is its reputation with other museums and galleries. After a company has

been selected, discuss and confirm the following points of information about the

shipment: size and weight limitations, insurance coverage, cost, payment terms,

pick up and delivery times. Finally, be prepared to supervise and give specific

instructions for packing/shipping objects.

1. Transportation Alternatives for Museum Objects

Options for transporting museum objects include: the US Postal Service, United

parcel Service (UPS), motor freight, airfreight, or courier. Selection depends on

size, weight, distance, fragility of the object and extra services required. Specific

features and limitations of the transportation alternatives are as follows.

a. The US Postal Service is acceptable for objects that are not

fragile and are not of high value. Always mail “priority” class to

reduce transit time. A completed package must weigh less than

70 lbs and measure less than 108” in combined length & width.

b. UPS is recommended for shipping sturdy objects short distances

(100-500 miles). UPS will not transport objects of an unusual

value. A completed package must weigh less than 70 pounds and

measure less than 131” in combined length and width. UPS offers

next day delivery, second day delivery as well as pick up and

delivery service. An “Acknowledgement of Delivery” form is

available to senders. All packages are automatically insured for

$100 but additional insurance can be purchased. When shipping

to a large institution, specify that delivery must be accepted by

(signed for) by a specific person or department at the destination.

Otherwise objects may be left on a loading dock or at a reception

dock.

c. Art shuttle vans and special product trucks offer transportation

for museum objects. These services are offered by some national

van lines and specialized art-handling companies. However, they

are subject to side routing, delay and transfer between vehicles.

Find out in advance the exact route and transit schedule. Ship

only in trucks that have air- ride suspension to absorb road

shock. Transport objects sensitive to the environment in a

climate controlled van. Cost for van shipping is based on size,

weight, distance and any extra services required such as pick-up,

“non-stop” delivery and daily progress reports.

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d. Airfreight is a fast transportation method, but can be very

expensive and objects are subject to considerable handling. With

airfreight, the object is out of the museum’s control for the least

amount of time. Airfreight companies usually contract for pick up

and delivery van service. Vans are not driven by museum

art/object handlers. Museum objects are handled like any other

freight at this stage of travel. Pack objects with this in mind.

To prevent situations of unnecessary loading and unloading, plan

routing carefully to minimize stopovers and plane changes.

Another threat is the pressure differences between ground and

flight level, which may affect pressure sensitive objects.

Packing and size limitations are related to the airplane and it’s

loading doors. Weight and dimensions of the shipment usually

define air shipment charges. The services of an airfreight

forwarder may be helpful to coordinate air and ground transport.

These companies do not own planes, but have offices and agents

who book the services on all available airlines.

2. Use of Couriers:

Decreases the possibility of loss. To ensure an object’s safety, a very fragile

museum object, one of high value, or one that is politically sensitive should be

accompanied by a courier during transit. A courier is also recommended if the trip

is complex with carrier changes. Someone knowledgeable in conservation,

museum registration and object handling techniques should serve as a courier. A

courier may be a hired agent or a museum employee.

When couriering objects on an airplane, it may be necessary to pay for an

extra seat for the object. Check on airline size limitations before planning for a

hand-carried shipment and a shipping container. Secure it with a seat belt unless

the object can fit under the courier’s seat. A courier never lets the object out of

sight; does not carry hand luggage that gets in the way of the object, does not tell

other passengers what the package contains and boards and disembarks after other

passengers. If the museum object is in the cargo section of an airplane, the courier

supervises the loading and unloading process and supervises the object from

planeside to cargo shed. Such arrangements must be made in advance with the

airline.

Never leave a museum object unattended in a vehicle and deliver the object

to its destination as quickly as possible, avoiding unnecessary stops.

3. Receiving and Unpacking the Container

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Museum objects arriving at your institution should not be opened for 24- 48 hours

to allow the object to acclimate to the new environment. After unpacking the

object(s), isolate and periodically examine items for signs of infestation. Place

objects on white background to facilitate observing signs of active insect

infestation.

Use as much care in unpacking as in packing museum objects. Do not pull at

pressure sensitive tape; carefully cut it to avoid excess pressure on the object and be

careful to not damage the object when cutting tape. Check object(s) against the

packing inventory list to ensure that all items are accounted for. Check and

completely flatten all packing materials to ensure that no object pieces or small

items are left behind. If the object is to be repacked, place all packing materials

inside the box or crate and save the container. Also take careful notes on the

unpacking sequence and label all packing boxes and supports so that they can be

reinstalled properly. Packing containers are specially designed for short-term

transportation needs.

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2.0 EXHIBITIONS

2.1 EXHIBITIONS DEFINED

The Fine Arts Gallery holds two exhibitions each semester; one professionally

curated show, followed by the Stillwell Juried Student Exhibition in the fall and the

MFA Culminating Exhibition in the spring.

A brief explanation as to the nature of each of these exhibitions and how they vary

is laid out in the handbook text that follows.

Note: Roles of the students involved may change due to the unique

requirements of each show. However, through clear communication and proper

planning, the occurrence of mishap and missed deadlines will be significantly

reduced. The spam box for the email accepting submissions for the juried

show should be checked in case submissions find their way here.

Please see the Gallery Floor Plan on the following page.

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2.2 FINE ARTS GALLERY FLOOR PLAN

*

25

2.3 PROFESSIONAL ARTIST EXHIBITIONS

The San Francisco State University Fine Arts Gallery has earned a reputation for

hosting innovative, challenging and thought provoking exhibitions. As a result, Art

619 classes have had the opportunity to work with nationally and internationally

renowned artists who have been drawn to this site because of the gallery’s

professional repute.

We primarily present group shows based on a theme. An archive including

exhibition titles and artists for past shows can be found on the gallery’s website

www.gallery.sfsu.edu. Past themes have included: Bay Area artists exploring surface

design concepts, a 100-year survey of California watercolor painting, and art about

the US Criminal Justice System. Students enrolled in Art 619 class will have the

opportunity to do original art historical research for upcoming exhibitions.

When working with Professional Artist Exhibitions, there are two high prior ity task

groups for the class:

Registration: Works included in the professional exhibitions are officially

loaned, shipped, insured and inspected upon arrival. All examination

observations are then recorded in a condition report (note: variations of this

protocol may occur if the artist is present and participates in the delivery

and installation of the work).

Catalog Production: A polished catalog, whether printed or published to

the web is the publicly visible mark of a professionally curated show.

Invitations are distributed instead of catalogs for student shows, including

the MFA Exhibition in the spring.

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2.4 STUDENT ARTIST EXHIBITIONS

Stillwell Juried Student Exhibition/3-Part Exhibition

Three shows in one:

1. A Juried Exhibition of work done by Undergraduate Fine Arts

Students.

2. A group exhibition of artists in their 2nd year of SFSU’s three- year

MFA program.

3. A selection of work by Leo D. Stillwell from the collection of the SFSU

Art Department.

The Stillwell Student Exhibition is the second scheduled exhibition in the fall

semester. This show provides an opportunity for Undergraduates in the Art

Department to exhibit their recent work. In the past, about 200 works have been

submitted each year for jury, approximately 60 works are chosen.

Juried Undergraduate Portion of the Exhibition

Exhibition Design students are faced with the choice of limiting the number of

works accepted which may result in a stronger, more focused exhibition, or

increasing the number of works accepted and risk overcrowding individual pieces.

Students enrolled in Art 619 are permitted to submit work however, for the sake of

professionalism, the student is required to remain anonymous during the jurying

process and may not vote for his or her own work(s). At no time should the

enrolled student attempt to persuade class members to select his or her work for

the exhibition, nor may the enrolled student inform fellow students of their

participation in the jurying process. This class has found the blind jurying system

to be the most ethical means of work selection. Iss ues regarding conflict of interest

are not only embarrassing for the students involved but can also tarnish the

reputation of the gallery. Any such behavior will warrant serious disciplinary

action.

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Prospectus and Registration

The Prospectus for the Stillwell Juried Show should include all necessary

information needed to submit artwork. Make sure it notes important dates,

including when to pick up artwork that is not accepted. The prospectus should

also list basic rules and requirements of artwork to be juried. Please make sure

that the forms on the website for the gallery have been updated with the

applicable dates. Included in the prospectus should be 3 copies of the same form

(one set of the 3 forms per piece of artwork submitted) to be filled out by the

student artist and turned in upon submitting their artwork. The Art Department

Office Manager and Accounts Manager should be contacted in order to post the

forms on the gallery website.

Sample Form- Prospectus

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Make the prospectus available to all art students by putting them in large

envelopes hung throughout the art building. The best place to hang envelopes is on

studio doors and on the Art Department office door. Check and refill the prospectus

envelops a couple times a week, they go fast! Post forms to the gallery website

early.

Sample Form- Call for Submissions

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Sample Form- Call for Submissions (Part 2)

30

A spreadsheet registration form should be created on the gallery’s laptop with a

column for all of the information included on the entry forms. As each work is

received, it is given a number. The number stays with the work while the artist’s

name and contact information stay confidential, ONLY on the SPREADSHEET.

ON THE DAYS YOU ARE RECEIVING WORK: There should always be at least two

people in the gallery to accept the work. It is more efficient to have four. Two people

to take the information and enter it into the database, and the other two to carefully

take the artwork. You MUST wear gloves when handling artwork. There must be

four people in the gallery during high volume times (2 - 4:00pm on the second day).

Each department within the Art Department is solicited for prizes, generally cash

or gift certificates to art supply stores. The decision for a “Best of Show” may or

may not be chosen. Prizes are announced during the opening reception with prior

arrangements made with the department heads to deliver the prizes on time. In

some cases the prize may not actually be given until the end of the semester when

it may be secured from the donor.

Works not accepted are carefully wrapped and are checked out when students

arrive with their identifying receipt. Past experience has shown that artists whose

works are not accepted one year, and who resubmit the following year, sometimes

are awarded best work in their category. All work that is not included in the Stillwell

exhibition is automatically eligible to be displayed at the concurrent SALON show at

the Martin Wong Gallery. Encourage students to agree to submit their work at

SALON on the registration form. Confirm that the Martin Wong Gallery can store

these pieces until their display with the Martin Wong Gallery Manager ahead of time

(before editing registration forms). If the Wong Gallery is unable to store the work

that semester, the students will have to pick their work up from the Fine Arts

Gallery and bring it back to the Wong Gallery at a later date (this information will

have to be included on the registration form).

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Jurying: Process and Criteria

For the jurying process, the following list of documents must be prepared (in

addition to those forms previously discussed):

• Registration Excel Document (see template on gallery student computer)

• List of accepted works

• Criteria Checklist (as follows)

Criteria List

The following list is intended to offer rules and insight about the different mediums

in art and assist in the jurying process. Jurying can be a long and difficult process

and rules regarding particular mediums have sometimes been broken to create an

exemplary work. Deciding factors may be helpful to some groups, they may not be

for others. Artworks will provoke thought and discussion, thus fulfilling their

purpose by creating emotional stimulation. What one person may consider a

masterpiece may not be appreciated at all by another.

In all mediums, we are looking for:

• Originality of design

• Demonstration of technical skill

• Imagination

• Elegance of form

• Interesting, thought provoking imagery

1. Printmaking/ Book Arts:

*Note: Printmaking includes: lithography, woodcut, etching, monotype and

other mixed media.

a. Is the ink too thick?

b. Is the impression even? (Darker or lighter)

c. Are colors clear, not muddy and well layered?

d. Are there unintentional residue or marks that do not look as

though they should be there?

e. Fingerprints showing?

f. With book arts, is there demonstration of good spacing,

impression and bookbinding?

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2. Painting and Drawing:

a. Is it convincing?

b. Is there a good application of color, light, shade and perspective if

applicable?

c. Neat and cleanly executed?

d. Mature and professional?

e. Well thought out?

f. If figure drawing, is the depiction conventional or interpreted?

g. If abstract painting or drawing, is the work thought provoking?

h. Is the composition unified?

3. Photography:

a. Strong imagery, thought provoking and emotional?

b. Originality in context and aesthetics?

c. Demonstrated knowledge of technique and dark room

knowledge?

i. Black and White: Varying range of tone?

(When printed properly, a black and white photograph will

have true black, white and gray tones.)

ii. Color:

1. Good overall balance?

2. Good use of space?

3. Do the colors match?

4. General aesthetics and focus?

5. Saturation of color?

6. Good mechanics?

4. Metal Arts:

a. Complexity of form such as curves, angles and detail work?

b. Quality of the welds, are they clean?

5. Sculpture:

a. Complexity of Form?

b. Narrative and form; does it tell a story?

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6. Conceptual Design:

a. Technical skill?

b. Conceptual?

c. Visual?

d. Aesthetic?

e. Straightforward, understandable and not intimidating?

f. Is it innovative?

7. Conceptual Design With Computers:

a. Do ideas and forms communicate effectively?

b. Is it too commercial?

c. Is it concise and does it work?

d. Is it user-friendly?

8. Mixed Media:

Mixed Media is a widely used term that describes artworks that cannot otherwise

be categorized. Mixed Media is an art form that uses many different sources

conventionally used in art making and combines them. Mixed Media allows the

artist to create an object that is unrecognizable yet understandable; it is appealing

to the human capacity to take in many things at one time.

a. Is the work coherent?

b. Is there chemistry and a noticeable relationship between the

materials chosen?

c. Is there a narrative?

d. Balance?

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Jurying: Results and Statement

A statement explaining the jury process and decisions made is composed after the

final decisions have been made in the selection process. The criteria for selection of

specific works over others are described with a thank you to all artists who

submitted works for the exhibition. The statement is posted above the list of

students whose works were accepted, on both the Gallery Office door and the

Gallery front door. Extra copies of the statement and the list are kept in the event

those posted are involuntarily removed.

Sample Statement

The Stillwell Student Show is juried each year by the ART 619 class, which is

comprised of upper division undergraduates in Art and graduate students in

Art, Art History, and Museum Studies. The responsibility of jurying is taken

seriously and criteria are discussed in the week prior to the submission of

works. Gallery space is limited; the exhibition is comprised of undergraduate

work, second year MFA work and a small selection from the Leo D. Stillwell

bequest.

The Jury for the (insert current year here) Stillwell Student Show expresses

its sincerest thanks to all artists who submitted work for consideration.

Approximately 160 works were submitted, out of which less than half could

be displayed in a manner reflecting professional gallery standards.

The selection process used included the basic criteria given, as well as

additional qualities. Exceptional craftsmanship and strong aesthetic value,

demonstration of clear understanding of materials, and provocative content

were also chosen. Every work was carefully and individually considered.

We thank all of the artists for submitting their works for consideration in this

exhibition. All are cordially invited to the opening reception on (insert date

here).

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2 nd

Year MFA Portion of the exhibition

The back 1/3 of the gallery (known as “Gallery A”) is reserved for a small group

exhibition of students in their second year of the university’s three-year MFA

program. These artists will present proposals to the Gallery Director and Manager;

faculty from the art department will decide the layout of each student’s portion of

the show. Each artist is responsible to install their own wor k, but will be assigned a

student liaison from the Exhibition Design class to provide guidance and assistance

if needed.

The MFA component of the Stillwell Show is a trial run for MFA students in

preparation for their required third year cumulative in the spring semester of the

following academic year. Clear communication is absolutely necessary regarding

requirements about information for labels, installation concerns, didactics and 30 -

artist’s statements, deadlines and procedures fro registration. For ma ny graduate

students, this exhibition may be their first public show, with significant cash

prizes at stake. Both patience and strict guidelines are necessary.

*NOTE: At first contact, MFA students should be told that artist’s statements are

needed for the exhibition. All of the MFA students should be given the same

guidelines and deadlines.

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Leo D. Stillwell Portion of the Exhibition

Leo Stillwell was a prolific artist in San Francisco 60 years ago. The San Francisco

State Fine Arts Gallery owns a collection of Leo Stillwell’s paintings and sketches.

This collection is historically significant to the Bay Area and gay culture. Though

Stillwell was not formally trained in art and died at the age of 22, his works reflect a

mature understanding of traditions in painting. Often the content of his work is

subverted to reflect homoerotic themes.

Both The Reclining Nude and The Crucifixion are imitations of classical styles.

Traditionally, “the reclining nude” is a woman, but Stillwell has substituted the

historically accepted female form with that of the male. The Christ figure closely

resembles Stillwell’s lifetime lover, Russell Hartley.

Leo D. Stillwell: The Legacy

Shortly after Leo Stillwell’s death in 1949, his mother, Josephine Stillwell, moved

from San Diego to San Francisco and purchased a house at 120 Duboce Street. At

the recommendation of close friend and SFSU alumnus, Gerson Goodkind,

Josephine decided to name the Art Department the major beneficiary of her estate.

When she died in 1987, the bequest included a large collection of Leo Stillwell’s

works of art.

The bequest continues to benefit the University by enabling the Art Department to

offer two or more scholarships a year to graduate students. According to the terms

of the bequest, the Fine Arts Gallery exhibits several of Leo D. Stillwell’s artworks

each year.

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Stillwell Collection: Accession and Catalog

The Stillwell Art Collection is housed in the Art Department Gallery Office and

allows the Registrar and others to handle, examine and catalog a small, permanent

collection. Several works from the collection are displayed during the Stillwell

Student Exhibition.

Accession System Guide

DO NOT ATTEMPT TO RENUMBER!!

88 . X . Y . Z

“88” signifies the Stillwell Collection and is the year the collection was attained by

SFSU

“X” signifies the medium used (see key below)

“Y” signifies the genre/subject category (see key below)

“Z” is the unique item number given to a piece (pieces are roughly ordered

according to size

X-Medium Y- genre/subject category

1- Canvas Painting or Framed Works 1- Miscellaneous Works

2- Works on Paper 2- Costumes*

3- Sculpture 3- Portraits

4- Documents and Ephemera 4- Nudes*

5- Photographs 5- Homoerotic*

6- Heteroerotic*

7- Sailors*

8- Scenic

9- Mythological

Example: The piece with the accession number 88.2.4.32 would mean that it is part

of the Stillwell Collection, is a work on paper within the nudes section, and it should

be the 32 nd

piece down from the top.

Current Location, Storage, and Organization: Currently all Stillwell works are

stored in the SFSU Fine Art Gallery Office. Paintings and framed works are stored

in bubble wrap on the Flatwork shelves. All works on paper are stored in the blue

flat file drawers. Sculpture is contained in the large boxes on lower shelves and

documents and photographs are held in boxes 5, 7, 17, and 20 on the shelf above

them.

38

All pieces should be returned to their designated location and in numerical

order.

Progress on the Recataloging: Since 2010 the entire collection has been going

through a process of reorganization and cataloging. No comprehensive, systematic

inventory of the collection has ever been completed, and several accession

numbering systems have been used over the years. This new, custom accessioning

number system has been designed to coordinate with the organization of the work

itself so that each digit can give you an idea of the medium, subject, location, and

even size of the piece (since in general the pieces within a c ategory were arranged

first by size and then assigned a number to hold their place in that numerical

order). At the same time a new, digital database has been created that will hold the

new accession number, former numbers, and a digital photo of every single piece.

Once this is established, other crucial fields will be filled in over time. Currently

roughly half the paintings (starting with the largest pieces) and half of the

categories of works on paper have been completed (indicated by an *). Former

Accession numbers remained affixed to pieces but have been crossed out.

39

2.6 SPRING MFA AND SENIOR SHOW

SPRING MFA EXHIBITION

The Masters of Fine Arts Exhibition is the second scheduled exhibition in the spring

semester and is the culminating experience for the graduating MFA students. The

exhibition serves as an opportunity for the graduate students to display their work,

as well as a mandatory graduation requirement. Because of this requirement, it is

extremely important that the artists adhere to scheduled deadlines created by the

instructor/ project coordinator. Artworks must arrive in the gallery eight days prior

to the opening of the exhibition (usually held on a Saturday). Graduating MFA

students are required to sign a contract agreeing to all deadlines. Please see the

Gallery Director for contracts.

Art 619 students assist the MFA students as is possible within the hours of the

regularly scheduled class – but we are not responsible for installing their work.

40

SENIOR SHOW

The format for the Senior Show was changed in 2015. In that year, a partnership

with the Art Gallery in the Cesar Chavez Student Center was developed. Now, there

is an open call for Seniors to submit imagery of their work, and the Art Gallery

invites an art professional to jury that exhibition. Students whose work is selected

are invited to bring the work to the gallery for installation.

All responsibility for this exhibition is managed by their staff.

Sample Form- Call for Submissions

(Insert year here) Senior Art Exhibition

You are invited to submit work for the annual School of Art Senior Show. It is a

juried exhibition that will be displayed in the Cesar Chavez Art Gallery, and the

juror is (add name and information about curator here).

WHO IS ELIGIBLE: School of Art Seniors, 90 units and over

HOW TO SUBMIT: Your PDF must include a clear image of the work, up to 2 works

per student, and be titled with the artist’s first and last name and can include an artist

statement of up to 50 words. Include the title, medium, dimensions (height by width

by depth), year of completion, and any special instructions for installation or

presentation of the work. If your work is a video, include a link for view ing on a

streaming site or external download (.mp4 files only, include any password/s for

access if needed) and a still image from the video in your PDF. Include your email

address, student ID number, and phone number for questions.

Email this and any questions to: s fsuseniorartshow@gmail.com

Accepted works will be announced on (insert date here).

SHOW DATES: (Insert date range here) in the Cesar Chavez Student Center Art

Gallery at San Francisco State University. Opening reception will be (insert date

range and times here). Your work must be available for the entire show.

NOTE: Please see the menu and donation sources for this event in the RECEPTION

PLANNING section of this Exhibition Design Handbook: Page 109