Last week I started going over some of my most frequently-asked questions as a museum curator. Today we'll wrap up with a few more common inquiries.
How do I care for my art?
Not to make things more complicated, but it depends on the work. Here are the most common ones I run into:
Paintings
If the object in question is a painting, make sure it's in a secure frame, and that the painting isn't sagging in its frame, if it's a work on canvas we're talking about. Now look at the paint layer itself. If there's a lot of chipping or flaking going on, you may want to call a conservator. The same goes if it looks really dirty. Also try to maintain a stable temperature and humidity level. Paintings don't like change and are more prone to drying out and cracking, or developing mold if there are abrupt surges or declines in humidity.
Works on paper
If it's a work on paper, make sure it's been matted in archival, acid-free matting. If you can't remember the last time it was matted, go ahead and have it redone, and ask specifically for archival matting; ideally a work should be rematted every ten years. Also, hang your print in a place with low light levels, or at least out of direct sunlight if it's near a window, as they're prone to fading from light exposure. If it's a pastel or charcoal work, make sure the work isn't resting right up against the glass if it's framed, as the glass can attract particles from the drawing.
Textiles
If it's a textile, try storing it on a roll if you can, as that prevents creases and wrinkles. Ideally your roll should be made of acid-free materials, but if all you have is a cardboard roll, cover it first in some acid-free paper or other material. Be sure to change the paper periodically, as the acids will leach into it over time. If you don't have access to a roller and only have a box, periodically take it out and refold it to minimize the development of creases. As always, wrap the textile in acid-free paper. Also, keep textiles in lower light levels, as you would with works on paper.
This is a pretty basic list. If you really want to go in-depth, the Canadian Conservation Institute is one of the best sites out there.
Okay, next question:
I'm interested in having an exhibition at the Museum. How do I go about doing this?
Honestly, every museum has a different policy regarding this question. A lot of museums have been posting their response to this question on their FAQs page though, so if you're interested in a specific institution, I say look them up and see what they have to say about it.
Speaking for the Roswell Museum, we've put together shows in a variety of ways. We do receive plenty of proposals, and some of our exhibitions have developed out of them, with a couple of examples being Guitars from Club Muse: Roger Sweet, and New Mexico Vernacular: Architectural Portraits by Robert Christensen. In the case of these shows, I reviewed each artist's proposal, determined that the work was relevant to our mission, and contacted them. For every idea that I've considered relevant however, there are probably at least ten that I decide against, so sending me a proposal is by no means a guarantee for a show.
For other exhibitions, I've reached out to an artist or group of artists and we've developed an exhibition together. Such was the case for Power: New Works by David Emitt Adams. I first became acquainted with David's petroleum series in 2014, and we stayed in touch over the next few years until there was a sufficient number of works to do an exhibition at the Museum.
Still other exhibitions have developed out of a combination of factors, with one example being Signe Stuart: Fifteen. Stuart had reached out to us initially with a proposal for an installation, but evolving circumstances on both of our ends changed our mutual needs for the exhibition. Over time, it transformed from a single installation to a more potpourri-type show providing an overview of her entire working practice.
In short, exhibitions at the Roswell Museum develop in a variety of ways. If you are interested in submitting a proposal, I'll share the materials that seem most relevant to our mission with the rest of the curatorial staff, and we decide as a group whether that particular idea or concept is suitable for our museum. Discussion doesn't guarantee a show, but your idea will at least be considered.
So those are my top questions beyond potential donations. I hope this helps, but if you need to talk to me, by all means please do.
Just make an appointment first.
 |
| Gif courtesy of http://buzz.longwood.edu/1-cute-cat-reading-a-book-9-questions-about-the-qep/ |
How do I care for my art?
Not to make things more complicated, but it depends on the work. Here are the most common ones I run into:
Paintings
 |
| Image courtesy of https://commons.wikimedia.org/wiki/Category:Mona_Lisa |
If the object in question is a painting, make sure it's in a secure frame, and that the painting isn't sagging in its frame, if it's a work on canvas we're talking about. Now look at the paint layer itself. If there's a lot of chipping or flaking going on, you may want to call a conservator. The same goes if it looks really dirty. Also try to maintain a stable temperature and humidity level. Paintings don't like change and are more prone to drying out and cracking, or developing mold if there are abrupt surges or declines in humidity.
Works on paper
 |
| Katsushika Hokusai, The Great Wave Off Kanagawa, 1826-1833, color woodblock print. Image courtesy of https://commons.wikimedia.org/wiki/File:Great_Wave_off_Kanagawa2.jpg |
If it's a work on paper, make sure it's been matted in archival, acid-free matting. If you can't remember the last time it was matted, go ahead and have it redone, and ask specifically for archival matting; ideally a work should be rematted every ten years. Also, hang your print in a place with low light levels, or at least out of direct sunlight if it's near a window, as they're prone to fading from light exposure. If it's a pastel or charcoal work, make sure the work isn't resting right up against the glass if it's framed, as the glass can attract particles from the drawing.
Textiles
 |
| Image courtesy of https://commons.wikimedia.org/wiki/File:Quilt03.jpg |
If it's a textile, try storing it on a roll if you can, as that prevents creases and wrinkles. Ideally your roll should be made of acid-free materials, but if all you have is a cardboard roll, cover it first in some acid-free paper or other material. Be sure to change the paper periodically, as the acids will leach into it over time. If you don't have access to a roller and only have a box, periodically take it out and refold it to minimize the development of creases. As always, wrap the textile in acid-free paper. Also, keep textiles in lower light levels, as you would with works on paper.
This is a pretty basic list. If you really want to go in-depth, the Canadian Conservation Institute is one of the best sites out there.
Okay, next question:
I'm interested in having an exhibition at the Museum. How do I go about doing this?
Honestly, every museum has a different policy regarding this question. A lot of museums have been posting their response to this question on their FAQs page though, so if you're interested in a specific institution, I say look them up and see what they have to say about it.
 |
| Image courtesy of https://www.wellesley.edu/news/2017/stories/node/124626 |
Speaking for the Roswell Museum, we've put together shows in a variety of ways. We do receive plenty of proposals, and some of our exhibitions have developed out of them, with a couple of examples being Guitars from Club Muse: Roger Sweet, and New Mexico Vernacular: Architectural Portraits by Robert Christensen. In the case of these shows, I reviewed each artist's proposal, determined that the work was relevant to our mission, and contacted them. For every idea that I've considered relevant however, there are probably at least ten that I decide against, so sending me a proposal is by no means a guarantee for a show.
For other exhibitions, I've reached out to an artist or group of artists and we've developed an exhibition together. Such was the case for Power: New Works by David Emitt Adams. I first became acquainted with David's petroleum series in 2014, and we stayed in touch over the next few years until there was a sufficient number of works to do an exhibition at the Museum.
Still other exhibitions have developed out of a combination of factors, with one example being Signe Stuart: Fifteen. Stuart had reached out to us initially with a proposal for an installation, but evolving circumstances on both of our ends changed our mutual needs for the exhibition. Over time, it transformed from a single installation to a more potpourri-type show providing an overview of her entire working practice.
In short, exhibitions at the Roswell Museum develop in a variety of ways. If you are interested in submitting a proposal, I'll share the materials that seem most relevant to our mission with the rest of the curatorial staff, and we decide as a group whether that particular idea or concept is suitable for our museum. Discussion doesn't guarantee a show, but your idea will at least be considered.
So those are my top questions beyond potential donations. I hope this helps, but if you need to talk to me, by all means please do.
 |
| Image courtesy of https://www.pinterest.com/pin/528047125029443524/ |
Just make an appointment first.
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