The Art of Installing Art by Cleveland Institute of Art

The Art Of Installing Art Let’s preface this by saying “There are no rules to art.” Art should be relieved from boundaries and rules. Art is free creative expression. With that said, there are standards. Especially when it comes to displaying and installing art. Whether at a gallery or museum, there are practices that are applied to ensure the safety of the work and the safety of the audience. Let’s touch base on a few of these practices that will help you in understanding the art of installing art. Odds are that there will come a time in an artists career when they will either want to or have to install their own work at a gallery or museum. So it’s important to know, should the situation arise, how to do this. It becomes another skill in the artists arsenal and helps to make the individual a more knowledgeable and well rounded artist. With any art installation it’s imperative to know your timeline. How much time do you need or have to create what you want? This is very important in case you need to fabricate something (i.e. stretchers, frames, pedestals, shelving, or even walls). Make sure to give yourself enough time to accomplish your needs. Maybe you want the walls painted a certain color or you are installing multiple projectors? Factors like these are important when planning a show. They can eat up a lot of time, so plan accordingly.

Always give yourself more time. No one likes scrambling at the last minute. By preparing, prioritizing and forming a plan of action you can nish ahead of time. Then you can take a step back and look at the nal product to determine if any last minute changes are needed. Know your venue. It’s good to know how much space you have to work with. This will determine how many works or the sizes of the works that will t in the space you will be displaying at. Know the makeup of the walls, oors, and ceilings you might be installing on. This will determine what type of hardware you will need to use to hang your work. Ideally, galleries and museums have plywood backed walls, meaning there is usually a layer of 5/8″ drywall with a 1/2″ or 3/4″ layer of plywood behind it. This makes for hanging large/heavy works and shelving ideal since there is at least a solid inch of material that your screws can bite into. Floors are pretty straight forward, being either wood or cement. Ceilings can be the trickiest. If you plan on suspending/hanging from the ceiling you will need to research the safest and strongest hardware to use to support the work, along with the strongest attachment point on the ceiling. Always consult with a facilities department gure to determine the best course of action.

This supplement is meant to give you some assistance and insight into installing artworks. Note that there are many iterations of the techniques we will discuss, nd what works for you.

Hanging artwork at eye level / Hanging on Center Normally, eye level for gallery / museum hangs are between 57″ - 60″ on center. Which means the center height of the piece of art is at 57″ - 60″. Hanging formula: (X - Y) + Z = hanging hardware height

Take half of the height of the piece (X) minus the distance from the top of the piece to the hanging hardware (Y). Take that number and add it to your eye level number 57″ - 60″ (Z) and that will be where you place your hanging hardware on the wall. Measured up from the oor. It is good practice to use two hanging points as opposed to one. This helps ensure that the work stays level and is not pivoting on one point. In the drawing on the right, we have a piece that is 24″ x 24″ and has two hanging points. Using the hanging formula, we can determine the height of our screw placement. First we take half the height of the piece: 24 divided by 2 = 12, which makes X = 12. Then measure the distance from the top of the piece to the hanging hardware. This will give you Y, which is 8.

In this example we have predetermined our center height at 60ʺ, which is our Z value. Now, plug these values into the formula: (12 - 8) + 60 = 64ʺ Next measure the distance between the left and right hangers on the back of the piece, which is 22″. Now that we have all of our required measurements, we can measure up vertically from the oor to 64″ and make a mark on the wall. Then measure over with a ruled level horizontally 22″ and make a mark. Set the screws in the wall on these marks. Hang your piece.

Wires can be a bit tricky because they can ex/ stretch with the weight of the piece once they are hanging on the wall. It’s best to pick up the piece using your ngers by the wire (both hands). And lift it up a bit to let it hang and balance out. Using a tape measure, determine the distance between your hands/ ngers. This will be the distance between your two hanging points.

Lower the piece down onto your feet. Keeping one nger held to the back of the piece, measure down from the top of the piece to get your “Y” distance for the hanging formula.

Wire

In this drawing, we see an artwork that has a height of 24″ and hangs by a wire. Using the technique on the previous page, we get a distance that is 8″ across and 4″ down from the top of the piece. We can now use these measurements and plug them into the hanging formula to give us the hanging hardware height. (12 - 4) + 60 = 68 Mark the wall at 68″ and then center the 8″ distance across, 4″ left and 4″ right of your center mark. Now set your two screws/hangers and hang your piece.

D-Rings When hanging with d-rings, measure down from the top of the piece to the top inside of the d-ring. This is your Y value. Apply this to the (X-Y)+Z formula and you have your screw height. It’s always best to measure both left and right d-rings on the back of your piece in case they were attached at slightly different heights. Next, you will need to measure the distance between the two d-rings. You will use this distance, divided in half, to measure off the center mark for the left and right screw placements. Note: If you are installing your own d-rings on the art, it’s best to measure down from the top of the piece 1/3 of the height. Round this number to the nearest whole number to make things easier when doing the math for hanging, and attach them with screws. The length of the screw will be determined by the thickness of your frame or stretcher, usually 1/2 the depth.

Here we have an artwork that is 24″ high and hangs by d-rings. Measure down from the top of the work to the top inside of the d-ring (6.5″). Measure the distance between the two d-rings, 22″. (When measuring the distance between the two, always measure from center to center of the d-rings.). Using these measurements we get (12 - 6.5) + 60 = 65.5″. Measure up from the oor and make a mark at 65.5″. Then center the 22″ distance to the right and left of this mark. This is where a ruled level comes in very handy. Set your screws and hang your work.

Hanging a Stack When hanging two pieces directly above one another, start by determining how much space you want between the two pieces. Then, add together the heights of both pieces (12 + 12 = 24) plus the distance you want between the two (24 + 4 = 28″). This combined number becomes your overall height, as if you were hanging one piece. You can then use the hanging formula and hang the top piece. (14 - 2) + 60 = 72″ To hang the bottom piece, take the distance you want between the two pieces and add it to the distance from the top of the second piece to the hanging hardware/wire (4 + 2 = 6″). Take this number and use it to measure down from the center bottom of the top piece to set your hanging hardware for the bottom piece. The distance between your two hanging points is involved as well, apply what you have learned from the previous two examples depending on the type hanging style your work has.

Single Row Series Work When hanging a series of works which are all the same size in a single row with tight spacing (1″6″), start with the rst piece (usually the far left). Hang it. Then, leveling off the top of that piece, measure over to the halfway (center) of the next piece plus whatever spacing you want between the two pieces and make a small mark on the wall or use blue tape. Then measure down the distance from the top of the second piece to the wire/d-ring and make a mark on the wall. This will be the center of the distance between the two screw points that the wire/d-ring will hang from. Make your marks left and right of that center point and set your screws. Hang the second piece. Continue as needed, always leveling off the top of the previous piece. It’s a good idea to level off the previous piece because oors are often not level and if you measure off the oor for each piece, chances are that the tops will not be in line with one another.

In the drawing on the right, we have two artworks. Both are 24″ x 24″ that hang by a wire. Set both pieces on the oor, leaning against the wall, where you want them to hang. Determine how much spacing you would like to have between the two pieces. Find the center of the left piece and place a piece of blue mask on the wall above it. This will be a reference mark to align with for your hanging height.

4”

You can now move the artworks out of the way. Use the hanging formula and install the left piece. (12 - 4) + 60 = 68″. Next, take the distance between the two pieces and add it to half the width of the next piece. 4 + 12 =16″ This will be the center of the hardware placement of the next piece. Measure over from the top right corner of the previous piece, with a level, 16″ and mark the wall. Determine the Y value of your next piece. Then measure down from the 16″ point and make a small mark. Using this mark as a center point, center your distance between the two hanging points (8”) with a ruled level and install your hardware.

Grids You can combine the vertical stack technique and the single row technique together to hang grids. It helps if every piece is the same size and the hanging hardware is consistent with each piece. Nielson frames are great to use for grids. They have a built in rail that a standard screw head ts and locks into. They are readily available at craft stores and fairly inexpensive.

It’s even easier if you have a series of paintings that are simply hanging off a stretcher. As long as all of the stretchers are the same. Although, it is best practice to attach some sort of hanging hardware like d-rings to the stretcher.

This is a freeform technique and is used to hang a large number of works on a single wall in a cluster. There are really no rules to hanging salon style, but it does help if you have someone else with you who can hold up the work so you can step back and see what looks best. If it is just you, you could always lay everything out on the oor in the orientation you want and then transfer it all back onto the wall. A good trick is to hang the rst piece on center and then hold up your next piece where you want it to go and mark the top edge with a piece of blue masking tape. You can then measure down from the blue tape, the distance from the top of the piece to your hanging hardware (Y value) to place the screws. Continue hanging randomly left, right, up, down.

Salon Style

Magnets

Rare Earth Magnets are a great way to hang unframed works on paper. They come in all shapes and sizes. Make sure you have large enough magnets to support the weight of the work. There are many ways to lay out this hanging system. Here is one of the easiest. Take half the height of the work and add it to your center height. This measurement will be the top edge of the work. Transfer this measurement to the wall and put a piece of blue masking tape to mark where the top edge of your work will be. Next you can simply hold up your work, lining up the top edge to the masking tape, level it, and mark out the corners with more tape. Then set drywall screws anywhere from 1/4″ to 1″ in from the corners. Set the drywall screws deep enough so that the heads are ush to the surface of the wall. Then align your work with the tape corners and sandwich the work between the magnets and the nails/screws. Then remove the tape from the wall.

L-pins L-Pins work great for hanging foam core panels or loose prints that are sandwiched between plexiglass and foam core. First, gure out the hanging height of your piece and place a piece of blue mask on the wall where the top edge of the work will be. Hold up your piece, using a level to keep it straight, and mark the bottom corners on the wall directly underneath the work (usually inset anywhere from half an inch to one inch from the edge). Set your piece down and nail in the bottom two l-pins, making sure to leave enough space to accommodate for the thickness your work. Set your piece back on the wall into the receiving lpins and mark your top corners. Set the work back down again and hammer in the top two l-pins. After they are hammered in, you will need to rotate the top l-pins a quarter of a turn to allow the piece to be set back in place. Once in place, rotate the top l-pins back to lock the work in place on the wall.

Note: If your work is fairly large and/or thin, you might need to add l-pins along all the sides of the work to add additional support and hold it ush to the wall.

Cleats (french cleat, z-clips) Cleats are a great way to hang your work securely and level. That’s only if the cleat is af xed level on the piece of art. If your cleat is level on the piece, you only need to hang the receiving cleat level on the wall. Cleats work best on panel works, shelves, and wall mounted sculptures. However, a cleat can also be attached to a stretcher or frame.

To hang on center with a cleat, put the receiving wall cleat into the corresponding cleat that is already attached to the piece and measure down from the top of your piece to the bottom of the receiving wall cleat. This is your Y value, and apply it to the (X-Y)+Z formula.

Let’s say we have a painting on panel that is 12″ high and it hangs by a cleat. The distance from the top of the work to the bottom of the receiving wall cleat is 8″. And we want to hang the work 58″ on center. (6 - 8) + 58 = 56. So here we are dealing with a negative number applied to the center height. -2 + 58 = 56. So the bottom of the receiving wall cleat will sit at 56” on the wall.

3-D Objects Installing 3-dimensional objects depends on material, weight and whether it is hanging on a wall, sitting on a pedestal or even suspended from the ceiling. Sculptures tend have the most exibility and options when being installed for display. It really depends on the object for what type of hanging or display method should be used. This is where talking with faculty and peers can give you insight on the appropriate solution.

A 3-D wall hanging can be achieved using the same hanging techniques as you would with a painting or framed work. Know your walls make up and plan accordingly. For example, if you are installing a ceramic plate that hangs from a wire on a wall that is plywood backed, then screws would be ne. Whereas, a wall with no plywood would require picture hangers or anchors with screws. Both screws and picture hangers should be weight rated accordingly to accommodate for the weight of the piece. Cleats and keyholes can also be built into the backs of the works in anticipation of how they will hang.

Installing a 3-dimensional object on a pedestal or shelf, again, depends mainly on weight. If you are building your own pedestal or choosing one from some prebuilt options, make sure it has a minimum of 4-6 inches of space all the way around the piece for safety and stability. You don’t want someone brushing up against the work and knocking it over if the pedestal is too small or if your work hangs over the edges. The pedestal or shelf should be sturdy and built from either wood or mdf. If the work is “tippy” or sits on a small footprint, you can add a material called “museum wax” to the underside of the work to add an extra layer of security. When building a pedestal, 3/4″ mdf or birch veneered plywood is commonly used for its strength and ability to be easily sanded, primed and painted. Shelving is usually 1/2″ material, either plywood or mdf as well. Consult with someone who has building experience, since there are a multitude of ways to craft and design pedestals and shelves.

Tools of the Trade There are some tools that every artist should have on hand when going in to install their work or just to have in general. Invest in some quality tools.

Essentials Tape measure Drill Hammer Multi Bit Screwdriver 24″ Ruled Level 48″ Ruled Level Torpedo Level Blue Masking Tape Utility Knife / X-Acto Knife Scissors Pencil

A 24″ ruled level is one of the most useful tools an artist can have on hand when installing artwork. That and a good tape measure.

Fasteners / Hardware There are multitudes of different wall fasteners and hanging systems. Each serves its own purpose and will depend on the weight of your piece and the composition of the wall. -Screws - fast, easy and safe for hanging work securely with plywood backed walls. -Lag Screws - for use with heavy objects that hang on a plywood backed wall. -Nails - fast and easy, not as secure as a screw. -Picture hangers - ideal for framed works with wires or d-rings and hanging on drywall that is not plywood backed. -Binder Clips - good for prints or light weight matted works on paper (binder clip can hang off a small nail) -Pins / Push Pins / T-Pins - for textiles, unstretched canvas, paper -L-Pins - great for plexiglass and/or foamcore -3M Command Strips - for foamcore and/or lightweight works on panel -EZ Anchors and/or togglers - for use on drywall that is not plywood backed to accommodate heavier works. Used in tandem with screws and/ or bolts.

Resources Home Depot - Big Box Store - www.homedepot.com Lowes - Big Box Store - www.lowes.com Sutton Hardware - www.suttonhardware.com Harbor Freight - Hardware/Tools - www.harborfreight.com Uline - Cardboard, plastic, tape, general supplies www.uline.com Woodcraft - Woodworking Supplier - www.woodcraft.com Archival Methods - Archival Storage and Presentation Products - www.archivalmethods.com Gaylord - Archival and storage, Mounting and framing www.gaylord.com Light Impressions - Archival and Presentation Supplies www.lightimpressionsdirect.com United Mfrs Supplies - Great resource for specialty hanging hardware and framing materials - www.unitedmfrs.com University Products - Museum quality Archival Supplies www.universityproducts.com

House of Plastics - Plexiglass supplier and vitrine fabrication www.hpmanufacturing.com Piedmont plastics - Plastics, foams, nylons www.piedmontplastics.com Team Plastics - Plexiglass, plastic supplier and fabrication www.teamplasticscom.homestead.com Dick Blick - Art and framing supplies - www.dickblick.com Ikea - Budget frames - www.ikea.com JoAnn Fabrics - www.joann.com Michaels - Art Supplies and Framing - www.michaels.com M. Gentile’s - Cleveland Framing Shop www.mgentilestudio.com Wood Trader - Cleveland Framing Shop www.woodtraderframing.com Paccin - Online community for the sharing of information on Preparation, Art Handling, Care, and Museum Standards www.paccin.org Sears think[box] - Case Western’s open-access innovation center and maker space www.case.edu/thinkbox/

Endnotes/Ramblings

Experiment. Experiment. Experiment. Try different techniques. Something that works for one person might not work for another. Find, modify, or create your own systems. There are endless variables that can be used and applied to all the techniques. Practice. The more you practice the more you learn. Explore / Research. “How to” Books with illustrated techniques on various subjects are great. The internet has “how to” videos on nearly everything. Take advantage of the tools that are on hand. For that matter, take advantage of every opportunity to learn. You never know what might spark an idea or help bene t another project. Peer learning. Don’t be afraid to ask for help or have someone teach you something new. Ask questions. We all learn from each other. And remember, you can always throw all of this out the window and just do your own thing. The possibilities are endless.

Notes