One of the long meetings where we refined lists of artworks, discussing ideas and debating the concept of the exhibition. On the wall in the background are works grouped by the four subheadings of the show.
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Students examine works from The Courtauld Library Special Collections for historical links to the drawings chosen for the exhibition. Four volumes are presented in Stages and Scenes, detailing architectural theories on stage design.
The ‘paper hang’ incorporated wall labels, which would arrive from the graphic designer once the drawings were installed. Works were hung at an eye level of 152 cm.
Disaster!: The niche for the title was painted white, by accident, and we rushed to match the colour before artworks were allowed in the gallery.
Remnants of the ‘paper hang’ are scattered below the newly framed drawings which are supported on foam blocks. Fitting the actual works on the wall, the selection was further refined.
Courtauld Gallery Curators Barnaby Wright and Stephanie Buck assist students with a ’dummy hang’, the experimental placement of artworks in order on the wall. The proposed hang changed … a number of times.
Curators and students hold works to the wall. The lighting was still in place for the previous exhibition as evident in the spotlights on the floor.
Two professional art handlers look for the ‘go-ahead’. While we decided the order and spacing of the works, these two safely fixed them to the wall.
One of our lighting experts fumbles for a 50 watt lamp. Conservation requirements dictate the amount of light allowed on each work, but the style of lighting dramatically improved the appearance of the works on the wall.
