bouwmeesterstraat 3, 2000 Antwerp, Belgium
From 07/09/2017 to 07/09/2017
In collaboration with Peter Lemmens.
All works in storage are moved to a new storage space.
It is cleaned with robot vaumm cleaners and an online academic service is contacted to write this critical text to inaugurate a storage space.
THE DISORDERLY PRESENTATION OF ARTWORK IN STORAGE SPACE
Artwork storage is the process of keeping artworks at a specific place when not in use, where they can be retrieved from later when the need arises. Different works of art require different specifications of storage environment to ensure they are not damaged, and they remain intact until the time of use. Proper artwork storage is very important as it ensures the originality of works is preserved, and its intended purpose and design are maintained, Proper artwork storage is also vital as it saves time and extra cash required to be spent on rectification of errors incurred during storage. Disorderly storage of artwork is a major challenge that faces different types of artwork and results in their destruction and mismanagement. Work of art is delicate, and this creates another reason why work of art should be well stored to avoid any possible destruction of the message and also the used material. Poor storage of art work has been found to destroy the quality and also the ability to the art work to be of use to the future generations (Dubard & Kasprzak, 2016).
For the purposeful role of artwork to be adequately achieved, its storage must be
objectively tailor-made to maintain the originality and functionality as intended by the original creator of the work. This is an important approach to protecting artwork from any potential physical damage to the art work. Any accidental addition of unintended object or element is considered damage, as well as any extraction of an original element from the art work (Nakagawa et al., 2016).
Disorderly Presentation of Artwork in Storage Space
This is the conservation of artwork in a manner that would tamper with its originality. Anything that would bring color changes to the artwork would equally mean destruction, though it may be partial. Poor storage of artwork is rampant in different museums and art exhibition stores due to poor investment in art storage facilities. There is a need for the expansion and also training the curators on the importance of art storage with the aim of securing artwork (Dubard & Kasprzak 2016).
It is inappropriate to store visual artifacts like paintings in the following conditions:
a) Under unfavorable weather conditions like an environment which has moist or water because this may destroy the used material or the color shades used.
b) Under direct contact with sunlight, because fading of colors is likely in this case.
c) Stacking artwork over each other because the pressure exerted can cause damage to delicate work of art.
d) On the ground, racks should be built to avoid the materials from absorbing concrete moisture.
e) With hard objects that could cause scratching of artworks leading to falling off of some content.
f) In small spaces as destruction rates increase owing to congestion.
It is equally vital to observe proper storage during transportation to prevent events such as breakage, and any loses (Nakagawa et al., 2016).
Position of Storage Space of Art Contemporarily
One of the main functions of a work of art is cash generation and conveyance of specific messages. During its oeuvre stages, a suitable location should be selected where people can opt to be part of the art-making process by attending the formation stages, as many would pride in having followed the creation of the material step by step. The amount charged to view this process can be used to improve and fund the remaining parts. This would also capture people mindsets and allow the emotions flow with the design as it slowly evolves into a more meaningful piece. This will also allow people to appreciate the effort put in the making of art.
Instead of storing an art piece in a lone dark place away from the human vicinity, a piece of art should be placed at a location where it will both be safe and at the same time be within ease of reach to ensure it is easily accessible when needed. For example keeping a piece in a certain store easily accessible will secure the artwork from many dangers of destruction during retrieval time (Albertson 2016).
Structuring an Artwork, an Exhibition, a Context and Content
An exhibit is one of the best ways to market art. A well-structured creative work should be properly exhibited for the public to appreciate its meaning and purpose after which it should be passed on to the right destination to allow room for more art work to take place. The artist will, therefore, have room for new artwork creating materials, creating room for a new avenue to express more artistic work. It may also give the artist a chance to learn new things from other artists if a joint exhibit is considered. Consistency in the above processes should be by demand; therefore the art's quality should be of appreciable standards by the consumers to ensure there is no overstock as it would block finances and room for new work. The context of art should be therefore appealing, and its content should be easily relatable to and acceptable by the target audience (Locher, Smith & Smith, 2001).
In conclusion, proper storage of artworks is very vital, yet remains a major challenge to stakeholders. There is, therefore, a need of increment of investment in different art work storage facilities, because this will ensure that different cultural heritages are stored properly and not lost due to poor artwork storage which destroys important delicate and very relevant art works. Different works of art require different resources and elements to ensure their safety and curators should identify the best approaches to ensure the safety of an art work. It takes a lot of effort to create a great piece of art, so it is disastrous to lose such due to poor storage facilities. These unnecessary destructions can be avoided by observing simple proper storage standards.
Albertson, R., (2016). Collections Sustainable Storage Initiative.
Berti, S., & Paternò, F. (2003). Model-based design of speech interfaces. Interactive Systems. Design, Specification, and Verification, 205-217.
Dubard, V. and Kasprzak, C., 2016. XL to XXL: Seeking solutions for transport, exhibition, and storage of Charles Le Brun’s cartoons. Restaurator. International Journal for the Preservation of Library and Archival Material, 37(3-4), pp.181-197.
Locher, P. J., Smith, J. K., & Smith, L. F. (2001). The influence of presentation format and q viewer training in the visual arts on the perception of pictorial and aesthetic qualities of paintings. Perception, 30(4), 449-465.
Nakagawa, K., Hirota, M., Ishikawa, R., and Ishizawa, M., Canon Kabushiki Kaisha, 2016. Information processing apparatus, information processing method, and the storage medium. U.S. Patent 9,460,537.