INSTALLATION
THE REWARD
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FOR EXHIBITION INSTALLATION, MUSEUM PREPARATORS EACH HAVE SPECIALIZED SKILLS, AND THEY COLLABORATE AS A TEAM TO GET THE JOB DONE. While Marable focuses on layout and design and works with an artist before the gallery is installed, other preparators, such as Larry Forte and Robert Russell, oversee physically putting the exhibition together. Forte handles most of the construction and mount-making, and Russell is responsible for matting and framing works on paper and for lighting. Working togeth- er is crucial because each part of an exhibition is dependent on another, noted Russell. “The design may call for a sculpture with very few lighting requirements to be installed next to a work on paper or textile that requires a very low light level,” he said. “It can be difficult to light the sculpture appropri - ately while also keeping light-sensitive works at a safe level.” Knowing the light restrictions and matting and framing re- quirements ahead of time helps preparators work together to make the initial ideas and designs a reality.
“EXHIBITS ARE NOT BOOKS. THEY ARE THREE- DIMENSIONAL STRUCTURES MEANT TO TELL A STORY,” NOTES THE SMITHSONIAN’S GUIDE TO EXHIBIT DEVELOPMENT. Through careful planning and collaboration among staff across many departments at the Georgia Museum of Art, the museum creates exhibitions that bring prolific artists and their works to life for the public. Every aspect is carefully considered and when all is said and done, the process creates the greatest re- ward of all — an experience that educates, inspires and brings joy to everyone who walks through our doors. Next time you’re in the galleries, take a moment and admire the work that went into the exhibition you’re enjoying.
SketchUp design by Elizabeth Marable for the exhibition “Nancy Baker Cahill: Through Lines” and the finished installation.
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