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| Best Practices |
Media art installations can exist in a multiplicity of forms, from a two-channel video projection to a large-scale environment that incorporates digital media, sculptural objects, interactive computer devices, and ephemeral materials. These variable and complex conditions can pose challenges even for the most seasoned exhibitor. Close communication with the artist or artist's representative, as well as with your technical support, is essential. The artist or lender should provide you with a list of recommended equipment; where specific equipment is included with the work, be sure you are provided with clear installation and operating instructions. Understanding the artist's equipment choices and technical requirements can provide insight into the meaning of the work and inform the installation design and audience interaction. While well-established guidelines exist for exhibition practices relating to sculptural objects and related materials, this Guide is concerned specifically with the electronic and moving image media components. It would also be useful to cross-reference the Single-channel Video and Computer-based Art sections of this Guide. Communication with Artist or Artist's Representative Testing and Maintenance, and Documentation Exhibition Design and Installation Technical Issues De-Installation and Return of Work Communication with Artist or Artist's Representative It is essential to have clear lines of communication between the artist or artist's representative, the curator, and the technicians regarding specifics of installation and presentation of the work. Many artists provide a technical specifications document, which contains information pertaining to ideal exhibition conditions (light, sound), minimum space required, what equipment is provided with the installation, what equipment is to be provided by the exhibitor, the specifications of that equipment, and other technical information about the work. It is also helpful to have reference images of previous installations of the work, if they are available. In some instances, when an curator chooses an artwork which includes video and site-specific elements, the video element is provided by the artist, while the exhibitor is responsible for the execution of the site-specific media related elements. For example, in an installation where several elements make up the installation—for example, a video, drawings, and sculptures—and they are in the same space, a system might be necessary to control the stopping and starting of the film, the lighting, audio, and other elements. This system is referred to as a control system, and generally exists of a stand-alone electronic device, pre-programmed to send information to the video playback device, audio devices, lighting system (dimming or on/off commands), and any other electronically controllable elements of the installation. In installations requiring more complicated wiring and integration of the artwork into the exhibiting facility, it is essential to have the input of the artist and/or his or her technicians as well as qualified technicians (full-time, part-time or on-call depending on the run of the show) to coordinate the installation. Installing Works While it may seem obvious, it is important to note that how a work is installed has a tremendous impact on how that work is perceived. It is also important to note that what works for one media installation might not work for the next. Room size, ambient light, carpeting, paint, screens, and other considerations vary from artwork to artwork. Often the technical documentation provided has information on all these aspects of the work, and should be followed as closely as possible. These plans must be developed in conjunction with the artist or artist’s representative. Some questions to be considered include:
Testing and Maintenance, and Documentation It is important to remember that once a show is installed the process is not over. All media-based works, even when properly installed, can be error-prone and all require regular maintenance. Gallery monitors and guards should also be briefed as to the potential problems that might arise, given step-by-step instructions for basic troubleshooting, and advised to whom problems during exhibition hours should be reported. It is valuable for the exhibiting institution, artist, and artist’s representative to have comprehensive documentation of past installations of the work. Documentation may be taken in schematic diagrams and installation photographs. Before documenting your installation in video, be sure you are aware of the artist's or artist's representative's policy about documenting in this method, as some may not permit this kind of documentation of works which originate in video. Some basic precautions can help avoid major technological headaches. Give yourself plenty of time to test the system for bugs and errors.
The exhibiting institution should acquire basic installation tools if they do not already have them. The following list details items that should be on hand during the installation process. Gallery Tool Kit:
Technical Support It is important to have an experienced technician working on your exhibition who will communicate with the curator, artist or artist's representative, and exhibition coordinator during the planning, installation, and de-installation process. Often, especially in complex installations, it is typical to have the artist or artist's representative on site during the installation period. Many artists have their own technician who travels with the work, to be sure that the work is installed and working properly, and to train museum staff on daily operations. It is a common practice for this person to be paid a fee by the exhibiting institution. It is recommended that if an exhibitor intends to make media installations a regular part of its exhibitions program, it hire a qualified person to facilitate acquisition, planning, and maintenance of equipment and artworks involving media. Exhibition Design and Installation Technical Issues Exhibition of media-based installation works requires the appropriate playback equipment (for example, professional DVD players), display devices (presentation monitors, plasma or LCD flat screens, or projectors and projection surfaces), audio equipment (amplifier, speakers, or headphones), and cables and connectors. The specific playback and display equipment required depends on the specific elements of the installation and the exhibition formats. These decisions are also based on a range of variables, including the exhibition space or venue, the viewing context, availability of equipment, and the work itself. Equipment issues have an impact beyond the purely technical, as they impact the meaning and perception of the work. Certain installations may be best served by being exhibited in their own space, where most of the variables can be modified. Exhibitions that include multiple installations in one space must carefully consider the impact of multiple sources of sound and light. One installation might include multiple projections, drawings, and an object. It is best to think through the layout of such an installation with the artist in order to ensure the audience experiences the work as intended. The artist or lender should provide a list of recommended equipment. With installations that include specific equipment with the work, be sure to have clear installation and operating instructions. Images of the work in previous installations are also helpful. It is important to verify that the equipment is in good working order when shipped to you, and to determine whether anything has been damaged in transit. Also be sure it is clear who is responsible for providing or replacing expendables, such as projector lamps. Some installations are somewhat adaptable to available makes and models of playback devices and displays. This is especially true for multi-channel video installations, which often rely on exhibitors to provide the necessary equipment. This is often more cost-effective than shipping large quantities of equipment, and is also more common as most institutions are purchasing equipment to exhibit this type of work. If the artist or lender provides the equipment, it is common to pay a rental fee for wear and tear on the device, and the cost of expendables. Proper installation of projectors will eliminate image distortion. When in the exhibition design phase, careful attention should be given to possible projection dimensions which are dependent on your project model and the throw distance the presentation space can accommodate. If you plan to show projections on adjacent surfaces, careful planning and calculations in the design stage will avoid the potential for overlapping projection beams. Avoid keystone correction as this process may produce visible artifacts. Proper selection, installation and maintenance of video and audio equipment are critical, and exhibitors should consult qualified technicians where possible. Visit Equipment & Technical Issues for more information about the formats and equipment mentioned above. De-Installation and Return of Work All elements loaned for the exhibition should be returned in a timely fashion. It is advisable with regard to installations, which often include sculptural or other elements, to use qualified and insured art handlers and shipping companies. |
SINGLE-CHANNEL VIDEO