Crash course in mount making

Because we are a small museum, I end up wearing many hats. In addition to being collections manager, I also dabble in exhibit production and installation. To that end, I've begun to learn how to make mounts for objects on exhibit.

Last year, through a small grant from the University, the museum was able to purchase a heating element and some plexi glass. This year, as we began to develop our exhibits in house, we started to really use the tools we had on hand.

The heating element and our very high tech method of lining up and stabilizing plexi - lumber with lines drawn on it.


The rod in the heating element gets very very hot, and the plexi, when placed above it, softens and becomes pliable, allowing us to bend and manipulate the material. When I began experimenting with the heater and plexi, I used some 1/2" plexi we had laying around. Unbeknownst to me, 1/2" plexi is really tricky stuff to work with. I quickly discovered the trickiness - the plexi wound strain against the bend lines, causing striations.


I had better luck working with our 1/8" plexi, which is much easier to deal with. Seeking guidance, Andy Granitto, Curator of Exhibitions at the Yakima Valley Museum offered to give myself and programming manager, Angie Koch some pointers. Which we gladly took him up on.

Armed with my new, increased understanding of mountmaking, I was faced with my first challenge - mount a pipe in the middle of an exhibit case, preferably so it would look more or less like it was floating. After a couple of sketches, I decided that a tall, freestanding shelf would serve our needs. So that's what I made from plexi.


I embedded the bottom of the stand in an ethafoam block to provide a more stable base. The pipe is attached to the stand through use of monofilament. The process was definitely a learning experience, but it's very exciting to be able to achieve a professional look in house.

A Mammoth Undertaking

Yes, we are milking that pun for all it's worth. And maybe more...

In any case, we've gone a little mammoth crazy around here. If you're not local, you may not have heard about the Wenas Creek Mammoth, which was discovered a few years ago about 35 miles south of campus. It's kind of a big deal. Several large bones have been unearthed, including a humerus, femur and vertebrae. The project was even featured in the History Channel's Journey to 10,000 BC (the only link on the History Channel website seems to be to their video shop - but at least it has a description).

And now, the Wenas Creek Mammoth project will be our inaugural exhibit of our Window on Central series, small exhibits which showcase work being done on and around campus. The exhibit itself will be featured in our hallway facing corner display case, but a mammoth calls for something a little more... dramatic. Like a full size mammoth in the lobby.



And how does one create a full size mammoth? In this case, interim museum director Bill Wood enlarged and refined artist's Carl Buell's rendering of the mammoth and separated it into sections we can print with our 24" plotter. Once printed, the strips were cut down to fit on pieces of foam core and then glued to the foam core. Then we reassembled the whole thing on the lobby wall. No small project!

We started near the front and worked out.


Bill Wood places the final tusk piece.


When it was all done, we put together this little video of the process.


Definitely a lot of fun, and a very cool thing to have in the lobby.

Photo Friday: Beyond Black and White

It's been a crazy month here at the Museum of Culture and Environment. A week ago we opened our second exhibit: Beyond Black and White: The Stories Behind Our Masks. We're especially excited about the exhibit for two reasons: it features lots of amazing masks from our own collection and we were able to work with CWU's Diversity Education Center.

The photo above shows our two tigre masks in their case, and you can see the reflection of the toro mask in the reflection. In the background are 20 masks created by students in conjunction with the Diversity Education Center.

From a collections standpoint, this exhibit was our first real try at mounting objects for exhibit, and we went for a fairly low tech approach. The tigre masks are supported by a custom carved block of ethafoam, with a small piece of volara under the chin to cushion the pressure point. Simple, but effective. Some of the other pieces were much trickier.

Clearing out the Gallery

Our first exhibit closed on December 19th. Over the past week, I've been engaged in taking it down, or deinstalling it. With 140ish silk fish and 60+ photos, that's a lot of material to taken down. This is what the gallery looked like on the last day of the exhibit. Very full, very vibrant.


When taking down the exhibit, the first thing I did was to re-attach the tags to each of the hanging fish. Then I went around, cutting down the thread we'd used to hang the fish with. After recording any changes to the condition of the fish, I returned them to their original boxes and will be repacking those boxes inside their crates when all the fish are down.

The second step has been to take down the framed photos. I noted any condition changes and repacked the images. Thankfully, this didn't involve going up and down a ladder countless times, like preparing the fish did. All in all, the process has gone really smoothly, and I expect to finish deinstalling tomorrow. Here's what the partially deinstalled gallery looks like right now (click on the image to get to a larger version).


Note all the hanging threads we used for the fish, and the stick-um on the gallery walls from the labels. We'll deal with gallery clean up last.

Too busy, can't blog

The opening is tomorrow at 4 pm! (Read the official press release.) We have been busy here the past few days (busy is an understatement, it's been a madhouse! But in a good way.).

I've got to get back to work, but here's a neat photo of one of the spawning salmon.

Swimming with the fishes

The crates for our first exhibit - River of Memory: The Everlasting Columbia - arrived on September 1st.


7 of them! Four and a half crates holding 68 images and panels to go up on the walls, one holding the opening panel, and one holding 144 silk fish. I just updated the MCE facebook page to say how excited I am about the fish and I got a request for photos. Well, I can certainly oblige. But a little about how exhibits travel.

This exhibit originated at the Wenatchee Valley Museum and Cultural Center and has toured the Northwest. You've already seen how you move an exhibit: in custom built crates.

When the crates arrived, the first thing we did was... nothing. We moved the crates into our space and then let them sit. They sat for 48 hours so that they could acclimate to the climate at the museum (okay, they sat longer than 48 hours - I had a bit of a fight with some of the screws holding the crates on, and there was a holiday weekend). Once opened, the next step is to unpack and prepare a condition report for each individual piece.

A condition report is an individual examination of each object to provide a baseline. So we know that when the MCE received X object, it had a chip at the bottom right corner and a scratch in the upper right, 2 inches from the corner, for example. That way the lending institution knows what happens where. Condition reporting can be time consuming, especially with over 200 pieces to process. This is what it looked like when I was working on the images:


I would keep the report with the image until the image was moved into the gallery. When I completed the images, I moved on to the silk fish. The fish are beautiful, and the condition reports are pretty easy, since they're almost all in excellent condition. The fish are made from silk, painted by artists, and are meant to be hung from the ceiling. They're going to be amazing and dramatic. They range from quite small (just a few inches) up to 4 feet, and one that's 14 feet long - those are the real sizes the fish would be in the Columbia! Here's a glimpse of four of the 144 fish.


Spawning Salmon:


They're gorgeous on the table - I can't wait to see them all hung up with the historical photographs in the gallery.

Walls and cases!

Yesterday was very exciting around here. Our mobile walls and exhibit cases were delivered!

The good folks at Museum Resources designed walls and cases to meet our needs. They drove over from Seattle yesterday in a big yellow truck filled with all kinds of exciting things.



In just a few hours, the truck was empty and the gallery was filled with, well, take a look.



That's four mobile walls (you can only see one and a half in this photo), four display pedestals, and four table cases. The case toppers are in a different corner of the gallery. The walls had to be brought in in pieces and finished in the gallery. They went from planks of wood to walls before our very eyes. It'll be a couple of weeks until we put everything together, because this is just the first delivery! The second delivery will be all the small things to make these lovely big things useful.

It's great, because now the empty gallery space is really beginning to fill up. And those walls will be great for hanging the photography exhibit we're hosting in the fall. Check out our flickr account for more photos of the delivery.

Seeing the unseen

If you've been reading this blog for a while, I think you've come to understand that I am very particular about how objects are stored and supported. You've seen the bulky white foam and the specialized cardboard supports. But what about when objects are in galleries? They aren't (usually) encased in cardboard and foam. But, I assure you, we collections managers and conservators are still very particular about how objects are supported, even when on view.

The National Museums Liverpool blog has a nice post about exhibit supports and an even nicer flickr photo set of the process. Even though I work behind the scenes, I still love to see behind the scenes at other places. Enjoy!