Artwork Presentation Guidelines for Gallery Exhibitions

These suggestions for finishing artwork are consistent with what most galleries, competitions and organizations require of their exhibitors. Sometimes these guidelines may not apply if the integrity and design of an artwork demands a different approach or the artist’s intention is different. However, in all cases, when finishing an artwork with framing or mounts, consider how the method will enhance the work. The finishing itself should be integral to - but not detract from - the work of art.

PAINTINGS ON CANVAS & CANVAS BOARD

Works on canvas that are mounted to stretcher strips should be securely fastened without wrinkles or creases. For canvases stretched by hand, make sure corners are taut and that no loose threads or staples show. For pre-stretched canvases, the painting should be framed so that none of the staples show when the work is displayed. Sometimes artists continue a painting around the outside edge of a picture. If this is the case, and if the canvas is wrapped to the back of the stretcher strips and no staples show, another “frame” is not needed.

Works on canvas board should be finished with an appropriate frame. (see Frame Suggestions)

Overall, think about the finished look of the piece and the integrity of the painting as a whole. The presentation should look finished/complete.

THREE–DIMENSIONAL ARTWORKS Note 1

Make sure the 3-D artwork is in good physical condition before delivering it to a gallery for an exhibit. The work needs to withstand the rigors of handling and movement.

For instance:

  • Check for any structural flaws, including cracks and loose parts.
  • Remove dust, foreign matter, loose soot, and fingerprints, for example.
  • If there are multiple parts to an artwork, please make sure the gallery understands how the work should be handled/assembled.
  • If appropriate, provide written instructions with diagrams and measurements at the time the artwork is delivered.

Wall-hung 3-D artworks should have an appropriate hanging device built into the piece. Examples: holes or pierced lugs with attached wire; a deep ridge intended to rest on nails/hooks; a sewn loop; flat molding strip (fiber arts) attached with Velcro to the artwork and with holes in the molding appropriate for nailing/screwing piece to the wall

Artwork for display on a pedestal needs to have a flat/level standing surface. Also, attach written instructions to the work if the pedestal needs to be of a specific size or height so that the exhibition venue may best accommodate the work.

Artwork needing a custom mount (Note 2) should include the mount or the artist should communicate the special requirements to the installation crew before delivering the piece. (Note 3)

SUGGESTIONS FOR FRAMING, MATTING, & GLAZING

ALL Framed, Wall-Hung Pictures (see Frame Suggestions)

  • Securely attached a wire to the frame or backside of artwork (whichever is more secure) with either screw eyes or mirror hooks. Place wire holders approximately one third of the way down from the top of the piece. The wire’s length, when grabbed in the center and as it holds the weight of the work, should come halfway between the wire hangers and the top of the piece .
  • For wooden frames, use either screw eyes or mirror hooks. Attach screw eyes parallel to the back of the work so they do not poke outwards and prevent work from hanging flush to the wall.
  • Metal-section frames provide a channel. Attach wire holders that slide into the channel and screw down, not the type that holds in place via tension. The tension sometimes releases during the exhibition.
  • For large, heavy works, securely attach large mirror hooks or D-rings at the appropriate height (one third from top) on the backside of the frame.

Works on Canvas and Canvas Board

When choosing a frame, consider the subject matter and style of the painting. Also, consider the scale of the frame to the painting. The frame should compliment but not overwhelm an artwork. Wooden, and not metal, frames are strongly recommended for paintings.

Works on Paper (Note 4)

All works on paper should be matted or mounted on acid-free (archival) board, glazed with either Plexiglas or glass, and then framed. When choosing a matte, galleries prefer the color to be white, off-white, or cream.

When placing an artwork in a matte, the piece may “float” within the matte’s edges or the matte may be beveled against the edge of the artwork. The matte width should be proportional to the size of the work, but is seldom narrower than 2 in. Don’t be shy about using a wide matte; many tiny artworks look great in a 4 in. matte. At the discretion of the artist, a matte may be “weighted”— slightly wider at the bottom. (A nice border is 3 in. on top + sides, 4 in. at bottom.)

When choosing a glazing material, consider the medium and the size of the artwork. Plexiglas is lighter in weight than glass. For works sized between 24 and 30 inches, use 1⁄8 inch Plexiglas™. For larger works sized between 40 and 42 inches, use 1⁄4 or 3⁄8 in Plexiglas (Note 5)™.

IMPORTANT: Pastels and charcoals must be framed in glass because Plexiglas™ produces a static electricity charge which attracts the drawing materials away from the support, despite the use of fixatives. When glazing pastels, allow for a space at least 2 mattes thick between the artwork and glazing materials.

Choose a quality frame for matted works. Frames in natural, light colored wood finishes work well in a contemporary gallery setting. Also acceptable are “Nielson”-type or other metal frames that are silver, gold, or black in color. (A shiny finish is preferred to the brush finish.) The color on the black metal frames does tend to chip off, but if chips are small, they may be touched up with a black permanent marker.

To keep very large or heavy works from bowing, use a wider frame and thicker gauge of metal, otherwise the glazing material will pop out and might cause damage to the work itself. If the artwork wants to “torque” and bend, then include a structural support crosswise to the hanging device. Another option—add a piece of masonite behind the work to support the frame’s structure.

ARTWORK PRESENTATION “DON’Ts”

AVOID

  • Saw tooth or notched hangers. The nails that attach them to the frame will frequently pull out while the piece is on the wall.
  • Toothed hardware that hammers into the frame. These are not secure.
  • Clip frames, Eubank frames, or other “frameless” frames. The edges of the glazing material will scratch, chip or break.
  • “Glare-Free” glass. This type of glass makes the artwork look distorted if viewed from any angle except straight ahead.
  • Adhesive–backed hanging devices. Many hardware stores carry this kind of picture hanging hardware, and sometimes the adhesive does not hold. Also, if the hanger is not adhered in the correct place, the work will not hang straight.
  • Elaborately styled gold frames for contemporary artwork. This type of framing may be appropriate for a period painting, but please try to coordinate the period of the frame to the style of the painting.
  • Duct tape or electrical tape to create a frame around the edge of a painting. The tape will eventually lose its adhesive quality and will start to peel off of the artwork. In addition, the tape is not archival.

“NO ” IN GALLERY SETTINGS

  • Inexpensive diploma frames, poster frames or “free-standing” frames (with the attached wingback stand). Although inexpensive, these frames tend to be unstable in their design, and the wingback stand will not hang correctly, possibly causing the picture to fall off the wall. In addition, many have an attached metal hook that is easily bent and not secure for hanging artwork.
  • Colored metal frames—including white, and rich wood finishes. Colored mattes (with the exception of black or possibly gray). Artworks in colored mattes and frames might look great in a home, but they detract from the work itself. Although these may be nice as decorator frames, the focus in a gallery setting should be on the artwork and not on the matting/framing.
  • Black matte with a black frame. The contrast of most galleries walls with dark combinations of mattes and frames is too great.
  • More than one matte per artwork. Avoid multiple mattes for galleries/exhibitions.
    Exception: If depth is necessary to separate the artwork from the glazing material (i.e. with pastels), here are 2 solutions…*multiple mattes should all be the same color; *separate the matte and glazing material by placing a narrow strip of matte board (cut to the frame width) between the top of the matte and the glazing material.
  • Mattes with cutouts, appliqués or other designs. These mattes tend to distract from the artwork.
    Exception: Oval or round cut mattes may be used if the artwork absolutely demands it. However, the shapes should be spandrel-cut (i.e. the center is oval or round but the matte edges are square or rectangular) and placed in a square/rectangular frame.

Questions?

Please contact the Art Center’s Exhibition Department at (317) 255-2464, ext. 238 or 233 or email exhibs@IndplsArtCenter.org.

  1. Including glass, jewelry, ceramics, sculpture 3-D artworks may be wall-hung, require a pedestal, custom mount or special handling instructions. ↑
  2. Such as a jewelry piece or mask ↑
  3. Special installation needs require time and materials, and not all galleries will be able to accommodate each request. ↑
  4. Including prints, drawings, photographs. ↑
  5. Depending on the proportions. ↑