#mountmaker

[dauphinltd]

Acrylic mount for collar and belt as part of The Woman of Dumfries exhibition at Dumfries Museum @dumfries.museums #mountmaking #internationalmountmakersforum #mountmaker #museumworker #arthandling #exhibitionworker #textileconservator #fashiondisplay #acrylicfabricator #acrylicfabrications #dumfries #museumdisplay #perspexfabrication #displaystand #mannequin (at Dumfries) https://www.instagram.com/p/CpUqi5hIqS9/?igshid=NGJjMDIxMWI=

[sparkandanvil]

Speaking of simple. Doesn't get much more basic than clips. But they are rather clean and lovely nonetheless. 🛠️ 🔩 🛠️ 🔩 🛠️ #SparkandAnvil #mountmaking #mountmaker #museumwork #museumlife #arthandler #arthandlerlife #preparator #sculpture #simpleclips #brass (at San Diego, California) https://www.instagram.com/p/CoEVGJqr9iq/?igshid=NGJjMDIxMWI=

[conservallama]

I'm only a conservator here. Who did I miss?

___ Follow for more memes from the GLAM world 🖼📙🗄🏛

GLAM - 🖼Galleries📙Libraries🗄Archives🏛Museums . . .

[elexuscal]

[Image ID: Two photographs of the same 3D printed statue of Murderbot, made from grey plastic, depicted in combat armour with a helmet, holding a gun on uneven terrain. /end ID]

My wonderful friend @swordaperson recently sent me this GORGEOUS 3D printed figure of Murderbot, and I just HAD to show it off for folks. THANK YOU!!

The piece was made by MountMake on Etsy, who seems to have a lot of 3D printed projects for Arcane and Cult of the Lamb specifically. So if this seems like something you're interested in, please check it out!

The piece is designed to be painted, so I'm thinking of looking for a local artist I can commission, since I don't think I can do it justice. (I wanna learn how to paint figures but I've never done it before lol)

A couple of bonus pictures in the ReadMore

The piece also came with a display cubicle terrarium!

OH NO IT'S BEING ATTACKED BY A SNAKE

(the snake was also a bday gift, courtesy of Sibling. it is a 3D printed articulated fidget toy <3)

[barkframeworks]

Always great to see a #BarkFrameworks tape measure in action (link in our bio to purchse)! #Repost @internationalmountmakersforum See the full post at: @plbroue ・・・ Artiste Metcalf, Eliab Titre Samuel Neilson Date de production1809 Technique d’expression Papier découpé et rehauts d'encre sur soie noire Dimensions 8,6 cm (diamètre) Collection Art ancien (des origines à 1900) - - #collectioncare #soclage #mountmaking #mountmaker #arthandling #arthandler (at Québec) https://www.instagram.com/p/CObEnZAllEj/?igshid=au9hrqsnm0xy

[ainu4museum]

L’exposition “Mastery of an Art: Van Cleef & Arpels - High Jewelry and Japanese Crafts” met en lumière les collections Heritage du joailliers, côte à côte avec des pièces issues de l’artisanat traditionnel japonais.  

Une exposition regroupant plus de 260 bijoux qui était à découvrir au Musée National d’Art Moderne de Kyoto au Japon.

Ici, notre équipe au travail pendant la phase d’installation des bijoux, quelques jours avant l’ouverture.

[montanakennedy]

What did the màchinist say to the 1/4" steel rod? You're screwed! #dadjokes #fathersday #manualmachining #threadcutting #museum #mountmaking @marshalsmuseum (at Fianna Hills) https://www.instagram.com/p/ByvcQlqhGPB/?igshid=wde0umzlhmqz

[whirlypig]

We created a #fixture to position #helmets on some #mannequins we had on hand. Metalwork by @rtparts #whirlypig #displaymakers #museummounts #mountmaking @nascarhall (at NASCAR Hall of Fame) https://www.instagram.com/p/Bxk0nySp-l5/?igshid=1tapoos2490fr

[vurotm]

Mount Maker @nhmla -Circa 2010 I was part of a Mount Makers team , we did over 400 mounts for one of the biggest #dinosaurFossil collection this specially in this picture still showcasing #MuseumWork #MOUNTmaker #HANDmade (at National History Museum) https://www.instagram.com/p/BpOFdKsHCd8C9AgdC-dhYPcTMiHBvn671wK9r00/?utm_source=ig_tumblr_share&igshid=9mi9v6f12rog

[dauphinltd]

Tank mask now finished for private collection #mountmaking #mountmaker #militarycollector #militaryhistory #militarycollection #militarycollectables #tankmask #tankenthusiast #mask #maskcollector #maskcollection #ww1collector #peaceplease https://www.instagram.com/p/CoC4ey9Isai/?igshid=NGJjMDIxMWI=

[sparkandanvil]

Had a wonderful time last week up at The Santa Barbara Museum of Art mountmaking. Beautiful ancient Greek objects from their collection. This is the beginning of a larger project. Also love anything that allows for a bit of faux finishing. ⚱️ PAINTER OF VILLA GIULIA 43969, Faliscan, active 4th century BCE, Red-figure stamnos (wine vessel), ca. 370 BCE. Ceramic. 13 3/4 × 12 5/8 in. (34.9 × 32.1 cm). SBMA, Gift of Mr. and Mrs. William P. Nelson, 1945.11.2.  🗿 Greek, possibly Rhodian, Head of Demeter, 2nd half of 6th century BCE. Terracotta. 8 × 5 × 4 in. (20.3 × 12.7 × 10.2 cm). SBMA, Gift of Robert M. Light and Donald Outerbridge, 1998.67.4.  ⚱️ 🗿 ⚱️ 🗿 ⚱️ #SparkandAnvil #mountmaking #mountmaker #museumwork #museumlife #arthandler #arthandlerlife #preparator #sculpture #Greek #stamnos #terracotta #sbma (at Santa Barbara Museum of Art) https://www.instagram.com/p/Cmewq1cvFRS/?igshid=NGJjMDIxMWI=

[conservallama]

Thank you to mountmakers everywhere for keeping our measurements real. This goes out to you @internationalmountmakersforum and @plbroue.

Mounting objects in gallery or museum is not as simple as hammering a couple nails on the wall and tying a bit of string behind an object.

Mountmakers are specialists who make object-specific mounts that hold objects at just the right angle to keep them stable, safe, and viewable. Mounts are also meant to be as invisible as possible to stop them from distracting the visitor from enjoying the object on display. This means mountmakers need exact object measurements to work with.

Thanks to their attention to detail, staff mounting exhibitions can be sure that objects will go where they are supposed to and fit perfectly in their mounts.

___ Follow for more conservation and GLAM-related memes.

GLAM = Galleries, Libraries, Archives, Museums

[brooklynmuseum]

Have you ever taken a close look at the objects in the museum and wondered about the mounts that hold the artifact securely to the display? Mountmakers work hard to disguise them as it is not our intention to draw your attention away from the artwork. The mounts can be disguised by painting them to match the color, pattern, and tone of the object.  

Mounts serve many crucial purposes. Aside from holding an object at a particular angle that is best to view it, a mount can also serve as a way to secure an object from physical forces. These forces can include someone accidentally bumping into a case or pedestal where the object stands or even the possibility of an earthquake. When an object is being prepared for a traveling exhibition, conservators must research the locations the object will be exhibited to determine whether or not there is a high risk of earthquakes in that region. Another consideration for mounts is to serve as a security device. Sometimes objects are displayed outside of cases, and it is important for a mount to secure the object to the pedestal so that it does not fall or get disturbed.

Art conservators at the Brooklyn Museum work closely with the mountmakers to ensure that they are aware of the individual vulnerabilities of the object. They must work together to design an effective mount that is sensitive to the individual needs of the object while also being aware of the ultimate settings that the object will be displayed. Many mounts require metalsmithing skills and are finished with the addition of materials that can provide padding. These materials must be physically compatible with the surface of the objects being displayed.

Another consideration art conservators contend with is the possibility of certain materials in the mount and display cases off-gassing pollutants that could be damaging to the object. This is why every mount and display material is rigorously tested in an accelerated aging test known as an “Oddy test.” The Brooklyn Museum tests any material that will be used for display to make sure there is no danger of volatile acids or other pollutants that can cause damage to the object.  

Next time you are walking through the museum, take a closer look at the mounts. You will be amazed at the artistry, creativity, and science that goes into their creation.

Posted by Melissa King

[barkframeworks]

Last week we posted about the unique challenges of mounting an article of clothing (a professional bike suit), a project we enjoyed! Here, the bike suit in its new Bark frame. The suit is mounted on a black linen-covered Rising Black mat, and shimmed with 100% cotton rag board fillets. The frame is our polytech profile, sprayed in a black finish. The piece is glazed in OP3. #BarkFrameworks #customframing #FramedByBark #sportsmemorabilia #sports #polytech #olympics #mountmaking #matmaking #artpreservation #archivalframing #sewing #craftsmanship #sprayfinish #blackframe #madeinNYC (at Bark Frameworks) https://www.instagram.com/p/CS7aPFJleel/?utm_medium=tumblr

[ainu4museum]

Lors du transfert de la bibliothèque Inguimbertine et des musées de Carpentras dans le bâtiment de l’Hôtel Dieu, Aïnu est intervenu pour le soclage et l’installation des oeuvres dans ce nouveau lieu. 

Il s’agissait de 140 oeuvres parmi lesquelles des peintures, statuettes, bustes, instruments de musique et maquettes. 

[cooperhewitt]

Conservation for Multisensory Engagement

The exhibition The Senses: Design Beyond Vision (through October 28, 2018) challenged Cooper Hewitt’s conservation team in its innovative use of multisensory installations. Works on display expand beyond visual impact to include audible, scented, and tactile elements.

A visitor holds a wool snowball in perfumer Christopher Brosius’s interactive scent installation Snow Storm in The Senses. Photo by Scott Rudd.

Access via Exhibition Samples

As oils and other grime present on human hands cause damage to design objects beyond just making them dirty, the museum generally requests that exhibition works not be touched. Objects requiring protection are often presented in cases and behind vitrines. The multimodal focus in The Senses required adopting an alternative strategy. Presenting samples to maintain interactivity—while preserving the museum objects—furthers the exhibition thesis about designing for the senses.

Sidewall, Cherry Forever, 2007; Michael Angelo (American, born 1970) for Flavor Paper (New York, New York, USA, founded 2003); Screenprinted, microencapsulated scented oils; Courtesy of Flavor Paper

The Cherry Forever sidewall (wallpaper), designed by Michael Angelo for Flavor Paper, is a screenprinted wallcovering with microencapsulated scented oils. The glossy cherries presented against a gold-toned background visually stimulate the visitors, while the scratch-and-sniff scent engages their senses of smell and touch. Yet scratching the accessioned object might cause irreversible damage. The museum was able to display an exhibition sample of the paper, mitigating risk while still maintaining the object’s required interactivity.

A visitor captures a picture of the scratch portion of the scratch-and-sniff-wallpaper experience. Photo by Scott Rudd.

Mounts and Display

The exhibition of dynamic interactive experiences often requires unique conservation attention in order to both enhance the visitor’s experience and protect against accidental damage from heavy use. For contemporary donations or loan objects to an exhibition like The Senses, we may provide feedback to the product designer on ways to make the project more robust for exhibition; for example, when to strengthen a fragile component on a 3D-printed work, or where to add holes or hardware to allow an object to be safely attached to a surface. The department also collaborates with staff exhibitions specialists and mountmakers to design and produce custom mounting solutions for complex and delicate objects.

OSTRICHPILLOW, 2012; Studio Banana (Madrid, Spain; London, United Kingdom; Lausanne, Switzerland, founded 2007); Viscose, elastomer, polystyrene microbeads; Courtesy of Studio Banana

The OSTRICHPILLOW by Studio Banana, on display in The Senses, is an example of a bespoke mount created by the textile conservator. Worn over the head instead of resting under, this soft pillow lulls its user to sleep in any situation. The curators requested an abstract headform support that would be pleasant to touch. We modeled a new form based on the museum’s existing mannequins, using archival materials with sufficient padding. Covered with black fabric and equipped with invisible internal hardware, the mount recedes from view as it communicates the object’s function, and allows visitors to safely engage with the pillow.

The OSTRICHPOLLOW installed on a custom mount in The Senses. Photo by Matt Flynn © Smithsonian Institution.

The Temptation of Chocolate

When working with exhibitions of contemporary design, the conservators need to consider concerns that impact the larger museum. Jonathan Grahm’s delightful designs for Compartés’ chocolate bars, a mouth-watering addition to The Senses, created such a challenge. These gorgeous chocolate bars, with their decorations of gold leaf, dried fruit, edible “graffiti” paint, rainbow sprinkles, and more, attract not just their intended human consumers but also insects and pests. Though certain pests are harmless to collections items, others may infiltrate storerooms and nibble on artworks themselves. We actively monitor the museum to watch for evidence of pests, and, when necessary, employ a variety of chemical-free methods of arresting and preventing infestation.

Coating Compartés chocolate bars in preparation for The Senses.

To prevent a pest problem before it could begin, the objects conservators reviewed and tested different coatings to determine how best to reduce the chocolates’ tempting scent without impacting their attractive appearance. Custom-mixed adhesives applied to all sides of the bars provided the required protection—and enabled this feast for the eyes.

Installation of Compartés Chocolate, including graphic packaging and chocolate bars, in The Senses. Photo by Scott Rudd.

This article originally appeared in the Summer 2018 issue of Cooper Hewitt’s Design Journal. The exhibition The Senses: Design Beyond Vision is on view at Cooper Hewitt through October 28, 2018.

from Cooper Hewitt, Smithsonian Design Museum https://ift.tt/2CK17Qg via IFTTT