An art exhibition is traditionally the space in which art objects (in the most general sense) meet

an audience. The exhibit is universally understood to be for some temporary period unless, as is
rarely true, it is stated to be a "permanent exhibition". In American English, they may be called
"exhibit", "exposition" (the French word) or "show". In UK English, they are always called
"exhibitions" or "shows", and an individual item in the show is an "exhibit".

Such expositions may present pictures, drawings, video, sound, installation, performance, interactive
art, new media art or sculptures by individual artists, groups of artists or collections of a specific form
of art.

The art works may be presented in museums, art halls, art clubs or private art galleries, or at some
place the principal business of which is not the display or sale of art, such as a coffeehouse. An
important distinction is noted between those exhibits where some or all of the works are for sale,
normally in private art galleries, and those where they are not. Sometimes the event is organized on
a specific occasion, like a birthday, anniversary or commemoration.

Contents
[hide]

1 Types of exhibitions

2 History

3 Preservation issues

o 3.1 Environmental concerns of the exhibition space

o 3.2 Length of the exhibition

o 3.3 Individual cases

o 3.4 Display methods

o 3.5 Security

4 See also

5 Notes

6 References

7 External links

Types of exhibitions[edit]
Exhibition space being readied for a show at the Arthur M. Sackler Gallery

There are different kinds of art exhibitions, in particular there is a distinction between commercial
and non-commercial exhibitions. A commercial exhibition or trade fair is often referred to as an art
fair that shows the work of artists or art dealers where participants generally have to pay a fee.
A vanity gallery is an exhibition space of works in a gallery that charges the artist for use of the for
space. Temporary museum exhibitions typically display items from the museum's own collection on a
particular period, theme or topic, supplemented by loans from other collections, mostly those of other
museums. They normally include no items for sale; they are distinguished from the museum's
permanent displays, and most large museums set aside a space for temporary exhibitions.
Exhibitions in commercial galleries are often entirely made up of items that are for sale, but may be
supplemented by other items that are not. Typically, the visitor has to pay (extra on top of the basic
museum entrance cost) to enter a museum exhibition, but not a commercial one in a
gallery.Retrospectives look back over the work of a single artist; other common types are individual
expositions or "solo shows", group expositions (collective exhibitions or "group shows"), or
expositions on a specific theme or topic ("survey shows"). The Biennale is a large exhibition held
every two years, often intending to gather together the best of international art; there are now many
of these. A travelling exhibition is another category of art exhibition.

Exhibitions of new or recent art can be juried, invitational, or open.

A juried exhibition, such as the Royal Academy Summer Exhibition in London, the
Chianciano Biennale at the Chianciano Museum of Art, or the Iowa Biennial, has an individual
(or group) acting as judge of the submitted artworks, selecting which are to be shown. If prizes
are to be awarded, the judge or panel of judges will usually select the prizewinners as well.

In an invitational exhibition, such as the Whitney Biennial, the organizer of the show asks
certain artists to supply artworks and exhibits them.
 An open or "non-juried" exhibition, such as the Kyoto Triennial,[1] allows anybody to enter
artworks and shows them all. A type of exhibition that is usually non-juried is a mail
art exhibition.

History[edit]

"A Slight Attack of Third Dimentia Brought on by Excessive Study of the Much Talked of Cubist Pictures in the
International Exhibition at New York," drawn by John French Sloan in April 1913, satirizing the Armory Show.

The art exhibition has played a crucial part in the market for new art since the 18th and 19th
centuries. The Paris Salon, open to the public from 1737, rapidly became the key factor in
determining the reputation, and so the price, of the French artists of the day. The Royal Academy in
London, beginning in 1769, soon established a similar grip on the market, and in both countries
artists put great efforts into making pictures that would be a success, often changing the direction of
their style to meet popular or critical taste. The British Institutionwas added to the London scene in
1805, holding two annual exhibitions, one of new British art for sale, and one of loans from the
collections of its aristocratic patrons. These exhibitions received lengthy and detailed reviews in the
press, which were the main vehicle for the art criticism of the day. Critics as distinguished as Denis
Diderot and John Ruskin held their readers attention by sharply divergent reviews of different works,
praising some extravagantly and giving others the most savage put-downs they could think of. Many
of the works were already sold, but success at these exhibitions was a crucial way for an artist to
attract more commissions. Among important early one-off loan exhibitions of older paintings were
the Art Treasures Exhibition, Manchester 1857, and the Exhibition of National Portraits in London, at
what is now the Victoria and Albert Museum, held in three stages in 1866-68.

As the academic art promoted by the Paris Salon, always more rigid than London, was felt to be
stifling French art, alternative exhibitions, now generally known as the Salon des Refuss ("Salon of
the Refused") were held, most famously in 1863, when the government allowed them an annex to
the main exhibition for a show that included douard Manet's Luncheon on the Grass (Le djeuner
sur lherbe) andJames McNeill Whistler's Girl in White. This began a period where exhibitions, often
one-off shows, were crucial in exposing the public to new developments in art, and
eventually Modern art. Important shows of this type were the Armory Show in New York City in 1913
and theLondon International Surrealist Exhibition in 1936.

Museums started holding large loan exhibitions of historic art in the late 19th century, as also did the
Royal Academy, but the modern "blockbuster" museum exhibition, with long queues and a large
illustrated catalogue, is generally agreed to have been introduced by theexhibitions of artifacts from
the tomb of Tutankhamun held in several cities in the 1970s. Many exhibitions, especially in the days
before good photographs were available, are important in stimulating research in art history;
the exhibition held in Bruges in 1902 (poster illustrated below) had a crucial impact on the study
of Early Netherlandish painting.

In 1968 Art fairs in Europe became quite the fashion with the advent of the Cologne Art Fair which
was sponsored by the Cologne Art Dealers Association. Because of the high admission standards of
the Cologne fair a rival fair was organized in Dsseldorf which enabled less regarded galleries
opportunity to meet with an international public. The fairs took place during the fall months. This
rivalry continued for a few years which provided the Basel Art Fair the opportunity to interject the
Basel fair in early summer. These fairs became extremely important to galleries, dealers and
publishers as they provided the possibility of worldwide distribution. Dsseldorf and Cologne merged
their efforts. Basel soon became the most important art fair.

In 1976, the Felluss Gallery under the direction of Elias Felluss, in Washington DC organized the first
American dealer art fair. "The Washington International Art Fair" or "Wash Art" for brevity. This
American fair met with fierce opposition by those galleries interested in maintaining distribution
channels for European artwork already in place. The Washington fair introduced the European idea
of dealer fairs to art dealers throughout the United States. Following the advent of Wash Art, many
fairs developed throughout the United States.

Preservation issues[edit]
Main article: Preservation: Library and Archival Science

Although preservation issues are often disregarded in favor of other priorities during the exhibition
process, they should certainly be considered so that possible damage to thecollection is minimized
or limited. As all objects in the library exhibition are unique and to some extent vulnerable, it is
essential that they be displayed with care. Not all materials are able withstand the hardships of
display, and therefore each piece needs to be assessed carefully to determine its ability to withstand
the rigors of an exhibition. In particular, when exhibited items are archival artifacts or paper-based
objects, preservation considerations need be emphasized because damage and change in such
materials is cumulative and irreversible.[2] Two trusted sources the National Information Standard
Organization's[3] Environmental Conditions for Exhibiting Library and Archival Materials, and
the British Library's Guidance for Exhibiting Library and Archive Materials have established
indispensable criteria to help curtail the deleterious effects of exhibitions on library and archival
materials. These criteria may be divided into five main preservation categories: Environmental
concerns of the exhibition space; Length of the exhibition; Individual cases; Display methods used
on individual objects; and Security.

Environmental concerns of the exhibition space [edit]

Preparation for ''Richard Prince, American Prayer'' exhibition at the Bibliothque

nationale de France, Paris

1 February 2011

25 February 2011

25 February 2011


8 March 2011

26 June 2011

26 June 2011

The main concerns of exhibition environments include light, relative humidity, and temperature.

Light

Light wavelength, intensity, and duration contribute collectively to the rate of material degradation in
exhibitions.[4] The intensity of visible light in the display space should be low enough to avoid object
deterioration, but bright enough for viewing. A patrons tolerance of low level illumination can be
aided by reducing ambient light levels to a level lower than that falling on the exhibit. [5] Visible light
levels should be maintained at between 50 lux and 100 lux depending on the light sensitivity of
objects.[6] An items level of toleration will depend on the inks or pigments being exposed and the
duration of the exhibition time. A maximum exhibition length should initially be determined for each
exhibited item based on its light sensitivity, anticipated light level, and its cumulative past and
projected exhibition exposure.

Light levels need to be measured when the exhibition is prepared. UV light meters will check
radiation levels in an exhibit space, and data event loggers help determine visible light levels over an
extended period of time. Blue wool standards cards can also be utilized to predict the extent to which
materials will be damaged during exhibits.[7] UV radiation must be eliminated to the extent it is
physically possible; it is recommended that light with a wavelength below 400 nm (ultraviolet
radiation) be limited to no more than 75 microwatts perlumen at 10 to 100 lux.[8] Furthermore,
exposure to natural light is undesirable because of its intensity and high UV content. When such
exposure is unavoidable, preventative measures must be taken to control UV radiation, including the
use of blinds, shades, curtains, UV filtering films, and UV-filtering panels in windows or
cases. Artificial light sources are safer options for exhibition. Among these sources, incandescent
lamps are most suitable because they emit little or no UV radiation.[9] Fluorescent lamps, common in
most institutions, may be used only when they produce a low UV output and when covered with
plastic sleeves before exhibition.[10] Though tungsten-halogen lamps are currently a favorite artificial
lighting source, they still give off significant amounts of UV radiation; use these only with special UV
filters and dimmers.[11] Lights should be lowered or turned off completely when visitors are not in the
exhibition space.

Relative humidity (RH)

The exhibition space's relative humidity (RH) should be set to a value between 35% and 50%. [12] The
maximum acceptable variation should be 5% on either side of this range. Seasonal changes of 5%
are also allowed. The control of relative humidity is especially critical
for vellum and parchment materials, which are extremely sensitive to changes in relative humidity
and may contract violently and unevenly if displayed in too dry an environment.

Temperature

For preservation purposes, cooler temperatures are always recommended. The temperature of the
display space should not exceed 72 F.[13] A lower temperature of down to 50 F can be considered
safe for a majority of objects. The maximum acceptable variation in this range is 5 F, meaning that
the temperature should not go above 77 F and below 45 F. As temperature and relative humidity
are interdependent, temperature should be reasonably constant so that relative humidity can be
maintained as well. Controlling the environment with 24-hour air conditioning and dehumidification is
the most effective way of protecting an exhibition from serious fluctuations.

Length of the exhibition[edit]

Poster, Bruges, 1902

One factor that influences how well materials will fare in an exhibition is the length of the show. The
longer an item is exposed to harmful environmental conditions, the more likely that it will experience
deterioration. Many museums and libraries have permanent exhibitions, and installed exhibitions
have the potential to be on the view without any changes for years.

Damage from a long exhibition is usually caused by light. The degree of deterioration is different for
each respective object. For paper-based items, the suggested maximum length of time that they
should be on display is three months per year, or 42 kilolux hours of light per year whichever
comes first.[14]

An exhibition log report, including records of the length of the exhibition time and the light level of the
display, may prevent objects from being exhibited too frequently. Displayed items need to be
inspected regularly for evidence of damage or change.[15] It is recommended that high-quality
facsimiles of especially delicate or fragile materials be displayed in lieu of originals for longer
exhibitions.[16]

Individual cases[edit]
Library or archival materials are usually displayed in display cases or frames. Cases provide a
physically and chemically secure environment. Vertical cases are acceptable for small or single-
sheet items, and horizontal cases can be used for a variety of objects, including three-dimensional
items such as opened or closed books, and flat paper items. All these objects can be arranged
simultaneously in one horizontal case under a unified theme.
Materials used for case construction should be chosen carefully because component materials can
easily become a significant source ofpollutants or harmful fumes for displayed
objects. Outgassing from materials used in the construction of the exhibition case and/or fabrics
used for lining the case can be destructive. Pollutants may cause visible deterioration, including
discoloration of surfaces and corrosion. Examples of evaluative criteria to be used in deeming
materials suitable for use in exhibit display could be the potential of contact-transfer of harmful
substances, water solubility or dry-transfer of dyes, the dry-texture of paints, pH, and abrasiveness.
[17]

New cases may be preferred, constructed of safe materials such as metal, plexiglass, or
some sealed woods.[18] Separating certain materials from the display section of an exhibition case by
lining relevant surfaces with an impermeable barrier film will help protect items from damage. Any
fabrics that line or decorate the case (e.g. polyester blend fabric), and any adhesives used in the
process, should also be tested to determine any risk. Using internal buffers and pollutant absorbers,
such as silica gel, activated carbon, orzeolite, is a good way to control relative humidity and
pollutants. Buffers and absorbers should be placed out of sight, in the base or behind the backboard
of a case. If the case is to be painted, it is recommended oil paints be avoided; acrylic or latex paint
is preferable.

Display methods[edit]

A photography exhibition in Moscow, 2010

There are two kinds of objects displayed at the library and archival exhibition bound materials and
unbound materials. Bound materials include books and pamphlets, and unbound materials
include manuscripts, cards, drawings, and other two-dimensional items. The observance of proper
display conditions will help minimize any potential physical damage. All items displayed must be
adequately supported and secured.

Unbound materials

Unbound materials, usually single-sheet items, need to be attached securely to the mounts, unless
matted or encapsulated. Metal fasteners, pins, screws, and thumbtacks should not come in direct
contact with any exhibit items.[19] Instead, photo corners, polyethylene, or polyester film straps may
hold the object to the support. Objects may also be encapsulated in polyester film, though old and
untreated acidic papers should be professionally deacidified before encapsulation.[20] Avoid potential
slippage during encapsulation when possible, use ultrasonic or heat seals. For objects that need to
be hung (and that may require more protection than lightweight polyester film), matting would be an
effective alternative.

Objects in frames should be separated from harmful materials through matting, glazing, and backing
layers. Matting, which consists of two pH-neutral or alkaline boards with a window cut in the top
board to enable the object to be seen, can be used to support and enhance the display of single
sheet or folded items. Backing layers of archival cardboard should be thick enough to protect
objects. Moreover, any protective glazing used should never come in direct contact with objects.
[21]
Frames should be well-sealed and hung securely, allowing a space for air circulation between the
frame and the wall.

Bound materials

The most common way to display bound materials is closed and lying horizontally. If a volume is
shown open, the object should be open only as much as its binding allows. Common practice is to
open volumes at an angle no greater than 135.[22] There are some types of equipment that help
support volumes as they displayed openly: blocks or wedges, which hold a book cover to reduce
stain at the book hinge; cradles, which support bound volumes as they lay open without stress to the
binding structure; and polyester film strips, which help to secure open leaves. Textblock supports are
best used in conjunction with book cradles where the textblock is greater than 1/2 inch, or where the
textblock noticeably sags.[23] Regardless of its method of support, however, it is worth noting that any
book that is kept open for long periods can cause damage. One should turn an exhibited book's
pages every few days in order to protect pages from overexposure to light and spread any strain on
the binding structure.

Security[edit]
Because exhibited items are often of special interest, they demand a high level of security to reduce
the risk of loss from theft or vandalism. Exhibition cases should be securely locked. In addition,
cases may be glazed with a material that hinders penetration and that when broken does not risk
shards of glass falling on the exhibits.[24] Whenever possible, the exhibition area should be patrolled;
a 24-hour security presence is recommended when precious treasures are exhibited. [25] Finally, the
exhibition is best protected when equipped with intruder alarms, which can be fitted at entry points to
the building and internal areas.