GALLERY REQUIREMENTS

REQUIREMENTS FOR GALLERY EXHIBITION AND DISPLAY
In order for us to understand the requirements of gallery exhibition, the researcher first identified the types of exhibitions for a clear knowledge of what an exhibition actually entails.
Types of exhibitions
Commercial exhibitions; these are the kind of exhibitions intended to attract buyers and sell the displayed items.
Non-commercial exhibitions; these are simply arranged for appreciation of talents and skills of the artist or designers.
However, exhibitions can be categorized further into museums, art exhibitions, trade exhibitions and consumer exhibitions.
Types of displays
Visual; these are presented via images for instance the computer screen or monitor.
Auditory; includes devices that present information via the ears. This actually assists the physically challenged, hence giving them a chance of participating and getting informed. Tactile; here the information is presented via the sense of touch. Also a very good way to involve the challenged category.

The Requirements
The requirements that are considered by the curator (person who sets up the gallery) are:
Artworks; An exhibition usually comprises a number of artworks and, whether they are all by the same artist or by a group of artists, consideration must be given to how the artworks interact with and relate to each other. The relationships between artworks can contribute to the communication of the overall curatorial strategy informing the exhibition.
The way in which art works relate to each other may:
- create relationships which reinforce or subvert the curatorial strategy;
- relate to a theme underpinning the exhibition;
- give an overview of the artist’s entire practice, such as a retrospective;
- emphasize the artist’s technique and use of materials;
- reflect the subject matter, time frame or context.
It is also possible that the art works may not relate to each other and this may be part of the curatorial strategy, to juxtapose and create tension between works.

Security; Security strategies need to be included in the planning and implementation of an exhibition. Security and information staff invigilates exhibitions and additional security devices, such as alarms and CCTV cameras, are employed to ensure the safety of the artworks. Some artworks in an exhibition may be particularly vulnerable to damage or theft. These concerns will inform the placement of such artworks within an exhibition and whether additional security measures, such as placing a barrier in front of the work or placing the work in a glass frame or vitrine, need to be employed.

Lighting; the lighting used in an exhibition space is an essential element in the display of an artwork. The role of lighting in an exhibition space contributes to the preservation of the artwork and facilitates the viewer to see the work. Light wavelength and intensity can damage an artwork, especially a delicate artwork such as a print, drawing, photograph or water colour. An artwork’s level of tolerance of light will depend on the materials used to create the work and the level and duration of exposure to light during the exhibition. Some inks, pigments and fabrics are susceptible to lengthy exposure to light. The level of visible light employed in a display space needs to take into consideration both the preservation needs of the artwork and the needs of the viewer.

Creative lighting strategies can be employed to address the need for low lighting levels; for example by reducing the levels of ambient light below the level falling on the exhibit, or by the balancing of warm and cool light and the use of spotlights. Other issues which need to be taken into consideration are the use of natural (daylight) versus artificial light and the impact of such light on both the artwork and how it facilitates the viewer’s experience. Filaments may be placed over windows to minimize the impact of daylight exposure.

Display mechanisms; the way in which artworks are displayed can vary considerably depending on the nature and materials of the artwork and also on the curatorial strategy of the exhibition. Conventional gallery spaces are often white or neutral colors with little or no furniture. Traditional artworks such as paintings and prints tend to be hung on walls either individually or collectively. Three dimensional art works are often displayed on plinths, in vitrines (Perspex cases) or on the floor, depending on their nature and size. Security and preservation concerns inform such considerations. For example, fragile artworks may require specialized frames, cases or guard rails. Contemporary art works, such as installation and performance, and artworks created using new media, such as film, video and digital technology, and present considerable challenges to conventional display methodologies and have contributed to the expansion of display methodologies and mechanisms. Innovative curatorial strategies often seek to subvert traditional approaches to display by seeking out new and unconventional ways of displaying artwork and also to challenge the viewer’s expectations of how art work should be seen.
Figure 7: Display mechanisms Figure 8: Display in 3D Audience including physically challenged; the layout of an exhibition also needs to take into consideration the needs of the viewer in terms of access to the artworks and to information about the artworks. The layout of the exhibition and the way in which the viewer finds their way through the exhibition contributes to the viewer’s engagement with the artwork. This approach may be reinforced by the provision of supplementary information to guide the viewer through the exhibition, such as labels next to the artworks, extended text labels at the beginning or at intervals throughout the exhibition, exhibition guides, maps providing a layout of the exhibition spaces and/or audio guides. The labels usually include the artist’s name, the date of the artwork, the materials used and if it’s part of the collection, it may also include the acquisition number. Extended text panels may provide some contextual information about the artworks . Many exhibitions, especially exhibitions of contemporary art, employ an open-ended rather than a chronological approach, where there is no clear starting or finishing point to the exhibition. Supplementary information about the exhibition may be provided before entering the exhibition or at a designated ‘reading space’ within the exhibition. These may also be referred to introductory texts. Interactive elements also play an important part so as to make the physically disabled to get involved for instance the musical instruments at the Nairobi National Museum.
CONCLUSION
Galleries often choose to represent artists exclusively, giving them the opportunity to show regularly. Some have a narrow focus while others are more eclectic. With the above discussions that the researcher brought together, we can conclude that any item owned by the maker has its specific requirements. These can either be conservation and in terms of security, or it could simply be on how the item is supposed to be displayed/exhibited. All these are matters to be considered although there has not been a standardized system just yet. If they standards are set however, they could merely resemble what the researcher might have written, more or less.

REFERENCES www.imma.ie www.thegreenbook.com en.wikipedia.org Introduction To Ergonomics by S.M. Maina
Pictures Courtesy of Nairobi Gallery.

References: www.imma.ie www.thegreenbook.com en.wikipedia.org Introduction To Ergonomics by S.M. Maina Pictures Courtesy of Nairobi Gallery.