It depends on the impression you're aiming for. There are different strategies or concepts for exhibitions.
You might, for instance, present works in chronological order from oldest to most recent. Such a show emphasizes the path of your developing style, skills and content.
You might
consider your exhibit as if it were a story. A story is a linear narrative. It begins with some sort of introduction to get readers into the context and mood of what follows. So, your entrance experience is important. What is the first impression you want to make? Which works might do that? What arrangement of lighting, of walls, of signage?
Your exhibit may have several "chapters", categories or areas. Maybe you'll group your older work together, then newer works, then your latest creations. You might group works by similar subjects or by similar media. You might have several pieces having to do with a single theme or a single creative priority. Such grouping creates a kind of logic or order that viewers can make sense of.
Your exhibit may need an ending— some culmination or crescendo that everything else builds towards. This may be a large work or a set of related works.
How can you best engage the viewer? How might you get them moving around, looking at works from different angles, or coming back to re-look at already-seen works? Might you prompt the viewer for feedback? How about involving them in one of your works ...letting them add to or rearrange aspects of your work?
Is it square? (are the vertical edges/axes vertical? are the horizontal edges of the frame flat?)
If needed, bring a carpenter's level or a laser-level to arrange works carefully.
Are the works aligned? Often some of the edges of neighboring works should line up. You don't, after all, want paintings gradually getting lower and lower. A laser level, a bubble level, or a tape measure are handy at this stage.
Lighting:
There is never quite enough direct lighting, it seems. But then, the gallery would get hot if there were. Make sure all works are adequatly illuminated. Lighting should be generally consistent, with some emphasis on major works. Avoid strong shadows. Avoid harsh glare (particularly off of glassed pictures) from viewpoints or from approach points.
To adjust the overhead track lights, you'll need to use a ladder. Be aware that the lights and fixtures can be very hot if they've been turned on for long. (use a cloth or gloves if needed). Replace any bulbs that are burned out. You can slide the track lights along the track as well as rotate and tilt each one to aim the light.
Use it.
Exhibit 3D works — sculptures, jewely, pottery, sketchbooks, etc.
Hang works from the ceiling to divide the space. This won't work for many artworks, but consider it.
Set up portable gallery walls to divide the space and create a more interesting traffic flow through the gallery. (we have several walls in gallery storage)
Arrange benches to fill space well and direct attention to your prime works.
Is it stable? Is its weight supported?
Can people walk around it without bumping into other works, other viewers, or the wall?
If it gets bumped, will it fall over? Is it heavy enough that if it falls, it could hurt someone?
Does it need to be protected from fingerprints or sticky fingers?
Put it under a glass case, or set it far in the back of a display where it is hard to reach. Consider a "don't cross this line" barrier or tape.
Ideal approach view: (mainly for 3d works) Which view should be seen first? How might I compose this work, and others so that the needed approach is natural for the viewer?
Natural viewing height: Not too high. Not too low. Comfortable viewing height varies depending on whether the work is "solo", or if its grouped in a cluster of works. When a picture is alone, the typical viewer's eye-level matters — generally, you don't want folks to be looking up or looking down at works. There are exceptions, of course. (be aware that tall people tend to hang works too high, and shorter folks tend to hand work too low for the "general audience". So, adjust display heightsfor the typical viewer. (question: if you were hanging works for an elementary school exhibit, how would you adjust your hanging height? If you're hanging works in the home of an NBA power forward, how will you adjust?))
— you might eliminate weaker works and show only the strongest. That can make a more impressive show.
— Try clustering related works in tight groupings. When several works are positioned closely, they become one big work rather than many isolated pieces. If you arrange them carefully (e.g. consistent spacing, alignment of edges/frames, develop a pattern or axis for the group, put larger showcase pieces near the center), your cluster of works will look impressive and natural, rather than crowded.
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