Building crates/ packing work for shipping:
As students, you have access to not only a fabulous woodshop, but also the knowledge and expertise of the wood shop staff and professors. If this was a semester long class on campus, we would go into the woodshop and discuss building, look in Museum storage at good and bad crates, and build packaging for art of all kinds. As this is an online course, there are a large number of online resources you can access in the meantime. This spring, look out for a hands on workshop led by the Cohen Gallery on packaging art for shipping.
Update: Check out this artist’s take on shipping
Don’t forget this week’s assignment!
Building a crate Instructables
Packing and shipping art how to SAATCHI
Shipping and Crating GY*T
Creating a crate or a box for your work that not only gets your artwork to its destination without breaking, but also can be used again for return shipping is vital. Often, your shipping container is the first contact a gallery will have with your work. If your box or crate looks unprofessional, that is the impression you will leave with the gallery- that you are not professional, thereby making them think twice about having you back. A beautifully boxed pice of artwork is a joy to work with as a gallery. Most galleries will pay for shipping one way, but require that the artist provides them with the materials in which to ship the work back. Your shipping container will be stored by the gallery and sent back to you as you sent it. If your shipping materials are shoddy, the impression you give the gallery is that you do not care about your work, allowing room in their minds to care less about your work. Spend the money on good materials, and do not cut corners.
When wrapping you work in bubble or otherwise, it is vital that your work floats inside the box. You should not be able to feel any hard edges through your packing material, and the work should not touch the walls of the box. This is important insulation whether you are shipping framed paintings or sculpture.
****Inside your crate or box, you should include instructions for hanging the work, and any hardware the gallery may need for hanging. (*if you have heavy work to hang, it is a good idea to ask the galley if their walls are plywood backed. If they are, you can send simple hanging hardware. If the walls are concrete or not plywood backed, send anchors specific to your hardware. ) It is best practice to send a list of works inside the box, plus written instructions for hanging. Make sure your piece is labelled in some way. If you are sending several works, it is best practice to create a word document or pdf with an image of each piece, its title and installation instructions. If your piece requires assemble, send this same type of document with images of the assembly process.****
On a personal note, as a gallerist and preparator, the more obvious and clear the artist makes it for me to unwrap, install, and ship back, the easier my job is. This makes me fall in love with that artist a little bit. I have even had artists put a little chocolate in the box with a personal note. This builds some incredible capital
A couple of tips:
Bubble wrap: Save your bubble wrap! When wrapping your work with bubble, use only blue tape or painters tape, or shrink wrap to hold the bubble together. This way, you and the gallery can reuse that material for years to come. If you use clear packing tape, your bubble wrap will be unusable again.
packing peanuts: These things are awful to work with. They get everywhere, they are terrible for the environment and they are a nightmare to clean up. However, the are sometimes necessary for packing. For instance, if you are double boxing your work (as you should if your work is at all fragile), peanuts are a necessary evil. If you find that you must use them, I like to use used grocery bags and stuff them with peanuts, and tie them off into little, self contained pods. The gallery will thank you for this practice.
double boxing: The practice of boxing your work, then floating that inside a well cushioned and slightly larger box. This practice create a shock absorption stymie should you box get dropped- which I guaranteeit will if you are using a shipping company like UPS, FedEx or USPS.
foam: You may use rigid insulating foam (the pink or blue stuff) to line your outside box. Or, couch cushion foam which is softer, to use on your inside box as a layer between your work and the box itself.
newsprint or newspaper: While paper is a good packing material, it is heavy and therefore more expensive to ship. I strongly discourage you from using newspaper as the ink gets all over the hands, which if your gallerist is not careful, may be transferred onto your work.
Read through the above links and let me know if you have any other questions. I would be happy to give you more information!
FedEx, UPS, USPS: most artists when starting out use these companies. If you have given yourself enough time, the cheapest way to send work is by Gound transportation. Now, this means a lot more people will be handling your crate/box as it makes its way from truck to center to truck to truck to distribution center to truck on its journey to its final destination. If you have not left yourself enough time (minimum 2 weeks), you will have to send your work in some expedited manner (2-day, overnight, air). This is much more expensive and as you are in a hurry, the people handling your work will be in more of a hurry. Fewer people generally touch the work, but you must think about how gently the package will be handled. Write FRAGILE on all your boxes, and if you need the box to remain upright, indicate with arrows how important this is. I want to say here, that these makes are rarely paid attention to by shipping companies.
Freight/ Art Handlers: If your work is very large, you may have to put your work on a pallet and have a freight company pick it up. FedEx has this service, though there are a number of other companies that work locally, regionally and nationally. Art handlers are companies that pick up work on a truck (usually on a pallet), drive the work directly to the site and ensure the work makes it in the door of your destination. This is an expensive service. You have to pay hefty insurance on this service and usually only Museums work this way when borrowing work from one museum to another.
Shippers insurance: read the fine print! Not all shippers insure artwork. FedEx is best at actually paying insurance claims.
Storage: Whether you make big work or small, 3D or 2D, you will have to store work that in finished and waiting for exhibition. There are all kinds of ways people deal with this. Some artists throw their work away after it has sat out of circulation for a while. Others save everything. Many NYC artists drive Upstate and rent personal storage in less expensive areas. However you decide, always read the fine print and make sure your rent is paid on time. If you keep your work at home or in your studio, be sure to get renters insurance.