Artworks are most vulnerable to damage during handling, storage and transportation — when they are not stationary and fully supported. In Unit 4 AoS 3, students investigate how institutions and professional artists manage these phases of an artwork’s life to prevent damage.
Incorrect handling is one of the most common causes of damage to artworks. Key principles:
General handling principles
- Minimise handling wherever possible — every unnecessary handling event is a risk
- Always assess before handling: Is the work stable? Are there fragile elements that could be damaged?
- Never handle alone a work that is too large or heavy for one person — use a second handler
- Work over padded surfaces when handling fragile objects
Hands and gloves
- Cotton gloves are standard for handling most framed works, glass, metal and ceramics — prevents oil transfer from skin
- Exception: cotton gloves should NOT be worn when handling glass objects (reduces tactile grip) or some very smooth, polished surfaces
- Clean dry bare hands are sometimes preferred for certain delicate works where grip is critical
Supporting artworks
- Two-dimensional works: support from the back and sides, never by an edge or corner alone
- Frames: carry by the side struts of the frame, not by the top edge
- Three-dimensional works: support from the base or most stable part; never grip projecting or fragile elements
- Avoid tilting framed works at extreme angles (paint layers, brittle support materials)
Personal protective measures
- Remove jewellery (rings, bracelets, watches) that can scratch or damage surfaces
- Ensure clothing has no exposed buttons or buckles
Two-dimensional works
- Store flat (for works on paper) or upright in padded, slotted racks (for framed works)
- Face-to-face storage: protect surfaces with glassine or bubble wrap; never store face-to-face without protection
- Use acid-free materials for all packaging that contacts the artwork
- Maintain stable environmental conditions in storage (same temperature and humidity as display to avoid shock)
Three-dimensional works
- Each work should have its own purpose-made storage mount, cradle or box
- Use archival foam, ethafoam or ethalon; avoid polyurethane foam (off-gases that damage works)
- Do not stack works without adequate protective separation
Environmental conditions in storage
- Dark storage: darkness protects light-sensitive works from cumulative damage
- Climate control: same principles as display — stable temperature (18–22°C) and humidity (45–55% RH)
- Air quality: pollutants damage stored works; use HEPA-filtered storage spaces
Transportation is the highest-risk phase in an artwork’s journey.
Packing for transport
- Works must be packed in custom-made crates or cases sized for the specific work
- Crating layers: soft materials closest to the work (tissue, glassine, acid-free foam), then rigid support (foam-lined wooden crate)
- Climate-controlled crates (sealed and padded) for sensitive works travelling through varying environmental conditions
- Silica gel sachets in sealed crates to control internal humidity
Condition assessment before and after transport
- A condition report is made before packing and compared with assessment on receipt
- Any new damage is documented and reported
Art handling professionals
- Specialist art transport companies (fine art shippers) use trained staff, appropriate vehicles (climate-controlled) and professional crating
- Insurance is mandatory for transported works of value
Couriering
- Some institutions require a courier (a representative from the lending institution) to accompany high-value or fragile works
KEY TAKEAWAY: Handling, storage and transportation risks can be minimised through proper preparation, appropriate materials, trained personnel and careful environmental monitoring. The underlying principle is always: every contact is a risk; minimise and control all contacts.
VCAA FOCUS: Students must be able to discuss handling, storage and transportation considerations in relation to the specific artworks studied. Generic answers are insufficient — connect handling requirements to the specific properties of the medium (e.g., the fragility of unfixed charcoal, the sensitivity of photographic prints to UV).
EXAM TIP: Learn at least two specific handling/storage/transportation considerations for each of the media types you have studied (your own art form + works from galleries visited). Specificity is what earns marks.
