As one of the packing & crating suppliers for the Biennial, FINE ART SHIPPING had the challenge of figuring out how to deal with this artwork, which was originating at the artist’s studio here in Los Angeles.

Among the challenges:

• too big to fit in our local trucks
• too large for normal handling via the Whitney elevators
• a piece that was both delicate AND heavy
• and most fun of all, changing dimensions as the artist continued to work on the piece

After much back and forth with the studio and the Whitney curators, it was decided to prebuild a slat crate structure for the piece, rather than fabricate a full museum standard crate. The slat or “skeleton” crate would save crucial inches off the height and width, and every whisker of an inch counted.

OK, so we will deliver the prebuilt crate to the studio, and pack the work there and then…but wait. Once crated it turns out the packed crate will be too large to exit out of the studio doorway. And if packed outside, it won’t fit back in. “Baby” can’t be left in the street!  More phone calls and emails.

In the end we used the studio lift (thank goodness for their help!) to get the piece into the base of the slat crate, then finished packing the crate outside the studio, on the pavement beyond the studio doors. Luckily, a quiet street. Luckily, not raining. Only a bit of sawing and repositioning of braces was required due to the artist adding a couple of hundred pounds of concrete to the thing since we had last seen it… All in a day’s work. Then on a preplanned “just in time” basis the Whitney’s climate controlled trailer, with larger clearances than our local trucks, stopped by and we loaded “Baby” into the trailer. Very carefully.

In the best possible way, we were happy to see him go. That’s one big baby.

Betsy Dorfman

Congratulations in particular to artists James Welling, Kerry Tribe, Daniel Joseph Martinez, and Alan Ruppersberg, whose works we have handled over the years for storage and/or for the Whitney Biennial. Nice to see them up in such a public format. At some 35,000 possible “visual impressions” a day, that’s a big audience whizzing by. Or crawling, depending. Each will be on display for only a month or two, so get your map and head on out. Probably best with a designated driver, leaving you free to crane and thrall and snapshot without causing undue risk to those actually trying to get somewhere.

Betsy Dorfman

FINE ART SHIPPING has moved, installed, shipped and stored many of these works over the past decade-plus for the Crichton family. Packing and crating these recent few to send off for display in London was an exercise in nostalgia to be sure. We have softpacked the Johns for Mr. Crichton to carry on an airplane, installed it at residences in New York and Los Angeles, and each time we handled it was a thrill. The office emptied out, art handlers mysteriously appeared as the crate was about to be opened — there are artworks which claim their own audiences, and this is one.

On September 11, 2001 our Los Angeles based crew was packing art at the Crichton residence in upstate New York, some 90 miles from ground zero. We were immediately invited to stay in the home for several days, allowing us to give our hotel rooms to our NY based crew, who were unable in those early days and hours to return to the city. So this goes beyond a business relationship, to what has been a partnership of care and concern for this art over many years and circumstances.
Following the current exhibition at Christie’s the artworks go on sale in New York in May. To the new owners we can only say: may the vibes, all good, be with you.

Betsy Dorfman

So the reality is that fine art handlers necessarily have limited liability, typically capped at 60 cents per pound per article, for uninsured items. That is barely salvage value and completely useless in the realm of fine art coverage, where values range from hundreds into the millions of dollars. Beyond that point, unless a value is declared and a premium paid, there is no coverage. Zero. No matter what the circumstances of the loss. Even if we knock it off a shelf and run a forklift over it. We really try not to do that, by the way.

Every customer who calls to book a service or receive an estimate is asked if they wish to take or decline the insurance we provide, and every transaction processed – estimate, bill of lading, invoice – shows the status of the account or shipment as insured for a specified value or insurance declined. If you are working with a carrier or fine art shipper and there is no notice of insurance status on the document, get that fixed. If there is no value declared and shown in writing then chances are 99.9% that you are not insured with that provider.

Despite this clarity, some customers remain confused or subject to wishful thinking, typically after a loss has occurred. To banish this “gray area” insurance underwriters, including ours, have introduced an additional step into the process: customers declining insurance must sign and return an OPT OUT form, a sample of which is below.

The form is kept on file and applies to all transactions for that customer or account, unless or until rescinded in writing. In some cases a museum, collector or gallery will have their own all risk policy in place, and sending us proof of such coverage will serve the same purpose as the OPT OUT form.

Asking our customers to return this form has been instructive. It has turned up some who thought they were insured, despite receiving in some cases years of notices to the contrary, and others who realized their own independent coverage had lapsed and/or that they need to update their appraised values and coverage. Many clients had questions, which served to show that the waters were murky indeed. A few interpreted this to be an entirely new policy limiting our liability and were concerned that we were now cutting them off from some delectable free coverage they had enjoyed in the past– not the case. As I hastened to explain. And a few others thought the document somehow related to their own independent insurance policies, which it does not.

And so, unaccustomed as I am to praising insurance companies, my chapeau is off to the folks at Lloyd’s of London and our agent at Willis Fine Art & Specie for adding this document into the mix. Nobody likes more paperwork, but where irreplaceable art and artifacts are concerned the fewer twilight zones the better.

Betsy Dorfman

Sample notice:

NOTICE OF OPT OUT of insurance offered

This will confirm that I/We have been offered purchase of “Customers’ All Risk Fine Art Insurance” by Fine Art Shipping/Bilton Arts Inc. and that I/We OPT OUT and decline to accept this coverage.

By opting out and signing below I understand that Fine Art Shipping/Bilton Arts Inc. has limited liability for any loss or damage, as specified in their documents and waybills, as do their agents and affiliated providers.

( ) I/We decline to accept coverage as noted above and this relates to ALL SERVICES performed by Fine Art Shipping/Bilton Arts Inc. I/We further understand that this OPT OUT declination can only be rescinded by myself or an authorized representative and requires a statement of acceptance in writing from Fine Art Shipping/Bilton Arts Inc. to take effect.<

COMPANY or INDIVIDUAL NAME: _____________________

ADDRESS__________________________________________________________

SIGNATURE of individual or COMPANY authorized representative __________________________

DATE ______//_______//______

NOTE: Failure to return this document to Fine Art Shipping/Bilton Arts prior to performing the requested service will constitute acceptance of “Customers’ All Risk Insurance” together with any related fees and expenses for same.<

Compounding the horror, “free shipping” among online retailers has reached epidemic proportions and in fact has come to seem the norm. We feel shortchanged these days if we have to pay, or pay much, for shipping. It seems our birthright NOT to pay for shipping, not after we have just forked out for the thing/object/gadget itself. The giddy days of online sellers getting away with charging $8.99 to ship a $10 item seem lost in the quaint cyberpast.

So having promised the client the impossible, and feeling entitled to discounted shipping no matter what the commodity, the gallery or dealer then calls us seeking to send the artwork as cheaply as possible. We’ve been asked to put $30,000 artworks in cardboard boxes and ship them on UPS. Which, I hasten to add, we won’t do. It also explains why galleries often consign the job of arranging shipping to the lowest status employee who is newest on the job. Shipping is the last and least glamorous step in the dealer to customer transfer of title and custody. Basically, it’s a bore and a chore and, they would like us to think, it subtracts from rather than augments the bottom line. It’s the necessary evil mop up after the master has done his thing; hold your nose and dial the shipper.

But the truth is “free shipping” as anyone willing to reflect can probably deduce, is actually factored into the cost of the “thing” and so is not really free. We choose to perceive it as free because we want to feel like we are getting something for nothing, even when we know we aren’t. Art buyers, are you listening?

It would hardly be a sensible business model for art sellers to routinely “eat” shipping costs,. More likely they are factoring shipping into the cost and then, post sale, simply trying to maximize their profits by pressuring shippers to provide the most economical possible service. In this way everyone is happy except, well, me. I am stuck trying to persuade that new person at the gallery front desk that they really, really, really need to part with some actual money to protect their art in transit. That’s me, the bad guy spoiling everyone’s spoils.

Adding to the dilemma is the fact that the gallery typically wants the artwork off the premises and in the hands/on the wall of the customer as soon as possible before the glow of acquisition fades. So now we have a request for fast service, often a custom pickup at the gallery, plus expedited packing and shipping, plus custom delivery and installation all to be done on the cheap. Even after a couple of martinis, I can’t see a way to make that happen.

In a perfect world, everyone would recognize the service companies like ours provide and be willing to pay fair value for it. Santa, are you listening? In the meantime I continue my lonely battle against the tide of “free shipping” – with just a short time out this holiday season to transfer the items in my cart to the checkout window and collect my free 2-day shipping. Which they still call my “free 2 day shipping” even after charging my credit card $79 for yearly access to this privilege. Such a deal.

Betsy Dorfman

Artworks are loaned by artists, corporations, museums and private collectors, and the AEIP pays the costs of packing and shipping to the destination city. Further information on the program is available at : http://aiep.state.gov/index.cfm

The site also supplies guidelines for artists interested in submitting art to their Registry. For students and other art hungry travelers, the website contains a listing of what works are currently on exhibit in which cities, together with artist statements and details of the pieces on view. This is a great way to support American artists and to beat the lines and entrance fees encountered at so many better known exhibition venues.

Betsy Dorfman

Our company name is helpful insofar as it is descriptive: Fine Art Shipping – doesn’t leave much doubt. But the truth is we ship, and store, a wide variety of objects, not just art. And not all the art is “fine” art. The not so secret secret is that most fine art handlers will pack and ship a wide variety of goods including art, antiques, household furnishings, architectural models, musical instruments and just about anything else requiring expert and careful handling. For example, your Thanksgiving platter and gravy boat. The one grandma expects to see every year….

In some ways the community of art handlers has replaced what used to be a commonplace: the full service storage facility. In our era of self storage and van line storages using wood vaults, the idea of a warehouse where goods are commonly held and curated by the staff has largely disappeared from view. But this is precisely what we do. And not just for artworks, although this is the heart of our business. If it’s fragile, temperature sensitive, special in any way, or just needs to be properly stored under secure, clean & organized conditions– this is what we do.

So you can store your “stuff” (virtually anything except toxic substances or live plants and animals) in a full service facility such as ours for a reasonable fee. You’ll receive a computerized photo inventory from which you can select items to be delivered or shipped virtually anywhere. Similarly, we can pick up or receive incoming shipments for your account, inspect, assemble as needed, and place into storage while you’re busy having your life somewhere else – not running to the self storage.

And you won’t be paying a three hour minimum for a van line dude to forklift down your wood vault, crowbar it open, and paw through your entire stack of possessions to try and locate one box. You know the box: the one with your turkey platter and gravy boat that you’re going to need real soon… Which you hope they didn’t put at the bottom of the pile.

Oh, and did you need insurance on that?

Whether hiring a professional company or doing it yourself, all containers with multiple contents should be accompanied by a packing list or pack list. Sometimes this is pouched on the outside of the container, but for maximum safety we like to put a copy inside the package. With crates we often glue them inside the top. With a pack list, the person unpacking knows exactly what to look for within the box. They can check off pieces as they unpack and make sure that all items are accounted for before discarding the package.

In addition, all packages within a box or crate should carry a clear label to distinguish between packed items and incidental packing materials. We often write “art inside!!” on portfolios as well as label them with the artist and title of the contents. A few seconds with a red marker can literally save a small or thinly wrapped artwork from accidental destruction or loss. Your packages should not be mysterious.

And then there are the “non art” components which often accompany shipments. Artists are notorious for this. They will send us a lovely crate with carefully packed and labeled art within, but fail to alert us to look for that little bag of screws, or that wood cleat they tucked up in the northwest corner which they hope we didn’t think was part of the crate, or the little packet of folded mending material that is hugely important to the installation… Once again common sense dictates that anything which needs to be found needs to be findable. And all items including incidentals need to appear on pack lists. Otherwise we may not recognize what is integral and what is not. The folded material in one artist’s crate might be something leftover that they used to fill negative space, or it might be critical to the artwork. We should not have to guess.

At our warehouses, we have a standard rule that all boxes are broken down fully and all accompanying “trash” paper, bubble wrap, or plastic etc. is searched again to make sure no objects are commingled in the packing. With crates, interior foam and loose spacing or lining materials are fully removed so that the crate is inspected right down to the wood before it is marked as empty. Every art handler has a story of the “empty” crate that wasn’t. Packing lists may not entirely solve this problem, but they help. After all the most basic goal of shipping is to have the receiver, not the dumpster, receive what the shipper shipped.

 Betsy Dorfman

Since 2006, for example, FINE ART SHIPPING has supplied storage services at no cost for the Los Angeles Ballet. In addition to a prominent thank you in their programs, they have provided us with complimentary tickets, allowing many of our staff and their friends and families to experience the ballet and become fans. Talk about a “win-win”!

A bit closer to home, my daughter works for one of the Paul Newman charities, a camp called The Painted Turtle which serves children with serious diseases on a year round basis and at no cost to participating families. These are kids who otherwise would not be able to attend camp due to the nature of their illnesses. The Painted Turtle operates out of offices in Santa Monica, and maintains the camp in Lake Hughes CA., roughly 90 minutes northwest of Los Angeles. It is one of a network of affiliated camps around the world offering hope and fun to kids whose “out of camp” lives often consist of one medical challenge after another.

When one of our storage customers retired an array of costumes, wigs, hats, props & even a couple of fog machines from their inventory, we were able to donate these to The Painted Turtle and deliver them up to the camp in our truck at no charge. They were apparently used immediately in skits and sketches and were a great hit with kids and staff alike. Smiles all around! The website of The Painted Turtle shows a list of items the camp needs on a regular basis. Anyone wishing to make a donation can drop items off here at our facility near LAX airport and we will see that they get to the camp. (Please call first!)

On other occasions we are able to contribute to organizations by discounting costs on transport services.  Most recently we completed a shipment for Doctors Without Borders at a rate well below market value, essentially converting what would have been our normal markup into a contribution instead. This is a great way for small businesses to donate as it conserves cash but gives real value to the organization in question.

 Betsy Dorfman

Depending on how comfortable you are with creating and managing a partially automated system, a custom estimate and cut-list program can be a ridiculous time saver for your crating department. My “crating engine” uses mostly simple math functions in a simple database application. With it, I can estimate the cost and dimensions of a crate and have a formatted cut list ready to print for the craters in as little as fifteen seconds. Unusual crating circumstances only require a couple minutes of data entry before the results can be sent to customer service representatives or printed for execution. The same artwork specs and basic packing approach are automatically forwarded into several crate shell styles simultaneously, from slat crates to our highest-level travel crates. Every square inch of building material is automatically added up and priced, both for estimates and for the actual price of the built crate.

But whether you have your own crating program, or whether you do all of your math with pencil and paper, the big unknown for crating estimates is labor. Any given builder will have good days and bad days. Averaging their past performance won’t always give a perfect estimate, but it will take their history into account and mitigate guesswork based on misleading examples. Naturally, the more examples of past performance you record, the more likely you are to approach a good reliable mean.

The other sticking point in estimating labor is the duration/volume ratio. For obvious reasons, this ratio is not a straight line, but a curve. The smaller the cubic footage of any style of crate, the more minutes it will take to build per cubic foot. Likewise, the same curve levels off to nearly flat in the upper size range. I’ve plotted these curves for my lead crater so that I can make a reliable prediction of his performance on any style of crate, regardless of the size job. Even if you do everything else in your head, an accurate time curve is an elegant alternative to guesswork. Of course, this isn’t limited to crating. It can be applied to any production task with a similarly predictable set of actions. Here’s how to make your own:

Step 1. The first thing you will need is the raw data. Start recording exactly how long it takes you or your staff to build crates. Start a separate log for each crater, and each style of crate that crater produces. Every log should include a series for minutes and a series for cubic feet. Then make a third series, dividing minutes by cubic feet. I put these series in columns; so if cell A3 = minutes, and cell B3 = cubic feet, cell C3 = A3/B3. You will only use the second and third columns in the next step – cubic feet & minutes/cubic foot. Here’s an example log for “B-crates” with two hypothetical craters, one a faster builder than the other:

Soon you should have enough data in those series to get reasonable estimates. The data collection is an ongoing process, however, and your logs should be updated regularly. Older numbers could be dropped eventually to account for your crater’s growing experience and speed, but the aim is to collect as much information on each builder as possible. This is not to spy on your crew. It is to accurately predict the time it will likely take this person or that to build the next crate.

There are two ways you can process your database into functional labor estimate curves. First I’ll show the quick way, and then I’ll explain what these numbers mean by showing the chart method.

Step 2a. Find the “power trendline” of each crating log you have made, and multiply it by the estimated cubic feet. I’ll explain what the power trendline is in some depth below, but for now you can just treat it like a magic spell. If you aren’t a math geek and don’t care how, why or whether this really works, you can stop reading at the end of this step.

The fastest and most efficient way to process a given crater’s average curve on a given style of crate can be done in five math functions, and will fit on a spreadsheet the size of a postage stamp.

cell A1: =[length]*[width]*[height]*1/1728 [estimated cubic feet]

cell A2: =EXP(INDEX(LINEST(LN(y),LN(x),,),1,2)) [coefficient A]

cell A3: =INDEX(LINEST(LN(y),LN(x),,),1) [coefficient b]

cell A4: =A*(x^(b)) [trendline equation]

cell A5: =[cell 1]*[cell 4]*1/60 [labor estimate]

A1) The first cell should simply display the cubic footage of the crate being estimated. The least fussy way is to link this function to three blank cells somewhere else where you enter the crate’s L, W, & H. Those same three blank cells can be linked to every curve you make (since you need a separate curve for each crater on each style of crate).

A2) The second cell should return the value of A to be used in the equation in cell 4. This cell should contain the exact function shown, but in place of x, link to the whole cubic feet series in your crater’s log (B3:B14, to use the slower crater shown above as an example). Likewise, y must be linked to the whole series of data in the minutes/cubic foot column of your crater’s log (In this example; C3:C14).

A3) The third cell should return the value of b for the equation in cell 4. Treat series variables x & y the same way here as you did in cell 2.

A4) The forth cell should contain the function shown, but replacing x, A, b with the results of cells 1-3 respectively. Caution: in this equation, x refers only to the cubic footage of the crate being estimated. It is not the same variable as in cells 2 & 3.

A5) The fifth cell is the product of the values returned in cell 1 and cell 4, then divided by 60.

You can use these five steps to bypass the charting step described below and get your trendline equations straight from your database. But the chart actually shows what these numbers mean, and I prefer to see graphic representations of the curves anyway.

Step 2b. If the step described above seems too cryptic, the numbers involved can be more readily understood by graphing them. The program I use allows me to insert a visual chart into my spreadsheet, define the x & y parameters and link them to the two relevant series of data. This is pretty basic, and I’m sure that it’s a universal feature in spreadsheet applications. The type of graph you want is an x-y scatter chart. Your chart’s values are simply: x = cubic feet, and y = minutes/cubic foot. Once your graph is linked to those two series, you will see points plotted in the field – each point representing the crater’s performance on a specific crate.

The more information you have (and the more consistent your crater is), the more it should suggest the hint of a curve starting in the top left corner and ending in the bottom right. Now you can give the graph a trendline. The trendline extrapolates an average curve from your unwieldy cloud of points, in a visible line. You may need to choose from several types of trendline. I prefer what my application calls the “power” type, which appears to produce the most realistic curve, leveling off dramatically as it approaches zero on each axis. The “exponential” and “logarithmic” types both trace the trendline right off the chart at each end, and there’s no way a large crate will ever take negative minutes to build. Nor will a small crate ever have negative dimensions. The “linear” type overrides the curve that I believe is there. The “moving average” type defeats our purpose entirely. The “polynomial” type creates a dip in the middle ground that doesn’t make sense to me. Even if I wanted to address the handling logistics of larger crates, this potential issue is completely unrelated to the polynomial equation.

As you can see above, there is less data from the faster builder, and the blue curve is barely visible. This makes the blue trendline less reliable in the extreme size ranges; particularly the smaller sizes. This problem can be addressed quickly by giving that crater a very small crate to build and a very large one. Getting just a few points plotted past the margins of that crating history will give the blue trendline a wider range of accurate predictions.

Step 2c. Once you have your trendline plotted, tell your graph to show the trendline’s equation (which is hidden by default). Each trendline is described by a math equation reflecting the moving average of your plotted data. The power trendline equation should look like this:

y = Ax^b

The values of x and y are still cubic feet & minutes per cubic foot respectively, as the chart suggests. The coefficients “A” and “b” come directly from the trendline, which in turn is a biased average of the data your chart illustrates.

Step 2d. Now here’s the nice part: Your trendline equation can be recuperated back into the spreadsheet for the purpose of estimating labor. Once you estimate the cubic footage of your prospective crate, you can simply multiply it by the trendline to get the most accurate possible labor estimate for any given crater. The spreadsheet function for this looks a little tricky, but here it is using the same variables, A & b, as my example of the trendline equation above:

=A*(x^(b))

So if your trendline shows the equation: y = 35.956x^-0.789

…the spreadsheet cell representing it should say: =35.956*(x^(-0.789)).

If your trendline shows the equation: y = 5.5678x^-0.2912

…the spreadsheet cell representing it should say: =5.5678*(x^(-0.2912)).

Note that to make either of these examples functional, x must refer to the cell that displays the crate’s estimated cubic feet. The current value of x must be folded into the trendline equation before it can return a relative unit of duration/volume adjusted by the crate’s size. While the trendline equation merely displays the coefficients A & b, the spreadsheet cell as typed above will return the actual value of y — as long as x points to the cell displaying the current value of x and the function begins with the equal sign. Once you have a spreadsheet cell representing the trendline linked to the variable cubic footage cell, all you need do is multiply the two cells. Keep in mind that this will result in minutes; so if you prefer estimated hours, just divide the result by 60.

So to mentally separate this step from the raw database illustrated above, let’s skip over (arbitrarily) to column H on our example spreadsheet.

The blue and orange numbers in this screenshot represent the faster and slower craters, like in the curve chart. The top number in each set is the cubic footage of the crate currently being estimated. This cell changes with every estimate, as it is the product of the crate’s length, width & height, divided by 1728 to convert from inches to feet. Let’s say for the sake of argument that the cell displaying orange cubic footage is in position H4 on the spreadsheet. The next cell down, H5, is the trendline equation for that crater, with the current cubic footage plugged into it. So in place of “x” in =A*(x^(b)), the function says H4. And in place of “A” and “b”, the function shows the actual trendline coefficients. In this case what I actually typed into cell H5 is: =70.254*(H4^(-0.656)). Refer to the orange trendline on the chart to see how I got A and b. This is a functional version of the trendline equation, responding automatically to the cubic footage displayed above it. If the cubic footage dropped, the result displayed in cell H5 would rise appropriately for the crater in question. The next cell down, H6, is the product of the first two cells, divided by 60 to convert from minutes to hours. This is the estimated hours it will likely take that crater to build that style of crate at that particular size.

Step 3. Update and fine-tune your logs. Some spikes may occur that throw the whole curve out of whack. They are usually in the negative direction – like when a crater made a big mistake and spent a lot of extra time correcting it. I toss the worst spikes. I would rather take the hit when random problems happen than let them affect every estimate. Such large spikes are very rare, and I’ve only eliminated about four crates from my whole database for that reason.

Packing estimates: Of course, packing a crate involves many more variables than building it, so you should keep building time and packing time separate in your database, charts and equations. I don’t even use packing curves myself. I use a flat time for each type of flatwork, sometimes adjusted a little for size, and estimate all dimensional items in my head.

There are many different ways you can approach the problem of labor in estimates, depending on how tight you want your estimates to be. Plotting curves is admittedly a bit anal, but quite easy to set up. And it only improves over time as you add more information.

-Chris Barber