Seeing is believing
Like a barcode, the Rfid is a machine readable tag that, in concert with a database, identifies a specific object. Unlike a barcode, the Rfid reader does not require direct line of sight to the label or tag. The transponder tag emits a radio signal that is picked up by the reader and instantly identifies the item as present or “seen.” The beauty of this is that multiple items within a crate, bin, or on a shelf, or even in a truck, can be scanned at once, without moving them around to expose the tag. There are some limitations — metal may block the transmission, and there are limits to the “reach” of the signal –but for the majority of daily inventory tasks an art handler performs the system is ideal.

What, where, how
In a working warehouse knowing what is where and finding it quickly is critical. Every art handler has experienced the frustration of counting and recounting inventories, and unpacking packed crates to re-verify contents, not to mention the “all hands on deck” call to find an item temporarily mislaid. Eliminating this wasted time and effort directly feeds the bottom line. Items coming or going from storage can be scanned in using either a handheld device or put through a “portal” which reads the tags as the artworks are carried by. Because the tags are discrete, there is no confusing one Hockney or similar size with another, or transposing an inventory number when a an art handler is reading from paper labels. And no physical moving of objects to read paper labels on the far side or uncover a barcode. The system will also question any duplicates and, if an expected inventory is uploaded into the system ahead of the shipment’s arrival, will compare what is actually received to what was expected and display any extra or missing items.

Is that crate really empty?
Was any art left in the truck?
How many pieces are in that bin?
Did we deliver at stop 2 everything we picked up at stop 1, as requested?
Did we “pull” all 83 items accurately from the client’s storage?
What’s the package count for this shipment?

These are the types of everyday issues that the Rfid system addresses, and solves.

Where’s my stuff?
The other major benefit is the inventory management system it enables: we call ours SMI (storage maintenance inventory) for short. Using portable computers in the warehouse and in the field, each RFID tag is read and then related information identifying that item – artist, title, art dims, package dims, client name, job number, date in or out, warehouse location, and, yes even photos — is keyed into the database and saved. The database is accessible from any computer, which means our customer service reps and our warehouse crew can access inventories instantly to answer questions, locate items, or process delivery requests.

Show me the money
Billing is also streamlined, as SMI shows volume on hand in real time and does all the computing of cubic and square feet occupied by any inventory. It can further compute the storage charges for a given month, assuming a rate per CF or SF is entered for that client. The time saved by this application alone would likely pay for the system. Storage is the backbone of most art handling operations; having the billing done quickly and accurately is money in the bank.

Send in the clouds
Storing the SMI system data “in the clouds”, i.e. on a third party maintained internet-based bulk server, offers striking cost and efficiency benefits. First and foremost, we access our data in real time from virtually any computer anywhere, with security, backup solutions, and privacy issues all managed by the host. Information entered into a remote computer on a jobsite or secondary warehouse can be seen virtually in real time back at the office by a manager or client representative who can provide feedback as needed. And soon we’ll be offering clients the ability to log in under a private ID and view their storage or exhibition inventories online at their convenience.

And the future goes to….
Building and managing inventories using barcodes was a major advance over paper only labeling and manual input inventory systems. Rfid technology builds on that model and is a tested technology. Aside from use by major “big box” retailers, Rfids are already implanted in numerous products and medical devices. The basic technology is poised to take off with prices sure to drop for equipment and supplies as usage increases. Always a technology leader, FINE ART SHIPPING is pleased to offer the benefits of Rfid inventory management to our clients, not because it is the latest thing, but because it is the latest, and now affordable, best thing.

Betsy Dorfman

In the next few posts we’ll take a look at art handlers and art handling; the more the public understands what we do and why and how, the better. And perhaps there are some future art handling superstars out there in cyberville waiting to be discovered!

So, for starters, what is an art handler?

An art handler typically works for an art services, transportation, or storage company and performs some or all of the following tasks:

• Drives a truck, either locally or long distance between cities
• Picks up and delivers a variety of artworks including paintings, sculptures, and mixed media works of all descriptions
• Inspects artworks to determine how, where, when, or if to touch them and how to pack for transport
• Understands how to properly wrap, load, span, tie in artworks within a truck to keep then safe and stable during transport
• Selects proper archival and other packing materials depending upon the medium, surfaces, condition and fragility of the works in question
• Packs and crates artworks of all descriptions
• Interacts positively with a typically educated, professional, and often opinionated customer base in the field
• Installs artworks professionally in settings ranging from corporate to residential, including selection of proper hardware and exercise of aesthetic judgment as needed
• Prepares condition reports and photographs artworks as needed
• Completes critical paperwork such as inventories and bills of lading with accuracy and attention to detail
• Has the “people” skills and situational awareness to work with a partner or larger crew in a seamless way, taking leadership and direction as needed to complete the task at hand
• Is familiar with basic art terminology and art history

Not all art handlers necessarily need to drive trucks, crate, or install artworks; in larger companies there are departments and an art handler may never be required to drive a large truck, make a crate or softpack paintings. But the wider the applicant’s skill set the more valuable he or she is potentially to any employer.

It should be noted that art handling in a for profit competitive business like art transportation is quite different from the job of a preparator or art handler in a museum or gallery setting. There is a tremendous emphasis on dealing with the public and many services of necessity are are performed with third parties looking on. Ever put a $5 million dollar painting into a crate with a room full of museum staffers looking on? Or install a painting on a 20 foot white wall in a living room overlooking the ocean with the owners of the artwork, gallery representative, art consultant, and artist all offering input and suggestions?

It takes a certain personality and sense of forward motion to get the job done both safely for the artworks and expeditiously enough to keep the company in business. Time counts, and the extra caution slow motion rules which are standard operating procedure in some institutional committee cultures simply don’t apply. Many otherwise talented art handlers can’t make the shift to the “for profit” culture or are fine working alone in a shop but not comfortable out in the field with onlookers checking their watches, asking questions, and sometimes second guessing methods and materials. Whatever their other qualifications, art handlers who are loners, can’t do paperwork, or who fail to develop a good “art side” manner with customers don’t last long.

Betsy Dorfman

I should be clear that we are not looking to sell our services to these establishments. Most hotels and conference centers buy art in bulk and install in bulk, an entire floor or even the entire hotel at once. The vendors who do this type of installation typically do so under contract and frankly at a rate per piece which is below what we charge to install fine art. There are of course exceptions including boutique hotels, corporations, and law offices etc. who purchase and display truly fine art, and hire us to install it. But large hotel chains, not so much.  Nor does  our crew of installers with master’s degrees in art, some of whom teach at the college level, want to go to a hotel for four weeks and install lithographs of tulips and swans. Maybe in Hawaii. But even there, probably not. It’s a different culture and the demands of the workplace and the knowledge required in each case, as similar as they seem (putting up art) are actually quite different. But I digress.

So we have seen a lot of approaches to installing art in public places, some brilliant, some silly, most standard and unremarkable. But recently we ran into something entirely new: we entered our room and immediately saw that every painting was screwed to the wall with four or more shiny metal screws put right through the frames — and not tiny screws either. In some cases these were gilt frames. Expensive or not, most likely not, it was still jarring  and made us wonder if this hotel, a nice one, had for some reason a major problem with theft of southwestern themed amateur art. Or fear of earthquake perhaps? Something must have possessed them to go to this extreme of ruining the frames, not to mention the aesthetic senses of the onlooker, in favor of securing the art.   

Having explained our interest to the owner (this was a small hotel) he said, first, that we were the only guests ever to inquire — figures! And second, that theft was not the issue, or earthquake, but crookedness in another sense. The pictures, originally hung on wire, were always getting knocked off of kilter, and he was tired of paying staff and taking his own time to straighten them. Times ten artworks per room times however many rooms — adds up. So having had enough at some point, they simply nailed and/or screwed all the paintings to the walls, end of problem, done.  

Needless to say there are there are a number of less drastic possible solutions,  although perhaps none cheaper, which don’t ruin the frames and allow for removal or repositioning  with less trauma to plaster or drywall. We will discuss some of these approaches such as security mounts in an upcoming blog post. We certainly sympathize with the need for alignment — the world is pretty much divided into two groups, those who can’t be in a room with an askew painting without breaking into hives, or straightening the painting properly, and those who are fine with it or don’t notice. For the former, like the hotel owner, and who also clearly owns the building and so won’t catch hell from the landlord, this was an immediate and inexpensive fix which only disturbed, apparently, us. Those screws ! Right into the wood frames!  Pretty big screws ! After a couple of glasses of white wine out by the pool we managed to overcome our professional horror and enjoyed our stay. We slept without fear of anything coming down on us in an earthquake, except perhaps the walls themselves with those paintings of ponies and pink mesas everlastingly attached….

Betsy Dorfman