For Los Angeles drivers tired of having their visual space indentured to ads for lap bands, beer, Vegas hotels and grinning automobiles, here, finally, is a breath of fresh paint – actual art on billboards. Thanks to the MAK Center for Art and Architecture , 21 newly commissioned works by established artists will go up at locations around Los Angeles. More info, maps, and images of many of the works are on the exhibition website at http://www.howmanybillboards.org

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

Like many small businesses, especially in these times, our margins are tight and it is difficult to make cash contributions to charities and other worthy cultural organizations. Happily, however, we are in a line of work – moving & storage — which enables us to provide in kind services to organizations at reduced rates or at no charge from time to time.

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

When we advertise for art handlers there are inevitably calls and emails in response saying essentially: “I’m not exactly sure what an art handler is or does, but I know I would be super good at it!” Well, you might — most art handlers are trained on the job and people from all sorts of backgrounds have succeeded in the role. But it isn’t an easy job and it takes the right blend of skills and personality to make the cut.

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

Many self storage facilities boast in their advertising and signage that they offer “climate controlled” storage. Chances are, they don’t. As they tilt towards full disclosure, this is amended  to “air conditioned” or “temperature controlled,” which is closer to the truth. For those needing to store sensitive or high value goods, understanding this terminology is crucial to selecting the appropriate storage venue.

At FINE ART SHIPPING, like many fine art handlers, we offer a mix of storage options including museum standard climate control.

In our case this means a facility:

 – heated and cooled as needed 24/7 to maintain a temperature range of 68-72 degrees Fahrenheit year round

–  relative humidity maintained between 45-55 percent year round

–  sufficient equipment to provide redundancy should a system experience failure

–  internet display monitored from on or offsite with snapshot printouts of readings as needed

–  filtering “clean air” technology to remove impurities from circulating air

When comparing rates among “climate controlled” services it is important to have the facility in question provide their climate specifications. They may or may not meet museum, or your, standards. An “air conditioned” facility may air condition to a point above or below the ideal for paintings.

Air conditioning, as delicious as it is, is for people; full climate control with monitored air balance is needed for correct storage of old master and other sensitive paintings and commodities.

Many  warehouses such as ourselves offering true climate controlled storage also provide  a range of companion services such as crating, inventory management, condition reporting,  viewing rooms, shipping, and insurance.  Asking for references is a good idea; if museums store at the facility you are considering it is likely the real deal.

Betsy Dorfman

FINE ART SHIPPING

    WHAT’S NEW?

In addition to our normal shuttle we are now offering a once monthly economy rate service between metro LA and metro SF.

This is the same museum quality climate service as our usual shuttle — no compromises there.

HOW CAN WE DO THIS?

 Our economy shuttle will serve primarily gallery districts and downtown areas of each city, skipping off routes and not stopping to accomplish installs or other on site services — it is essentially an “express”. Pickup and delivery sites will need to be flexible regarding timing and be ready when we come by.

Our usual shuttle is a “local” by comparison.  It makes all stops along the line, and goes to distant points as needed.  Custom in nature,  it honors time specific appointments, and will come back if you’re not ready on our first pass. Higher level of service = higher cost. 

 WHERE ?

See the maps below for areas served at the discounted rate *

*If you fall outside these areas we may be able to accommodate you however our usual (already competitive) rates will apply

PRICING – discount averages approximately 30%

EXPRESS SHUTTLE              REGULAR SHUTTLE          VOLUME

$ 125 minimum                  $ 175 minimum          15 cubic feet and below

$ 150                                       $ 205                               20 cubic feet

$ 185                                       $ 250                               30 cubic feet

$ 210                                       $ 288                               40 cubic feet

above 40 cubic feet call for pricing / all rates plus 12% fuel surcharge

Reflects rate for transport only, wrapping, insurance,  storage  or other services are additional

HOW TO BOOK or get a quote

Use the CLICK FOR ESTIMATE tab above and fill out the form. Be sure to indicate your interest in the economy EXPRESS shuttle

OR  call our shuttle coordinator, Robert Thomas:

email:           robert@fineartship.com

direct line:  310 807 9587

SCHEDULE:

Our inaugural EXPRESS !!

Picks up greater Los Angeles through March 17

Delivers SF bay area March 19-20

Returns for LA deliveries week of March 23

EXPRESS ZONE maps

A recent Washington Post article (http://www.washingtonpost.com/wp-dyn/content/article/2009/01/07/AR2009010702804.html?referrer=emailarticle) notes that the coat President Lincoln was wearing when shot by actor John Wilkes Booth has been deemed too delicate to be placed on public display at historic Ford’s theater. So the public will get to see a “replica”, aka a fake, instead. With or without ersatz presidential bloodstains. However for a few special occasions each year the embroidered coat will be brought out from storage and exposed to the, apparently highly damaging, gaze of the great unwashed.

On the surface this seems to make sense, given that textile experts have expressed concern over the deteriorating condition of the garment over time. I am not a textile expert but common sense suggests that it is in the nature of textiles to degrade. Hence, lint. But then comes this sentence: “But some textile conservators expressed concern, saying the coat was too old, too fragile and too famous for long-term display.” Really? In what way does being famous degrade an object? And even in storage the coat is still going to be old, and fragile, and valuable, these factors not being reversible.

There is just too much here in fact that does not make sense. First, current climate control technologies can protect all sort of objects from environmental insults, including light and atmospheric conditions. Museums do this all the time. In essence, the same conditions that will protect the item in storage can protect it while on public view. This has been done with rarities including, not far away, the U.S. Constitution which is on display at the National Archives in Washington DC. So the too delicate etc. argument is hooey.

Next comes the delicious part about bringing the bloodstained coat out of storage and putting it on display for special occasions such as the anniversary of Lincoln’s death. Again, really? Anyone in the fine art handling and shipping world, and all insurers of such commodities, can attest to the fact that objects are at increased risk each time they are moved and handled. Insurers correctly charge more to cover items in transit over items in stable storage. So in order to preserve the coat they are NOT going to house it in a permanent and stable display environment, they are going to pack and unpack it several times a year, schlep it to and fro from wherever and put it up on view for a day or a few days under conditions that are not going to be ideal.

The Theater is spending $50 million on a renovation which, when completed, will include a new gift shop but will not include a proper installation for climate controlled and secure display of arguably the single most historic artifact in their possession. And the one which, presumably, would draw the highest number of visitors to shop in the….you get the point.

For $50 million I suggest they take the whole theater apart and put it into storage for safekeeping. My company will be the first to offer space in our climate controlled warehouse to accommodate the pieces. Each piece will be numbered and the theater can be reassembled in the future when an enlightened public has reclaimed its history from the curators.

Betsy Dorfman

A well known science research institute selected this dramatic cover artwork for a recent special journal report on China. The sedate and aesthetic rendering of classical chinese characters perfectly set the tone desired by the prestigious Max Planck Institute. Except that, unfortunately, the researchers forgot to do their, well, research. As in, hiring a translator. Turns out this was not a poem or artistic composition but an advertisement.

Which is how the latest edition of this well regarded a scientific journal was published with a cover extolling the services of stripping housewives in a brothel! The poetic looking artwork was in fact a flyer offering “hot houswives in action”, put out (pun intended) by a Macau strip club. Follow the link below for further details.

Leaving aside what your artwork “means,” you now have to be concerned with what it says, especially with so much modern art incorporating symbols, words, icons, and elements from disparate cultures. It probably won’t be long before art services companies such as ourselves offer translation and “embarrassment risk management” services together with our usual roster of packing, crating, storage and shipping services.

Betsy Dorfman

Click here for the full article from The Independent.