Colleagues,

I'm now signed back on to the list, and as promised, here are the comments
sent directly to me on the topic of my original query.  I hope these
responses will generate a bit of further discussion....  They have been
edited a wee bit, and, due to the length of this posting, I have omitted
the star wars tactics and the small vials of eboli virus (my apologies to
all you very clever folks out there).  Thank you all.

1) ....from a visitor's point of view. (and not a critical comment.)  I
used to live in Texas, and the Kimbell Art Museum has to have the most
sensitive security system in the world (either that or guards with esp).
From my own experience, if you got too close to a painting (say, within 1
ft. of the wall), a museum guard would suddenly materialize next to you.
Now, I should say that I was a museum curator, so I know better than to get
to close or to touch anything, so this Kimbell Super-Guard or whatever
impressed me. I've heard that it's all electronic, that a sensor sends a
signal to some central computer which in turn I guess alerts the guard. But
that's just a rumor. Anyway, I thought I would pass on the info. Good luck
in your search (just promise _not_ to put stantions, floor rails, or any
kind of physical barrier that will also become a visual barrier to enjoying
the art.
Maria Munoz-Blanco
Visual Arts Program Coordinator
North Carolina Arts Council

2) One of the "friendliest" suggestions I have
heard from other museum colleagues is to place large potted plants near
particularly vulnerable pieces.  Greenery softens the look of the whole
gallery.  (But what about bugs?  What about light?  Who waters them? etc.)
Right now we're continuing to use our guards to quietly alert people when
their hands get too close.
Anne Fuhrman Douglas
Registrar
Ackland Art Museum

3) PHYSICAL:  Cabinets and other furniture (this was historical furniture,
but in a modern gallery, it could be modern furniture).  The cupboards
can be used to store the chairs, clip-boards, paper etc that are
used by schools and other groups). Not traditional staunchions, but a
barrier of posts and rails of interestingly textured and wrought metal (I
can send you a pcx file
photo of such a barrier).

PSYCHOLOGICAL:  A different floor covering, or a different colour floor
covering
for the part of the floor by the walls.  Somewhere, I've forgotten
where, an archaeologial site, I think, has a textured concrete walk-way,
with a metre of gravel before the exhibits.  Not only does this give the
public the idea that walking up to the objects isn't a good idea, but
the 'crunch' alerts warding staff.
Patricia Reynolds
Keeper of Social History, Buckinghamshire County Museum

4) A raised platform about 20-24" deep and maybe only 3-4" high can
work well, it runs along the walls, is painted to match, people tend to
stay off if it's painted wall color rather than if it looks floor-like.
   We've also used floor railings about 6-7" high: like 1x6's on edge
or at a 45 degree angle runnng along parallel to the wall & about 20"
out.  These may be "trippers" though... another concern.  They look like
this: (sort of):                                          |
                                                                | <--wall
floor:__________________/_________|

   Stephen B. Ringle, Registrar
   University of Maine Museum of Art

5) The Philadelphia Museum of Art uses small metal bars about 1' off the
floor. As I recall they are square in cross-section and painted a light
color. I would guess they are maybe 3-4' out from the wall, with a return
that anchors them into the wall and uprights at the corners. They are not
obtrusive but noticeable enough that you don't trip over them. They seem
pretty effective unless the person is really determined to hop over them.
Ivy Fleck Strickler
Drexel University
Nesbitt College of Design Arts

6) I once saw what seemed to me to be an elegant and inobstrusive
resolution to this problem--I <<think>> it was at the Baltimore Museum of
Art.  They had slanting wedges painted white to match the walls, and
pushed up against the walls.  They were low, but pitched at a steep
enough angle to make it immediately awkward for anyone to try to stand on
them. I hope you can picture this from my description. Whether they stayed
clean or ultimately served their purpose of
keeping everyone back I don't know.  You might give them a call and ask.
If my memory's correct it was in the Cone Collection area of the museum.
Helen Glazer
Exhibitions Director, Goucher College

7) I spent many years up the street at the Cooper-Hewitt where things were
easier.   We just covered the artifacts with "Please do not touch" signs.
Well, it worked sometimes...
Robin Parkinson
Head of Design
Museum of New Zealand Te Papa Tongarewa

8) At the National Gallery of Canada we use a variety of different methods,
depending on the work of art in question.  In some cases, a band of 2"
wide tape adhered to the floor at a suitable distance from the work of
art creates a psychological barrier that is quite effective.  In other
cases we have designed and built floor-mounted barriers - usually about 1
foot in height only - which are quite tasteful and non-intrusive in
relation to the work of art.  I could send you a photograph of one of
these if you are interested.  I personally loathe the electronic alarm
beams that seem to sound constantly in the institutions where they are
used.  I think we have only
one of those installed, at the front edge of the Segal "Gas Station"
installation to keep people from walking on the black floor surface which
is an integral part of the work.

Greg Spurgeon

End.
Any comments?