No Touching! except this guy; A conversation with an Art Preparator

A Sarasota based expert installer of fine art for numerous private clients, galleries, and museums including Ringling College’s Selby Gallery, and the Tampa Museum of Art. Sarasota Visual Art sits down with Lykoudis to introduce you to the person that IS allowed to touch the artwork!

by Tim Jaeger

A good gallery is like a four star restaurant, the art being installed is like a flawless menu, and the curator acts as the chef, bringing his vision to life with the aid of essential collaborators. In this instance, the collaborator is Dimitri Lykoudis, a Sarasota based expert installer of fine art for numerous private clients, galleries, and museums including Ringling College’s Selby Gallery, Ringling Museum of Art, and the Tampa Museum of Art. Step by step, one wall after another, unpacking crates, arranging art, and hanging work, Lykoudis is one of the unsung heros in the life of every museum whether or not you realize it. Sarasota Visual Art had the privilege to sit down with Lykoudis and below are excerpts from that interview:

So what is a preparator? Is it a separate job than an installer?

I would say his job encompasses more than just installing. The preparator’s work starts far in advance of installation day, and ends when the work is back in storage, or shipped out to where it came from. He/she closely collaborates with the curator to produce the best possible result, and as such translates, in a way, the idea surrounding the exhibition into physical reality.

What are the responsibilities involved in your job?

In a nutshell, preparing an art exhibition for display. Here is the breakdown:

It starts with a discussion regarding the needs of the upcoming exhibition with the curator. Depending on the specific show, I may design display solutions according to their budget and construct them in advance, or purchase specialized hardware or devices.

Then the space needs to be prepared for installation. This may include painting the walls a different color or making wall repairs as needed, constructing temporary walls, or positioning rolling walls. Having perfect walls is essential, as it’s usually the backdrop for the art, and has to be as neutral as possible so it does not detract from the work. This stage also includes making sure any existing display devices (like pedestals for example) are in good condition.

After that comes the receiving of the artwork, unpacking/uncrating, checking the condition, and making condition reports together with the registrar as needed. There is a lot of responsibility involved there, as artwork is (usually) insured, and any damage has to be reported and thoroughly documented to determine liability.

When the day for the installation comes, the curator or exhibition designer lays out the position of the artwork in the space, according to his curatorial vision, and I work together with him/her to determine correct spacing measurements to achieve the best aesthetic result. Then of course is the actual installation of the artwork, involving hanging, positioning three-dimensional works on pedestals (or freestanding works), setting-up video displays, and/or working together with the artist on special exhibits like room-size installations.

Next comes lighting. Of extreme importance, it can make or break a show, in my opinion. The preparator needs to know the correct amount of light needed for the work to be displayed to its best effect. Too much light and you lose color and tone, too little and you lose detail. Also the direction of light, shading, light temperature and other aspects come into play here.

Then there are numerous details the preparator has to take care of. Any labels describing the artwork need to be installed next to the work, vinyl lettering may be pasted onto the walls and so on.

Lastly, after the end of the exhibition, the works need to be checked again, and a new condition report made before they’re safely packed for shipping, and the space is prepared for the next show.

So basically if anyone is touching the work, it’s you?

That is correct. And it’s important to know how to handle it. You have to do it in a safe way, so there is no damage to the work either in terms of breakage, or, from an archival standpoint, chemical degradation due to contact with our skin oils which are acidic. This means wearing gloves while handling the work, and generally making sure that the way you carry and place art, and negotiate space while around the art is done safely.

In your opinion, what are some of your favorite works you have “touched” or handled and why?

I’ve handled so many great works in my career that I can’t honestly decide! But having a piece of art history in your hands, works that you find in art books, that define the high points of humanity’s achievement on this planet, is a very special feeling and a great responsibility.

How did you get started in this business?

I’m an artist myself, a sculptor and painter, so I’ve always preferred having a job that is in contact with the art world. I was out of work in New York, after having worked in sculpture studios for a while, when my wife suggested pursuing that line of work. I did and got hired by Anina Nosei, the gallerist who gave Jean Michel Basquiat his studio, and represented him at the beginning of his career. What a trip! Coming from a place where such names are far distant and un-approachable, you can imagine how it felt!

What kind of background do you have for this job?

I think an artist background is essential, and that’s why almost everyone in this line of work comes from there. You need the knowledge of how a piece of artwork is constructed, in order to appreciate and handle it the proper way, and to make aesthetic decisions when it comes to lighting, spacing, designing display devices etc., and generally having a “feel” of how a piece or a show should be displayed.

Also being a sculptor has helped me tremendously, from woodworking and other fabrication skills, to knowing how to move or pack heavy or delicate pieces of art.

What should someone considering this kind of work know about the job?

That you will be a contributing factor to the cultural output in your region. You help educate the public and are a positive / constructive force. Be excited about it!

You were born in Greece, and lived in New York City for awhile. What brought you to Sarasota?

My wife and I decided to take a break from our high pressure gallery jobs there, and when her mother had an accident and needed care we relocated to Siesta Key. My wife had lived here before and has a lot of friends and connections in the area, so the transition was relatively easy.

You will be hanging the upcoming To See as Artists See: American Art from the Phillips Collection which includes a Hopper, Pollock, and O’Keeffe. What parts of this exhibition are you looking forward to?

The upcoming show at the Tampa Museum is really exciting to me. I’m most looking forward to the part where you get to see the works up close, and (hopefully) see what the artists who defined American art were doing.

What is the most exciting thing you get to do?

Apart from handling historical artwork, I like participating in the big art fairs. I see all the latest contemporary output, get to meet and talk to some very interesting people, and get paid on top of it! It IS a lot of work though.

What is the most expensive or best piece of art you have ever handled?

I might be forgetting something here but I think it must have been some of the George Grosz paintings we showed at David Nolan. Just a few million each… Wait! There was also that enormous Basquiat at Nosei…

What is the most interesting aspect of your line of work?

I like it a lot when I have to get creative about designing a display solution for a piece or group of pieces, to think out of the box, as they say. A lot of times you have to do it at the last minute, as sometimes pieces are added or some aspect of the show might change unexpectedly, and I get a lot of satisfaction when I pull it off.

Don’t Try to Understand an Artist by Pamela Beck

Consider Jackson Pollock’s approach to defining artists and their art: “Every good painter paints what he is.”

by Pamela Beck

I went with a friend to a local gallery where one of the featured artists was present. My friend liked a drawing and asked the artist: “What was your inspiration while you drew this?”

“I was in the zone,” the artist replied. “But I think a lot about John Coltrane and Jean-Michel Basquiat.”

My friend felt confused. Unfortunately, he wanted the artist to make sense; Do you, too, labor under the illusion that artists can explain the precise source of their “inspiration?” Then you also must think people know what you’re talking about when you describe your nighttime dreams.

We often hear artists discuss their work. But the reasons for the compulsion to make it, where that comes from and what will result, are as mysterious to artists, as the origins of our dreams are to ourselves (although both come from the same fertile place.)

Jean-Michel Basquiat
Jean-Michel Basquiat, In Italian, 1983. Acrylic, oil paintstick, and marker on canvas mounted on wood supports, two panels. The Stephanie and Peter Brant Foundation, Greenwich, Connecticut

Here’s what some artists have to say on the subject:

Jean-Michel Basquiat: I start a picture and I finish it. I don’t think about art while I work. I try to think about life.

Helen Frankenthaler: There is “no formula. There are no rules. Let the picture lead you where it must go.”

Henri Matisse: I do not literally paint that table, but the emotion it produces upon me.

John Chamberlain (from an interview with Joan Altabe): All who don’t do something peculiar to their own insanity fall on their face. I feel I have an attitude and it’s being explored. The more places I can put that attitude, the more places it comes out. It’s my insanity that I’m letting out.

I dare you to describe that “insanity.” Then I double dare you to stop trying. After all, there’s a simpler way to understand artists, their work and “the zone.” Consider Jackson Pollock’s approach to defining artists and their art: “Every good painter paints what he is.”

For more information on Pamela, visit

Featured Artist: Gale Fulton Ross

My only challenge is what do I want to paint on what day. I paint because I am free to do so; not to become famous. I am grateful for this blessing; I have the ability to make marks that people want.

Gale Fulton Ross
Red Tide

My father was my biggest influence. He was my champion. He is dead now, but never far from my mind. I am an artist because he could not be the artist he wanted to be. I took over the job!

My role as the oldest child helped me accept the fact that I am responsible for my own life, but also know that the choices I make in my life affect my family. I have a strong work ethic, I try hard to be a good daughter; a good sister; however, I can be fiercely independent which is sometimes difficult for the people who love me to accept. When I am into my work they feel abandoned by me because I am seriously intent and focused. When I am not working that focus is on them; I think maybe they feel pushed and pulled. I need my family. I need my work.

I began painting when I was six or seven years old. My father affirmed me as an artist when he referred to me as his “Baby Artist.” My formal education was in the study of museums and art history. I taught myself how to paint… the Universe gave me a gift that I never wanted to squander.

Gale Fulton Ross
Snake and Frog

I began the process of studying with other Artists while I was in high school in Medford, Massachusetts. A friend’s cousin had been discharged from the military with a disability. He chose to go to art school to become a graphic designer. I liked him, perhaps a bit of a crush… anyway, he was older and took an interest in his natural ability to draw. His name is Melvin Johnson. Melvin taught me what he learned while still attending art school, so I was going to school with him in a sense. I was the beneficiary of an education in the discipline of pattern, line, form and color before I even knew what it was I wanted to paint.

Many, many years later I met my second biggest influence in an artist named Cleveland Bellow. I moved to Oakland, California with my former husband and son. While there I decided to open a small portrait studio and gallery. I sat in the window street level so that people passing by could stop and watch me draw. Cleveland was passing and decided to come in to say hello and he was working on a series of nudes that he wanted me to see. As an artist, he was extremely technical. He knew all the tricks and illusion required for fine art drawing of the face and figure. He would come in every day and show me a little this, and a little that. His words still ring in my ears when I am working on the eyes in a portrait. “Make them see you,” he would say… “see them so they will follow you around the room. If you see the Spirit in your subject’s eyes, they will return the favor.” He truly believed the eyes were the path to a person’s soul.

Cleveland passed away a couple of years ago and I miss him very much. As artists we had a great respect for each others differences as it related to our work. While living and working in Oakland, Cleve and I collaborated on several paintings that went to exhibition. We worked very well together. In the early years our collaboration included a series of socially conscious billboards in Louisiana. We were a team for about 15 years. And friends for over 35.

Gale Fulton Ross
Mouth of the Basin

Currently, my work is abstract. However, I am still in love with the face and figure. I speak in two art languages. My figures are stronger because I have been doing them a lot longer and I am known for emotional expression. I find comfort in going back and forth between the two art genre’s. Abstraction is freeing. I can loose myself in form, color and paint. My work is organic and fluid. I feel like I’m spreading wings and can take flight. On the other hand, when working on the face or figure, I go deep within myself to connect to my mood. My feelings are what drives a figurative piece of work. I speak to an audience through this body of work. I use my feminine state of mind to make a soul-to-soul connection. The lightness or heaviness of my heart, soul, body and mind determine who I am going to paint and what I want my subject to say via composition and pose.

I have yet to do any work that has successfully communicated my intentions. I continue to paint; once I am gone… it is up to the scholars and the critics to debate my intentions. That is if they are even interested in doing so. At present I am just involved in doing the work. I see art as my job. My job is to honor my father, my son, my mother, my siblings, my audience. My audience is varied; family, friends, buyers, collectors, and critics. I do not try to paint for one audience and I cannot please everyone; so in the end I paint for myself. Let the chips fall where they may.

Gale Fulton Ross
Kicking Warhols A on Behalf of Basquiat

Women artists ARE moving forward. I still believe it is marginal, but I am glad to see more And more women being appreciated in not only the art world, but, the art market as well. That being said, I still believe the Canons of the industry are powerful men. Mostly, powerful premier dealers and their billionaire, multi-millionaire collectors. Artists today are famous if the pockets of their collectors are deep and if their dealer is deep in the pocket that holds true wealth.

Women artist of color have little more than a ‘snowball’s chance in hell’ of making it to the level of a Rauchenberg, Picasso, Pollock, DeKooning, Hirst, Judd, Kahlo, et al. Just to name a few. And now that the trend in art is moving toward the Chinese, even American Artist are slipping in the Art Market in terms of value.

Very few Black Artists are taken seriously. I believe it is because White America does not understand that we are not monolithic; we have evolved out of ‘Steppin’ Fetchit; Amos and Andy; Mammy ; Bojangle; Uncle Tom or Aunt Jemima. Because we are not allowed our individualism, or our maturation, so to speak, some of my Black colleagues continue to promote the disparaging figures of the past or figures that they believe can only be appreciated by White America. Jazz figures for instance, along with old men and ladies in the South, with corn-cobb pipes sitting in rocking chairs and stoops; or Church folks and Gospel Choirs. Please do not get me wrong there is nothing wrong in painting your culture. I have done it and in some ways continue to do it because IT IS MY CULTURE, as all artist do, I paint what I know and feel.

It is WHEN I CHANGE and begin to work in the abstract, White Art America gets frustrated and wants me back in my place. They certainly do not want to see or hear the pain of my oppression unless I demonstrate my duplicity by mimicking the bad behavior of the oppressive. It feels to me something like this… when a man beats his wife and then apologizes but says, “you made me do it… if you would only do as I said I would not have to hurt you like this.” Well, I feel, White America wants to observe me only in that place where they believe my art should reside. Anything else is only going to be given marginal lip-service. I am punished with invisibility. Other ethnic groups are allowed to preserve their oppression as a reminder to us all that their horrific crisis should not be allowed to be repeated. Of course they are correct, it should not, yet, the Black American Artist continues to live in a new intellectual kind of oppression that in all its racist maneuvers and propaganda is designed to keeps us… in our place.

As Visual Artist it is hard to create anything new if you are pigeon-holed and invisible. Jean Michel-Basquiat, because of his connection to Warhol, is the only artist of color to have his work sell at auction for millions. By the way, the truth of the matter is unless most artist’s work goes through auction at five hundred thousand or more, artist cannot reach the success of a Blue-Chip- Artist no matter what your race or gender. It is about promotion, not talent. However, in my opinion, a White artist still has a better chance than a Black one of making it to that coveted place. I got over this obstacle a long time ago.

My only challenge is what do I want to paint on what day. I paint because I am free to do so; not to become famous. I am grateful for this blessing; I have the ability to make marks that people want to buy.

Gale Fulton Ross
Rolling See

I admire too many artist to name them in this interview. There are thousands of artists pouring out of art schools around this country every day. I travel, I visit galleries, and museums wherever I go. I am always looking for something that appeals to my senses. I find art by both young women and men, old and young, Black, White, Hispanic and Chinese as well as Native American, that moves or influences my personal style.

I am a visual artist therefore I like mixed-media because it allows me to be more than a painter; I can sculpt. I can create Public Art, I can do the portrait, I can manipulate found objects. In each case I use materials that I find appealing and will work with my artistic process.

In l990 I was brought into Sarasota by a dealer named Carl Bartholomew. Carl owned the Anita L. Pickren Gallery on Palm Avenue. He was friends with my N.Y. dealer and liked my large canvases featuring headless nudes, among other subjects. He gave me an exhibit with much fan-fare during Black History Month. One long walk on Siesta Key Beach and I was hooked. I fell in love with the Spiritual qualities of Sarasota. Twenty–two years later… I am still here.

For more information on Gale Fulton Ross, visit her website