PP8110 Cataloguing and Registration Methods Photographic Preservation and Collections Management Alison Skyrme Week 7, 2014 Ryerson University

Lecture Tuesday, Nov. 25th Ann Ludbrook, Copyright Librarian Availability for alternative class before 5:00 pm Copyright

Exhibitions and Loans Purpose Timelines Liability Insurance Policies Agreements Couriering Packaging Shipping Overview

Exhibitions What is the purpose of the exhibitions? How does the exhibitions team fit into the institution? How is the work distributed? Smithsonian survey of Institutions and Exhibitions

Exhibitions What is the purpose of the exhibitions? Mission statement identification, display & interpretation of collections May also include specific exhibitions statements Most institutions have a 5-10 year exhibition plans Can include specifications for loans and travelling exhibitions Smithsonian survey of Institutions and Exhibitions

Exhibitions How does the exhibitions team fit into the institution? Different organizational structures based on size, type, legacy etc. Ultimate responsibility resides with the Director Depending on the size of the institution, exhibition departments may report to the director, discipline department head or be part of a larger public programs dept. Content falls to curatorial staff, other units are involved peripheral services Smithsonian survey of Institutions and Exhibitions

Exhibitions Where do the ideas come from? Curatorial interest Public interest Travelling exhibitions programs Outside curators Considerations Large, expensive exhibitions must have a wide reach Smaller exhibitions can have a more specific audience Smithsonian survey of Institutions and Exhibitions

Exhibitions How is the work distributed? Teams with content specialists as project managers Where many exhibitions are developed at once, scheduling will affect staffing Project management is always important Smithsonian survey of Institutions and Exhibitions

Exhibitions & Loans Travelling exhibitions: Travelling temporary exhibitions can help defray costs Offer the opportunity to collaborate with other institutions Fill gaps in the exhibition schedule They can also provide access to the museums collections Incoming loans are often necessary: Fill gaps in exhibitions/collections Intro

Exhibitions timelines Timeline created by the organizing institution or borrowing institution to outline what needs to be done, by when, by whom (institution-wide document) Outlines meetings, deadlines, deliverables, offices of responsibility Each department outlines the time needed to complete each step Project manager or exhibitions coordinator oversees Organization of many departments within the institution

Exhibition timeline Concept development phase Developmental phase Estimating costs Funding Budgeting Timeline establishment Task assignment Design development Exhibition/Loan paperwork PR/Marketing Exhibition prep work/fabrication Installation Post opening activities De-installation Loan return items

Exhibition Timelines

National Portrait Gallery Smithsonian, Timeline case studies

Exhibition Timelines Trello: https://trello.com/https://trello.com/ Google Aps - Free Google Aps Gantt Project Free Gantt Project Microsoft Project Use to create more detailed schedules Microsoft Project Solutions and Aids

Loans Liability: legal obligations that arise during the course of business (as a result of contracts or agreements) Under common law, loans create bailment : the loaning institution is the bailor & the borrowing institution is the bailee This creates various forms of liability for the bailor or bailee Legal, loan agreements that spell out the responsibilities of each party should be in place before the loan objects arrive Liability

Loans Long-term loans or trust loans Items loaned to an institution for an indefinite period of time Advantage to the collector: display of the work in a museums improves provenance, owner is relived of the care, storage & insurance for loan Fixed term or temporary loans: Loans for temporary exhibitions May be travelling or in-house (often both) Deposits Works in the institution for identification, authentication, on approval for purchase or gift Outgoing loans Loaned to another institution Types of loans

Loans A long term loan policy is necessary Ideally, loans should all state a duration but exceptions are sometimes made Many institutions do not accept loans over 5 years (results in regular evaluation of long term loans (and renewal if desired) This allows the institution to remain in contact with the donor Its not always in the institutions best interest to care for objects that it does not own Permanent loan might be a potential donation this can be problematic: Cost Changes in ownership Long term & permanent loans

Loans Does it adhere to the collections mandate? Would it be something that would be approved for accession if possible? Can an equivalent be obtained in another way? Does the institution have the resources (money, staff hours, space) to care for the object(s) What is the condition of the object(s)? Is preservation/conservation work needed? Who will pay? Are there any restrictions on the use of the loan? Who will insure the object(s) Can the loan be reviewed at any time? Questions to ask before accepting long term loans

Loans Motivation of the loaner can be similar to that of long term loans (particularly collectors can help the provenance) A loan agreement is necessary including Conditions/General Provisions This (or another agreement) should include: Condition reporting Publicity, reproductions, advertising, catalogues, clippings Credits Copyright Packing or handling instructions Fixed term loans

Loans As discussed in the Acquisitions lectures, a receipt or Temporary Custody Agreement should be filled out Receipt of unsolicited works Legal liability for loss and damage should be limited (in the conditions of the agreement) Preliminary condition report should be done to protect the institution Deposits

Loans Who will your institution loan to? What are the care requirements? Any restrictions to be placed on loans? Are there objects that are restricted from being loaned? What is the condition of the object? What is the value of the object What are the conditions it will be exhibited in? Shipping conditions? Couriers? Insurance? How long will it be loaned? Travelling exhibitions? Will it be needed at home during that time? Any issues with copyright? Title? Credit line? There can be a problem with Loans forms: institutions will both have their own they prefer: some negotiation will be necessary. Outgoing Loans - considerations

Loans Approvals of loans: the office of approval should be clear as accepting loans causes liability exposure (can vary depending on the value of the loaned object(s) Policies should outline the purposes for which loans can be accepted Offering long term storage to potential donors can be seen as ethically questionable Any incoming loans should adhere to all ethical policies of collecting Any outgoing loans should adhere to all collections policies Policies

Loans & Exhibitions Official title of the exhibition Dates of the exhibition Rental fee Payment schedule Cancellation policy Insurance requirements Agreements and Contracts Signature blocks Publicity images/stipulations Transportation requirements/costs/arr angements Catalogues/brochures/ installation instructions/lectures

Loans & Exhibitions Includes name or borrower/loaning institution, Specific handling instructions should be laid out Rules on photography of the work Credit lines Who had the authority to do conservation treatments When/how condition reports should be done Procedure for loss or damage of objects on loan Accessibility issues (adherence to required standards like ADA or AODA) Agreements and Contracts

Loans & Exhibitions Couriers Cancellations of loans (often kept with either party with reimbursement) Costs and payment details Packing and transportation specifics Handling and use (can objects be removed from the exhibition?) Security, monitoring Duration of the loan, timing of shipments Details about sponsorship Agreements and Contracts

Loans & Exhibitions The methods and standards for handling loans should be in the institutional policies and procedures of both the Lender and the Borrower. The Loan document should clearly define roles and responsibilities of all parties. David Dean, Exhibition Planning. 2012. Agreements and Contracts

Loans and Exhibitions A provision in a contract under which one party (or both parties) commits to compensate the other for harm or loss arising our of the contract (often from a third party). May include a HOLD HARMLESS clause: where one of both parties agrees not to hold the other party responsible for any loss, damage or legal liability. This indemnifies (protects against loss or damage) either one party or both EX: [Party A] agrees to indemnify and hold harmless [Party B] of and from any and all claims, demands, losses, causes of action, damage, lawsuits, judgments, including attorneys' fees and costs, but only to the extent caused by, arising out of, or relating to the contract. Contracts indemnity clauses

Loans and Exhibitions Done at a provincial level : in Ontario Application for Determination under the Foreign Cultural Objects Immunity From Seizure Act (FCOISA) During loans, institutions may be asked to ensure borrowed objects are not seized by court order or others claiming to own the works. Can only be approved if the borrowed objects: Are for temporary exhibition Exhibition is of interest to the people of ontario Must be approved by the Minister of culture Must be published in the Ontario Gazette Immunity from Seizure

Loans and Exhibitions Institution must be in operation for a minimum of one year and have a primary objective to present, exhibit, preserve arts or heritage resources Works must be culturally significant & of interest to the people of Ontario Agreement between foreign lending institution or collection and the borrowing institution must be in place Works must have a documented ownership and provenance Must be exhibited in Ontario during a specific, temporary period of time Process must be begun at least 90 days prior to the arrival of the objects in Ontario Immunity from Seizure

Incoming Loans Very difficult as legal title does not pass with a loan (even a permanent loan) so the institution does not hold title One reason permanent loans should be avoided 40 US states have individual legislation on old loans, Canada does not Must demonstrate (& document) due diligence in finding the owner or heirs Museums act on behalf of the public- follow accepted ethical standards Unclaimed loans

Loans & Exhibitions Loans to reputable institutions only Must be able to offer similar care to the objects are the loaning institution (up to date AAM Facility report) or inspections of the institution Eligibility of outgoing loan items : condition, exposure, legal title Approval of loans usually rests with the board (for large, high value or complex loans) or designated staff members for small or uncomplicated loans Loan agreement must outline the same details as the incoming loan agreement, including display conditions, shipping, care & handling, photography, costs, reproduction, insurance etc. Outgoing Loans

Loans & Exhibitions Developed as a proof of eligibility to borrow Required by most institutions prior to borrowing Designed as a technical look at the institution & building from the ground up Looks at all aspects that would affect the objects & every aspect of the potential loan/exhibition agreement American Association of Museums developed the current standard model Ideally updated yearly, every three years as least Hugely detailed and challenging to fill out Standard Facility Report

Loans & Exhibitions Description of museum: size, type, location, date, structure, materials Earthquake, flood, tornado zone & building specifications (rating, storm shutters etc.) Contact information for relevant staff Security Environment, storage, lighting, fire protection Emergency preparedness Handling, packing, exhibition policies & procedures Insurance Loan history Standard Facility Report Elements

Loans & Exhibitions AAM standard Facility Report Academy of Motion Picture Archives Venue Report Academy of Motion Picture Archives Venue Report Standard Facility Report Elements

Loans & Exhibitions UCLA film and television archive Restricted for archival collection Only 2 projector system (no platter projection) No more than 3 screenings on any loan Academy of Motion Pictures Archive Submit loan request Venue report No commercial venues Only 2 projector system (no platter projection) Require proof of projectionists qualifications Sample Film loan policies

Loans and Exhibitions International Council on Archives: Guidelines on Exhibiting Archival Material International Council on Archives: Guidelines on Exhibiting Archival Material Transportation Exhibition recommendations Artificial Light, Qualifying light, Recommendations, Monitoring Light Devices, Filters Temperature and Relative Humidity Recommendations Arrangements between parties Loan Form (Part 1, Part 2, Part 3) Loan Contract Condition Reports Forms Resources

Loans and Exhibitions International Council on Archives: Guidelines on Exhibiting Archival Material

Insurance Museum insurance usually includes property of all descriptions (based on declared values) Should be all risks with any exceptions listed (ex. earthquake, flood etc) Can include extensions to cover personal effects, valuable papers, landscaping etc. Riders are added for loaned objects Special events Fine arts insurance for museums

Insurance If damaged on loan, the borrower has the burden of proving it was not negligent Insurance offers a method of resolving claims in these instances Can be carried by the borrower, carried by the lender at the borrowers expense (borrower must be added to the lenders insurance) or waived (must be clear in the agreement that this also releases the borrower from liability) certificate of insurance should be in place prior to the borrowed objects arriving Insurance valuation should reflect the fair market value and not be overvalued Fabricated or Digitally printed works can cause problems: replacement value is often substituted for Fair market value For loans

Insurance Offered by the government who assumes the risk for travelling exhibitions in order to assist cultural heritage exhibitions http://www.pch.gc.ca/eng/1268250082235 Indemnification programs

Couriering Chain of custody during shipment from one institution to another Highly costly process Representative of the owner of the work Security: works are highly valuable, fragile, difficult customs issues Can accompany works by hand-carrying, riding along, flying with the shipment Couriering is defined in the exhibitions contract Complicated packing/unpacking/hanging guidelines Reasons for requiring a courier

Couriering Knowledgeable about packing, hanging (preps) Able to do an accurate condition report on the objects Understands customs procedures Knowledgeable about art handling and able to enforce proper handling Sometimes multiple couriers are needed for large or complicated shipments Qualifications

Couriering Air shipments Truck/van/car Taxi Hand carrying Transportation Methods

Couriering Full checklist of objects in shipment (size, photos, crate numbers) Condition reports with photographs of each object, Condition reporting binder Packing and unpacking instructions Copy of the loan agreement or exhibition contract Insurance certificate Personal travel documents for couriers List of contacts at both institutions List of transportation contacts, applicable agreements Maps and schedules Brokerage documents Required documents

Couriering Courier will sometimes oversee packing Continuous supervision Oversees loading onto trucks & accompanies truck to destination (either other institution or airline cargo bay) Checklists for each crate In air shipments, the courier can go as far as the cargo area but cannot normally observe palletizing and loading Airline personnel are instructed on orientation of crates, plastic sheeting etc. (courier records the number of the pallet) Courier awaits notification that the shipment is loaded before boarding the plane Hand carrying for small items only, sometimes requires an extra seat Steps

Couriering Courier oversees acclimatization, unpacking & hanging of objects Condition checks or reports are done Any changes are documented and procedures agreed upon in the contract Return shipment: follows the same procedure After arrival

Couriering Courier represents the institution & should be ethical and fair in all behaviors Should be upfront and reasonable with all expenses associated with per diems, travel arrangements Must avoid alcohol and drugs while working Last minute changes in schedules should be avoided, courier should be on time & manage schedules Ethics

Couriering Norwegian gallery loses a Rembrandt in the mail OSLO | Thu Aug 23, 2012 10:15pm IST (Reuters) A Norwegian art gallery lost a Rembrandt etching worth up to $8,600 in the mail after trying to save money on courier and insurance costs, the gallery's chief said on Thursday. The Soli Brug Gallery in Greaaker, about 80 kilometers south of Oslo, purchased a copy of Rembrandt's 'Lieven Willemsz, van Coppenol, Writing-Master' made in around 1658 from a British dealer, only to have it lost in the Norwegian postal system. "Using a courier or special insurance is quite expensive so we have used regular mail until now," Ole Derje, the gallery's chairman said. "It is worth around 40,000 to 50,000 crowns ($6,900-$8,600)and the postal service is offering us compensation of 500-1,000 crowns. Derje said his gallery, which is displaying works by Drer, Rembrandt, Goya, Munch and Dali, received notice to pick up the package but when he went to collect it, it was nowhere to be found. Derje declined to name the seller, citing confidentiality concerns. "We are sorry that this has happened; we have advised him to use a more appropriate form of mail when sending items that are worth as much as this with the appropriate insurance connected," said Hilde Ebeltoft-Skaugrud, a spokesman for the postal service. ($1 = 5.8280 Norwegian krones) (Reporting by Vegard Botterli) Sounds like a lot of cost & effort, why is this important? Source: http://in.reuters.com/article/2012/08/23/us-rembrandt-lost-idINBRE87M0PP20120823

Packaging Key considerations include : minimal handling, simple unpacking and re-packing Art shipping companies offer packing and crating services Wooden crates must be heat treated and stamped for insect treatment (HT, IPPC) - International Plant Protection Convention For larger institutions with in-house prep departments, there are resources available: PACCIN: Preparation, Art handling and Collections Care information network:http://www.paccin.org/content.php?109- Publicationshttp://www.paccin.org/content.php?109- Publications CCI notes:

Shipping Carnet Brokerage Insurance Exhibition checklist Requirements

Shipping Essentially Merchandise Passports Customs documents that simply the temporary import of goods Eliminates payment of duties and value added tax Good for one year, unlimited entries and exits Accepted in 75 Countries Carnet

Shipping Brokerage companies, act as an agent or intermediary for museums Expedites the release of shipments from customs - especially important with exhibitions Will fill out all forms (Carnet) for you & ensure all regulations are followed Requires a Power Of Attorney document to allow the broker to act on the Museums behalf Customs Brokerage

Shipping Items received through the CCPERB process requires a permit to export (even temporarily) from the the department of Canadian Heritage or the Canadian Border Services Agency Items on the controls list (over 50 years old) must have an export permit that is verified by the CBSA and forwarded to the Movable Cultural Property Directorate If no permit is present, there can be fines or imprisonment Temporary export permits for periods less than 5 years and permanent for those over 5 years Notice of return to the country is then filed Cultural Export Permits

Shipping Often covered by the wall to wall insurance policy Sometimes borrowing institutions must cover the shipping insurance Insurance

Shipping Companies can facilitate everything from packing, insurance, brokerage, insurance, couriering, installation, transport etc. Racine Berkow Associates: http://www.finearttransport.com/ http://www.finearttransport.com/ PacArt: http://www.pacart.ca/home.shtmlhttp://www.pacart.ca/home.shtml Armstrong: http://shipfineart.com/http://shipfineart.com/ Crown Fine Arts: http://www.crownfineart.com/http://www.crownfineart.com/ Artex http://www.artexfas.com/http://www.artexfas.com/ Fine Arts Express http://www/faeboston.comhttp://www/faeboston.com Companies

Shipping Checklist / condition reporting binder

Shipping Art specific carriers are available (Armstrong, PacArt, Navis) Types of shipping by truck: Exclusive use Last on, first off Expedited Shuttle services Truck considerations: Air ride Dual drivers / trained in art hadling Climate control Satellite tracking Security systems Truck size Shipping over land

Shipping Not generally recommended for museum objects due to time and scheduling Usually used only for very bulky objects Aid of freight forwarders is generally needed Shipping over sea

Shipping Fastest same day delivery across continents Courier accompaniment is ideal Aircrafts: cargo only or passenger flights (over 63 high usually requires cargo plane) Items are usually packed onto pallets and should be covered in plastic & secured with straps Delivery must be arranged to and from airport It is difficult to follow objects to the tarmac (security) prior communication about exact details is necessary Customs brokers are usually necessary for international shipping (ensure shipment complies with necessary import/export regulations, prepare documents) Shipping by Air

Shipping Damage can often be caused by the packing materials themselves Consider the destination, environmental changes, number of venues and mode of transport. A detailed condition report prior to packing helps determine potential problems. Mitigate risk by choosing protective packing materials and techniques. Hazards Vibration can damage unstable works Other physical forces, such as impact from being dropped, present another hazard. Thermal shock may occur from environmental changes, despite materials used in packing to reduce such risks. Crates left on a hot or rainy airport tarmac for hours can be subjected to such environmental changes despite best efforts to ensure safe passage Trucks should be equipped with air-ride suspension to minimize vibrations and temperature control to minimize thermal shock. Before transit: Tape glass wrap the item in polyethylene, whether it will be traveling in a crate or not For short distance moves, framed photographs may be soft-packed using padding materials and cardboard sleeves or boxes. If this does not provide enough support a 'travel crate can be used enhanced by placing the painting in a soft-pack box inside the travel crate. Crating advice - Victoria Montana Ryan, conservationist From the Northern States Conservation Centre Newsletter, August 28 th, 2013

Shipping Special crates are often constructed to transport paintings any distance. White pine is better than plywood for wood crates. Include a packing guide & when unpacking crates, carefully observe how the packing was done. Often items are double packed - that is packed inside a box inside a box (or crate). Artworks often "float" packed in a box or crate with corners supporting the painting in place. These corners are usually made of polyurethane ester foam. (CCI article Corner Pads for Double Case Packages)CCI article Corner Pads for Double Case Packages Some materials provide better insulation and shock absorption than others (BUT not an inert material and should not be used for long-term storage). Crates can be purchased pre-made by specialized companiesspecialized companies Make labels and other markings on cases easy to read. Use arrows & words to show the correct orientation for the crate Include packing instructions inside the crate Condition reports and photos should also accompany the packed painting. Consider security during transit, including time of transfer between transports and on loading docks. Insurance, based on the painting's appraised value, is another necessity. Most insurance coverage requires proper packing to be in effect. Crating advice Building and packing Victoria Montana Ryan, From the Northern States Conservation Centre Newsletter, August 28 th, 2013

Shipping Art in Transit Handbook - excellent resource for a thorough discussion of proper art packing. Art in Transit Handbook Assessing Risks, Transit Climate Conditions, Temperature Protection, Relative Humidity Protection, Shock and Vibration Hazards, Shock Protection, Vibration Protection, Packing Cases Role of the Courier. PACCIN- Preparation, Art Handling, Collections Care Information NetworkPreparation, Art Handling, Collections Care Information Network Crating advice - Resource Victoria Montana Ryan, From the Northern States Conservation Centre Newsletter, August 28 th, 2013

Case Study Exhibition Contracts July 11 th, 2013: Sicily canceled a major traveling exhibition of ancient treasures scheduled to open Sept. 29 at the Cleveland Museum of Art Show was at the Getty, and Sicilian officials were concerned that the missing antiquities were causing loss of tourist revenueGetty The two museums split the shipping costs if it did not go to Cleveland, Getty would owe $990,000 - $300,000 more than planned The Cleveland museum has typically organized international loan shows without initial contracts, which typically come later in the process. While relationships with Rome were good, the Cultural ministry in Sicily is autonomous and had a recent party change Sicily made an Economic Proposal to the art museum The exhibition was organized in part as a demonstration of friendship between Italy and American art museums after the Getty, the Cleveland museum & other institutions returned objects to Italy that the county said had been looted and handled by traffickers (Cleaveland.com) In the end, the exhibition was cancelled. http://articles.latimes.com/2013/jul/13/entertainment/la-et-cm-sicily- getty-art-20130713 Cleveland Museum of Art

Hypotheticals You are currently trying to draft a loan policy for your permanent collection works to public spaces- such as the airport, large business lobby, etc. Is this something you would recommend? What would your stipulations be? Loans

Hypotheticals You had a show come to you with a very delicate piece of glass that was broken into two pieces. It arrived in a shoe box with a small piece of bubble wrapped loosely wrapped around it. The previous museum, one of the 3 organizers, blamed it on shipping and insisted you have it repaired. After several conversations between directors it was finally revealed that the piece had been displayed on a pedestal with no vitrine and for security reasons it was quake waxed down. When the piece was picked up at the end of the show, the quake wax was stronger than the glass and it snapped. Evidently it was improperly packed so that it would appear to have been damaged in transit. How do you proceed?

Hypotheticals Exhibition cargo is delivered to you, and the crate is clearly marked fragile, keep from heat, and keep from rain, but it was strapped down in a flat-bed truck, exposed to all the elements. How could this have been avoided? Horror Stories

Hypotheticals You are the courier travelling with an exhibition transport and your driver is suddenly unable to continue drivingwhat happens now? Horror Stories

Hypotheticals You are hosting a show of work by various artists throughout the country. Each artist packed and framed their own works and shipped them. Works of art were framed in cheap frames with no glass or plexi, boxes werent filled with peanuts, works werent bubble wrapped You received works with broken glass that put small cuts in the works, tiny pieces of Styrofoam scattered over objects, and frames that had split from their corners. Many of the artists put very high insurance values on these pieces. What problems does this cause? How could it have been avoided? Horror Stories

Hypotheticals A very delicate model of the double helix, about 6 feet tall, travelled with a travelling exhibition throughout Europe. It left our house in a wooden crate of 3 x 3 feet, more than 6 feet high. It was mailed back to our institution in a shoe box... Horror stories : shipping

Documents

PP8110 Cataloguing and Registration Methods Photographic Preservation and Collections Management Alison Skyrme Week 7, 2014 Ryerson University