Marcus Chen
Art paintings do move from one museum to another. This could be due to a change in curatorial emphasis, a lack of space, or a shift in the museum's mission. The process of moving art requires careful planning and precision, and is often handled by specialised companies with expertise in art transportation. The movement of art can also occur within a museum, as paintings may be moved into or out of storage or to different galleries. The process of receiving and acquiring new artwork involves curators, acquisition committees, registrars, and collections managers, who work together to ensure the safe transportation and installation of the artwork.
| Characteristics | Values |
|---|---|
| How art is delivered to a museum | Small works may be delivered locked in a case by a specialized courier or picked up from the front door. Larger works may require special equipment like crane rigs and flatbed trucks. |
| Who is responsible for receiving the artwork | A registrar or collections manager will usually arrange shipping and receiving. |
| Paperwork involved | Purchase orders, forms stating authenticity and ownership, and other acquisition forms. |
| How museums decide which art to acquire | Curators are responsible for selecting art to be acquired by the museum. Their decisions are influenced by the museum's curatorial mission, the track record of the artist and gallerists, and the opinions of critics, fellow curators, and other influential professionals. |
| How often art is moved within a museum | Art may be moved during installation of new exhibitions or to make space in storage. The frequency of movement depends on the size and nature of the task. |
| How art is moved within a museum | Moving art within a museum requires careful planning and coordination between preparators, registrars, security, and front-of-house staff. |
| Public access during art movement | Visitors may occasionally catch a glimpse of art being moved, especially for larger installations or during open hours. |
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What You'll Learn
Planning and preparation
Inventory and Documentation:
Begin by creating a detailed inventory of the paintings that will be moved. Update records with current images, notes about provenance, framing or crating specifications, and their known value. This information is crucial for insurance purposes and can be shared with the receiving museum.
Insurance:
Ensure that the paintings are adequately insured during transit. Obtain proper insurance coverage for the full value of the artworks. This protects against potential damages or loss during the relocation process.
Condition Reports:
Create condition reports before and after the move. These reports should detail the current condition of each painting, including any existing flaws or damage. This step helps in identifying any new issues that may arise during transportation.
Packing and Materials:
Allow ample time for packing the paintings. For unframed works on paper, consider wrapping them in mylar, protective paper, or bubble wrap, and then placing them in cardboard envelopes or archival boxes. For framed works, the frames may need to be bubble wrapped and packaged separately. Large paintings may require wooden crates, especially if they contain glass. Plastic wrap is also recommended to act as a non-permeable layer, protecting the canvas from foreign particles and moisture.
Transportation:
Research and select a reputable company with experience in transporting artwork. Depending on the size and weight of the paintings, you may need to use painting carts, padded tables, or padded carts. For oversized or heavy paintings, pallet jacks, lift tables, or a gantry system may be required. Ensure that the transportation vehicles are equipped with the necessary tools and equipment to handle the paintings safely.
Timing and Coordination:
Plan the move carefully, considering the time needed for packing, transportation, and installation. If the paintings need to be transported during public hours, coordinate with museum staff to ensure a clear path and minimize disruptions. The movement of art requires precision and focus, so it is essential to have a dedicated team handling the transportation and security measures.
Moving art paintings between museums demands meticulous planning and expertise. By following these steps and adapting them to the specific requirements of the paintings and museums involved, you can ensure the safe and successful relocation of these valuable artworks.
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Transport and installation
Moving art from one museum to another is a complex process that requires careful planning and coordination. The process can vary depending on the size and complexity of the artwork, as well as the specific circumstances of the move. Here is a step-by-step guide to the transport and installation of art paintings:
Planning and Preparation:
Before any physical movement takes place, extensive planning is required. This includes determining the availability of the artwork, agreeing on loan conditions, and handling the necessary paperwork. The borrower museum will also need to consider the artwork's transportation, insurance, shipping, and security. Additionally, they will need to plan the display setup, including any necessary modifications to the gallery space, such as reinforcing walls or floors to accommodate heavy or large-scale pieces.
Transportation:
The transportation of artwork involves specialised handlers and couriers. Small works may be delivered locked in secure cases, while larger pieces may require specialised vehicles, such as flatbed trucks or cranes. During transportation, the artwork's orientation must be maintained using painting carts, padded tables, or padded carts, depending on whether the piece needs to remain upright or flat. For oversized and heavy objects, pallet jacks, lift tables, or a gantry system may be utilised.
Installation:
Once the artwork arrives at the museum, the installation process begins. This involves a team of preparators or installers who work within the gallery space. They ensure the artwork is centred and level, using tools like scaffolding and lifts for large or heavy pieces. During the installation process, the gallery space is typically cleared of people and obstructions to ensure the safety of both the artwork and individuals. The installation may occur before the museum opens to the public or during open hours, requiring coordination between preparators, registrars, security, and front-of-house staff.
Unforeseen Challenges:
Moving and installing artwork is a delicate and sometimes unpredictable process. Some artworks, like Damien Hirst's "Fly" paintings, may present unique challenges due to their materials. Other challenges may arise during the installation process, such as the need to reinforce walls or devise complex crane strategies to manoeuvre large pieces into the gallery space. Safety is always a top priority, and incidents involving injuries or fatalities during art installations have been reported, underscoring the importance of careful planning and execution.
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Reasons for movement
Artworks are moved from one museum to another for a variety of reasons. One of the primary reasons is the need for specialised skills and equipment for their transportation and installation. This involves meticulous planning and coordination, with the involvement of preparators, registrars, security staff, and front-of-house staff to ensure the safe movement of art.
Another reason for the movement of art between museums is the changing curatorial emphasis and missions of the institutions. Over time, a museum's focus may shift, and certain artworks may no longer align with their current exhibition goals. As a result, these artworks may be transferred to other museums that better suit their context and purpose.
Space constraints also play a role in the movement of art. Museums often acquire new artworks through purchases, donations, or estate acquisitions, leading to a lack of display space. Consequently, some artworks may be moved to storage facilities or other museums with more suitable exhibition capabilities.
The reputation and relationships within the art community are also factors considered when moving art between museums. Curators and gallery owners play a crucial role in this process, as they have a keen eye for quality artwork and maintain connections with various institutions. Their track record of presenting new talent and community involvement can influence the movement and acquisition of art by museums.
Additionally, the movement of art can be driven by the desire to increase accessibility and showcase a wider range of artworks to the public. Museums are exploring ways to open up their collections, such as digitisation and the concept of "Schaulager," where visitors can view stored artworks. This encourages the movement of art between museums to ensure a diverse and inclusive representation of artistic expressions.
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Packing and protection
Artworks are often transported between museums, and the process requires careful planning and forethought. The protection and packing of the artwork are crucial steps in this process. Here are some detailed instructions for packing and protecting paintings during transit from one museum to another:
Sorting and Planning:
Firstly, sort the paintings according to their size. Small and medium-sized paintings can be grouped and packed together, while large pieces are usually packed separately. Planning is essential, especially when dealing with complex objects, large projects, or the movement of art through public spaces.
Materials for Protection:
Use breathable materials such as tissue paper, blankets, and wood crating for long-term storage. For transit, you can use bubble wrap, foam, or plastic, but these materials should not be in direct contact with the painting's surface. The bubbles or foam should face away from the artwork to prevent adhesion to the varnish or paint. Instead, wrap the painting in several layers of kitchen plastic food wrap or commercially available palette wrap, and then cover it in bubble wrap. Glassine is another recommended material for wrapping artwork, as it helps to prevent condensation from moisture exposure.
Packing Boxes and Portfolios:
Place the wrapped painting in a sturdy box that is slightly larger than the frame. If the painting is framed, reinforce the frame corners with cardboard. Fill any extra space in the box with Styrofoam packing peanuts so that the artwork cannot move within the package. Alternatively, create a portfolio by placing the painting between two pieces of stiff cardboard, taping the edges closed, and then covering this in bubble wrap and placing it in a box.
Transport Vehicles and Climate Control:
The vehicle transporting the artwork should be climate-controlled to match the previous storage environment of the artwork. For longer trips, consider hiring professional art handlers who use specialised vehicles with climate control and low-vibration "air ride" features.
Unrolling and Flattening:
Do not ship a painting rolled up unless it has been rolled for a long time. If it has been rolled, wrap it in glassine and place it in a sturdy tube. Canvas art that is not on a stretcher can be rolled up for transport, but it must be completely dry and not rolled too tightly.
The protection and packing process for paintings requires attention to detail and careful handling. These steps are crucial to ensure the safe movement of artwork between museums.
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Receiving and acquisition
Artworks are delivered to museums in a variety of ways, and the process of receiving and acquiring them can vary depending on the size and nature of the institution, as well as the type of artwork being acquired. Small artworks may be delivered locked in a case by a specialized courier, while larger pieces may require special equipment like crane rigs and flatbed trucks for transport and installation. The process of receiving and acquiring artwork involves careful planning and coordination to ensure the safe movement and handling of the artwork.
Receiving artwork at a museum involves coordinating with various stakeholders and adhering to specific procedures. When artwork arrives at the museum, it is typically received by designated staff members, such as collection/registration staff or curators. They are responsible for handling the necessary paperwork, which can include purchase orders, authenticity and ownership documents, and shipping arrangements. The artwork may be unloaded from a truck and placed in a secure area, such as a vault, to acclimatize before being installed or stored. In some cases, artworks may be delivered directly to the museum's front door, requiring additional security measures and coordination to ensure a smooth and safe transfer.
The acquisition of artwork by museums can occur through various means, including purchases, gifts, bequests, exchanges, transfers, or other formal processes. Museums have established guidelines and procedures for acquiring new pieces, with a focus on supporting their mission and adhering to ethical standards. Curators and acquisition committees play a crucial role in evaluating potential acquisitions, considering factors such as the artwork's relevance to the museum's collection, its provenance, and its legal status. Due diligence is conducted to ensure the artwork's provenance is thoroughly researched, especially for pieces with potential gaps in their ownership history or those that may have been in Axis-occupied territories during sensitive periods.
Acquisition committees, consisting of curators, collections managers, and other specialists, review potential acquisitions and make decisions based on the museum's collecting goals and available resources. The committees assess the artwork's significance, artistic merit, and potential risks to the institution's reputation. In the case of unsolicited donations, museums generally do not accept them unless they possess extraordinary value or are approved by the curator, director, and/or acquisition committee. Once a decision to acquire a piece is made, the artwork undergoes a process called "accessioning," where it is assigned a unique identification or control number, and relevant information is recorded and maintained in the museum's collection management database.
Overall, the process of receiving and acquiring artwork in museums involves careful planning, coordination, and adherence to ethical and procedural guidelines. The safe handling, documentation, and preservation of artwork are of utmost importance to ensure the integrity and value of the museum's collection. Each museum may have its own specific protocols, but the fundamental principles of receiving and acquiring artwork remain consistent, prioritizing the security and long-term stewardship of the artworks entrusted to their care.
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Frequently asked questions
Yes, art paintings can move from one museum to another. Artworks can be loaned between museums, or a museum can acquire a piece for its permanent collection.
Museums can purchase art, or they can receive it as a donation. If a museum is interested in purchasing a piece, a curator will first inquire about availability and, if available, issue starting paperwork. Once the sale is complete, the artwork will be packaged and shipped to the museum.
Packaging artwork for transport requires careful handling and the right materials. Cardboard, tissue paper or newspaper, bubble wrap, and packing peanuts are all commonly used to protect artwork during transport.
Moving a painting within a museum requires planning and precision. Staff members must ensure the path is clear of people and any potential obstructions. The amount of planning time depends on the complexity of the task.
A painting might be moved from one museum to another if it better fits the curatorial mission of the new museum. Alternatively, a painting might be loaned to another museum for a special exhibition.
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