IAASF: Smart Water and future-proofing Syria’s history

Charity Session – Trails, tribulations and sacrifices of future-proofing Syria’s history
Phil Cleary, Smartwater Foundation

The work of the Smart Water Foundation is dangerous, forward thinking, fast acting and absolutely essential to protecting our cultural heritage. Smart Water Technology can give artworks, antiques and any collection items their own unique data code, which makes them traceable in the event of crime. Following application of a B72 base coat, Smart Water Solution holding encrypted data, is applied directly to the collection item and sealed with a top coat. This is invisible to the naked eye, but glows under a UV light and when tested and matched to the entry in the Smart Water database, will link the object back to its owner. The process and application of the solution is completely reversible by specialists, in-line with modern conservation requirements. It is a technology being used increasingly in public and private collections across the globe to give additional protection from theft, or increased chances of having your stolen objects returned in the event of theft.

Where this technology is being used most effectively is through the company’s charitable arm, the Smart Water Foundation. At present, the Foundation is working with archaeologists in Syria to protect its cultural heritage from the ISIS threat of theft and black-market trade. The illicit trade of stolen artefacts, including mosaic panels, sculpture, statues and church interiors, is ISIS’ second largest source of income and so putting a halt to this destruction of culture goes deeper than preservation.

Phil told us about the covert missions of archaeologists across ISIS territorial borders in the dead of night to apply Smart Water solution to precious heritage sites and artefacts. They must break down all of the chemical components, carry them individually and travel in groups with the tools spread between them because if they were captured by ISIS and found to have this equipment with them, there is little doubt they would be executed. Slowly, the teams are making their way across the country invisibly marking precious heritage with its own DNA. The hope is that should anything end up with a dealer or museum, Smart Water can determine where it came from and one day it can be returned.

An archaeologist working covertly to apply Smart Water solution to a Roman Mosaic in Syria

Sarah Hardy, Loans Coordinator, The British Library

IAASF: Iconic Public Venue Security & The Criticality of Insurance

Iconic Public Venue Security
Garry Evanson, Head of Security and Emergency Planning, Westminster Abbey

“Everyone is welcome, but their stuff isn’t!” was the overriding sentiment in Garry’s talk about how to protect such an iconic religious landmark, that by its very nature welcomes everyone in. Since Garry began working at Westminster Abbey in 2001 he has led his team to safely welcome 1.6 million visitors per year. The first step for him in this mammoth task was to implement bag searching, something he recommends as absolutely essential, as is not allowing anything larger than a handbag. Not only are there space constraints inside the Abbey, but bag searching is instantly a deterrent to anyone who might be planning on more than just a visit.

Garry’s second recommendation for security at attractions and cultural venues is that security staff be regular employees of the institution, whose sole responsibility is security. Westminster Abbey employs its own security staff who work alongside visitor service staff but their role is distinct and defined. They wear uniforms which clearly mark them as security, again, as a deterrent against potential incident.

Challenges in the future for the Abbey are whether churches and religious sites might become targets for Islamic extremist driven terrorist attacks. Sadly, Garry and the team have had very recent experience of what this might look like with the London Westminster Bridge attacks earlier this year. Whilst a horrific ordeal to go through, Garry has learnt from this an ensured that the emergency plan is up to date and that all staff are trained and prepared. They’re all ready for the next coronation!

The Criticality of Insurance
David Scully – Specialist Independent Insurance Consultant

The recent sale of Leonardo Da Vinci’s Salvator Mundi for $450million, has set the art insurance world alive with alarm. If insurance values for artworks should represent ‘fair market value’ then this sale poses a huge problem for museums which pay an annual premium to commercial insurers to cover their collections. Whether underwriters will start expecting to see higher premiums paid to cover masterpieces remains to be seen, but another high value sale such as this one will clearly aggravate the debate.

Advice from David Scully to this end is to consider whether fully comprehensive insurance is definitely required. For example, it might be better to cover your permanent collection with a depreciation exclusion. The artwork is irreplaceable and any monies paid can only usually be used on the collection. Is it therefore necessary to cover the potential reduced value in an irreplaceable work? It’s worth thinking about if it could reduce the premium. David also discussed that organizing a deductible with the insurer might bring the premium down significantly. If you could cover the deducible from existing funds, then the saving on the premium you make annually might better go towards education or expanding the collection.

As museums are under increasing pressure to cut expenditure, this might be a sensible and realistic option for saving cash whilst still ensuring the collection is protected.

- Sarah Hardy, Loans Coordinator, The British Library

Changing the face of the Art Industry Charlotte Maxwell, Founder of the Easel Initiative

UKRG Event 'Mind the Gap', Friday 20th October 2017
Chapter Hall, Museum of the Order of St John, London 

Charlotte was inspired to set up the Easel Initiative following her experience running an internship programme for a London auction house and seeing how difficult it was to get that first job.

In a sector where internships play a large role this limits the opportunities for those without the connections and funding to access and undertake these.  Employers are also missing out on potential talent by ‘fishing from a small pool’ of those who can. Promoting equal opportunity and accessibility is essential to address the imbalance which affects cultural engagement in the UK.

For those without connections in the industry there is also a lack of awareness about the huge range of roles within the arts and it is these gaps in knowledge, contacts and funding which this initiative sets out to address.

Following a successful crowd funding campaign the Easel Initiative is now 2 months old and they have been very busy. There are now online resources to introduce interested students to key magazines, books, news and even Podcasts and Instagram accounts (I’ll be checking some of those out).

There are insights on their blog into the different types of jobs available in the arts – including a day in the life of Crown’s Sara Kellett . A mentoring scheme will launch next week. In early 2018 a grant scheme will start to subsidise internships and provide assistance with relocation to London and in June 2018 a careers fair will be held in London.

Large public bodies, such as the National Galleries of Scotland, have a transparent volunteer programme which prevents nepotism so it would be easy so say that this issue is not a problem for public museums and galleries. However, many people begin their career in the arts in a commercial gallery or auction house setting, so increasing diversity in this area benefits the whole sector.

UKRG members are fortunate enough to already work in the cultural sector, but a show of hands during this event showed we are all aware of the lack of diversity. So what can we do to actively encourage and support new and more diverse entrants to the sector?

The Easel Initiative is focussed on London so for those of you who are in London based galleries can contribute by spreading the word about their programme and volunteering for their mentoring scheme. The rest of us can advocate and raise awareness of opportunities in our own region and challenge the diversity of our own organisations all at levels.  

Maybe one of the preconceptions we need to question to increase diversity in the sector is the assumption that you have to make the move to London? For many reasons, not everyone can or wants to make that move. True, size means there are many more jobs in London than any other city; however there are many opportunities in the cultural sector outside London and with the move towards increased funding in the regions these are set to grow.

Thanks to Charlotte for the interesting presentation and Blackwall Green for the travel bursary.

By Jacqui Austin, Lead Registrar: Loans, touring & partnerships, National Galleries of Scotland

"Should I Stay or Should I Go?" Panel Discussion and Questions from the Floor

The final talk of the CPD event was a panel discussion between Sunnifa Hope, Helen Dawson, and Jen Kaines, chaired by Lyn Wall.

The first question raised, “What has been the most challenging decision you’ve had to make whilst on a courier trip or whilst hosting a courier?” gave many amusing stories of disappearing curators, unfinished galleries, and even guest couriers turning up ‘the worse for wear’. Clearly, couriering objects and hosting couriers is not always a simple task, and requires the ability to think on your feet.

The importance of good communication was also highlighted through the examples given to this first question, with Sunnifa Hope summarising “it’s about communication, having dialogue, deciding together what you’re going to do to allow the installation to happen. Just be prepared to come up with solutions with the courier and talk to them continually, whether it’s “you’ve got to stop doing this” or “can I do something this way?”

Questions raised by the audience emphasised the importance of decision making during courier trips. When asked if the panellists had ever decided not to install an object, and what happened afterwards, Jen Kaines provided an example of arriving at a gallery still wet with paint. In that instance, she and her colleague made the decision not to install at that time (installing around a week later instead). 

Likewise, Sunnifa Hope described a time she and a colleague had to decide what to do when a power cut meant that an installation had to stop and they had to decide whether to pack away the objects completely and return another time, or come back that day when the power came back on and work late into the evening (they did the latter).

Other than showcasing the importance of good communication, thinking on your feet and being confident in your ability to make the best decision for yourself and the object, the panel discussion gave further advice: sometimes a borrower may request a courier to be sent or a lender may request a courier from your institution; you can sometimes double-up your couriers tasks, so they can visit long-term loans as well as installing the new ones; and when sharing couriers, make sure it is explicitly decided what the responsibilities are and who can make the decisions (all the better if you can get something in writing).

So to end with the final section of the panel – Top Tips:

Sunnifa Hope – “You’re representing your institution, make sure you understand exactly what your loan is and the requirements of your loan are so that you can make decisions on the spot. And don’t plan anything else around that trip!”

Helen Dawson – “Know your object – not just how to install it but what might it do in a changing environment, how might it behave after a bad journey.”

Jen Kaines – “Never pass up a toilet stop, you don’t know when the next one will be.”

Sam Jenkins, Assistant Registrar, National Railway Museum

The Shipper’s Perspective, Julie Prance, Oleg Mazin, Thomas Webster, Momart

Julie, Oleg and Tom from Momart, kindly provided advice to couriers for airfreight shipments. Their aim to provide details on what we can expect from the shipper and to make the courier feel confident in asking the right questions, so that the transit goes as smoothly as possible.

Starting with the preparation, Julie explained her role as Project Co-ordinator. This role liaises direct with the sending and receiving airline, ensuring the correct type of pallet and freight is booked.

The Projector Co-ordinator will also provide a full itinerary for the courier. This provides all information that the courier might need for their trip. It is really important for the courier to check this before their trip to ensure they understand the plans.

Tom and Oleg are airport representatives from Momart; they began by explaining the importance of setting expectations with your airport representative. Question your representative from the outset to ensure you know exactly what is going to happen to your consignment and when. Don’t be afraid to ask these questions, after all, you might not be aware of the local procedures.

For example, what type of aircraft is being used?

Is a container or a pallet being used?

Will the representative see the pallet loaded on the aircraft themselves? The answer in the UK, is ‘yes’ however this can’t be the case in other countries.

What happens to the pallet when it is packed? You want it stored in the ETV system so that it’s safely stored away until it’s time to load the aircraft.

When overseeing palletisation, note that a sheet of plastic will line the base of the pallet, crates will be placed, strapped down (listen for the ‘click’), the sides of the plastic will be bought up and another sheet covers the pallet, before netting is draped over the whole pallet. Ensure to ask your representative before hand, if you need it in flight direction and be aware if the crate can be stacked or not.

When pallets are shared, the airport representative will ensure that no dangerous or perishable goods are loaded on the same pallet.

You may have your consignment in a container, again, you need to ensure you inform the representative of any requirements in good time, and in both cases, it’s very important to make a note of the pallet or container number that your consignment(s) are on, so they can tracked.

Now that the pallet (or container) is loaded, check you are clear on the next steps with your representative. You will need to check in to your flight, but make sure you have your mobile switched on! Ensure the representative gives you the position on the plane – and do not board the aircraft (if it’s a passenger flight) until you have this information! If on a cargo flight, you should receive a phone call from your agent after you have boarded.

To end a few dos and don’ts from Julie - do have a mobile phone (ensure that the shipper has your number and that it is always switched on). If you are asked to report to Customs, make sure you do, otherwise its smuggling and don’t declare the consignment as your personal goods – it is cargo!

Enjoy your flight!

Vicky Skelding-Bloor, Exhibitions and Loans Officer, The Barber Institute of Fine Arts

The Training Framework Continued, Courier Manual - At the venue, dealing with the unexpected and courier dos and don'ts

Building on the earlier sessions, Lyn Wall continued to run through the Courier Training Framework document.

Arrival

Arriving at the destination was discussed and some key top tips suggested:

•          If arriving at an airport you would usually be met by a transport agent to be taken to witness de-palletisation – sometimes at the aircraft door or in the arrivals hall.
•        Don’t declare the shipment as personal goods as it is cargo!
•     If you are couriering on a Ferry don’t expect to stay with the vehicle/object - you are not allowed to stay in the car deck for health and safety reasons.

At the venue

• ·         Be prepared to work in an unfamiliar environment with a new team.
• ·         Be confident but diplomatic.
• ·         When supervising unloading be alert to any hazards (busy roads, weather etc) and respond appropriately (ask for polythene if raining, ask for hi-vis jackets, extra equipment).
• ·         If the work is being securely stored prior to installation check the arrangements are suitable and then make sure you understand what time and where you need to report back for installation.
• ·         Upon installation preparation is key! Do you have a clean and safe space to unpack, do you have the right tools, do you have the right paperwork? Use your common sense and never be reluctant to ask a question!

·         Remember you should have the support of your colleagues at home if you need it.

Dealing with the unexpected

Lyn explained that a good way to check whether the courier training had been successful was to run through the scenarios provided in the pack.  By using the interactive element of the training it is possible to sense what areas learners might need extra support with.

During discussions about the scenarios with the UKRG audience some recurring messages emerged:

• ·         Communication is the key!
• ·         Raise issues early, speak up if not happy but also offer solutions.
• ·         It is important not to have any restrictions about your trip – don’t organise personal appointments that might impact on your role as a courier.
• ·         The object is the priority.

There was useful discussion with the transport agents in the room about loose loading (when packing crates were not loaded into an aircraft on pallets or containers). It was generally felt that this should be avoided but important to take advice. Some organisations might have a policy that it was never acceptable but other museums might allow it depending on the object and circumstance.

The discussion reiterated the recurring theme of the day that the framework was a flexible tool that had elements that could be tailored to each organisation. This has made it an incredibly useful document to follow producing a standardised approach to courier training.

Alice Rymill, Registrar, Bristol Culture: Bristol Museums and Art Gallery

The Training Framework, Courier Manual - Preparing the loan and the courier, condition reporting and the journey

What is a courier not?  On holiday.  The session opened with an ice breaker about what a courier is and is not.  Without doubt, the most common response was this: that a courier is not on holiday.  We all laughed, but probably because it sounds very familiar.  I think it’s safe to say we’ve all been encountered a bad courier at some point.  Whether they’ve come with a loan to your exhibition, or maybe it’s been someone from your own institution, or you’ve travelled with one with a joint consignment, it can be a frustrating, even nerve-wracking experience. 

The event today was all about trying to prevent exactly these types of experiences this within the sector through the new Courier Training Framework.  Developed by our very own Kathy Richmond, Desirée Blomberg of the Nordic Registrars Group and Wendela Brouwer of Nederlandse Registrars Group, it’s a sort of SPECTRUM for couriers, designed to standardise and improve the role of the courier for loans and exhibitions. 

Ours was a whistle-stop tour through the training framework.  This session delivered part one of the training, focussing on preparing the courier to leaving the borrowing institution with the loan.  It covered everything from managing the expectations of the courier (it’s not a holiday in case you forgot) to teaching them how to read a condition report.  It looked at what preparation they, as the courier, will need to do before a trip and what preparation the institution (usually the registrar) will do for them. 

I think the emphasis placed on reading the condition report is one of the strongest aspects of the training framework.  It aims to explain both why the condition report is so important and also to build the skills required to confidently condition check and use the condition report when on a courier trip.  I know this is the area I am least confident about when couriering (Why is that old scratch not marked?  DO I NEED TO MARK IT?  Or is that just me?).

First impressions of the framework are that it is easy to deliver, thorough and adaptable.  Every aspect of a courier trip has been thought about carefully and where information is organisation specific, a handy set of prompt questions has been provided.  We’re definitely planning to roll it out at National Galleries of Scotland and I hope others will be too.

NO MORE COURIERS ON HOLIDAY!

Cassia Pennington, Exhibitions Registrar, National Galleries of Scotland