Planning and Managing an Exhibition Programme

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conditions of the lending museum, or in many cases even exceed the conditions found within the loaned work's home museum. The general rule of borrowing power is that each museum can borrow proportionately to its ability to lend. Thus a museum with a strong permanent collection from which it is willing to lend objects to other accredited institutions usually en;'oys an excellent capacity to borrow items from them. Museums with weaker collections, or exhibition centres that may not have collections at all, must strive even harder to meet the highest standards of environmental controls, security and functionality in their non-public temporary exhibition support facilities as well as in their galleries, especially if they want to borrow or participate in shows other than those available as packages from the exhibition circulation agencies. Loan request forms and loan agreement forms are the tools of the registrar, curator or exhibition officer responsible for borrowing and lending objects for display. In addition to the names, mailing and email addresses, and phone and fax numbers of both borrower and lender, these forms should identify the duration of the loan - including time allotted for shipping and receiving both ways. They should name and describe the objects on loan, including the catalogue number assigned by the owner and any number assigned by the borrower for the exhibition catalogue. A photograph may be attached. The borrower's commitment to providing specific environmental conditions, security, and lighting limits (in lux or footcandle levels and in hours of exposure) should be specified. Authorised representatives of both borrowing and lending institutions should sign the forms, with the lender's signature usuallr' transforming a loan request form into a loan agreement form. Perhaps most important. a monetary valuation for insurance purposes must be provided by the lender, with a clear indication of which party is responsible for insuring the loan, with proof of that insurance to be attached to the form as soon as it is arranged. Sample copies of the forms actually in use at the Smithsonian American Art Museum in Vashington are shown in figures 8.2 to 8.5. Insuring the objects borrowed for temporary exhibitions has become a major cost in the operation of a temporary exhibition programme. Many lenders prefer to insure themselves and bill the borrowing institution, while in other instances the borrower may be expected to provide what is often called 'wall to wall'or 'nail to nail'insurance - meaning coverage from the time a painting is taken off the wall of the lending institution until it returns to that 'nail'. In either case the insurance cost is proportionate to the monetary value of the objects borrowed. An alternative developed by many countries that are actively involved in the international circulation of works of art for temporary exhibitions is a government indemnity programme, according to which the national government of the borrowing 280 THE MANUAL OF MUSEUM EXHIBITIONS
F E l :. rnditions found o can borrow )ng permanent itutions usually Ls with weaker nust strive even , security and .es as well as in ows other than lgistrar, curator for display. In fax numbers of r of the loan - Lould name and d by the owner :. A photograph environmental rnd in hours of borrowing and lnature usually nost important, e lender, with a th proof of that ,le copies of the Washington are me a major cost prefer to insure es the borrower r nail' insurance I of the lending is proportionate involved in the rs a govefnment ,f the borrowing Smithsonian National Museum af Ameriaan Art Lmn aoffimenl bolwffi th€ Nalional Mussw of Amerhan ArL Smllhsonlrn lnslttulion. and A. SamDlo Lender LEI{0EF'SA9DBESS ArlAvenus F$ossssfFsrsat Anyyrirgr8,UsA N$9 atwat $t6n ad*dss aE di'lbrunl twntd,tfiffidlkjft. Tolephoner (builtessJ therm) CR€UIT gltlBfl|oft Lgnlby (aw, wt''ro Exhlbnbnntbtfirc ol WldiS Moa fu @EW@ a#|/,/t'gl lsDcle ffid pt/D{Eitv) DATf;S ANO beflnnlfiglo*n drt6- ondloan dale Nslionallla$5um ofAmoddanArt, Washinglofl" D.c. LOCAnOnfS ld lhers b a lour. ilin€raw is lbled horo) WORX OF ART _.." DIMEHSIO}IS Arlisl: Tllls; ",.,,',,llwilur,nquppo{ Oet6ofwerl(' Paintlng. drawidg, prinl. ptrolograpfi urlrarnsd and t,|lm$ttnd ftp&fl x rl#rr' 0l Ntrl bffi|/, plaF, tfi I gp, ElFol): na wt vN bc d,n$rt Ss{$plo|€&knot}sionaj oqo4 ryilhoul b46€ lh€tlttx ntdl, r 4$Jr tt'sottgkt{lfrailBs Ba66l@ilrxddh.rdelrrJ: NrBigltt /r,al ilSss, o&ar are'rtrrenrsdBrpdrn llnecassarytorltresatsryol$ov{$dqrnayrvarolramo,remal,orbask[ llyi6 *nt NI4AA. IM;URA|ICE ,'dsasMd tote,ni'of,!.. vslus les$m0tedrrtmrrrot r€{s h U,s. s)i f{M^A*01h$rtmbtsotE|,trlrosdvg€d. Doyrupglarlomalnlalnyourownlns{ttanc€ | I y€i lxl no €stknel€d mst ol ffimlum: | | no P}IOTOGRAPHY lf bl€d( & erhne phologrgph3 end/or color tr*r}8parorcht ${dlaHr tor r€proardion er€ av.}abl9. de863 slals type and wharu |hay msy b€ obldnod: kArgrpcrnerbnFnfusedhe,nb4tdds&ddtalduttvrElod.n,€dfe t rs wf mybrpMog.4pnad &brdsl" aN 'opt'i'.f,sd to(FtifE)tl,pt}r'lEitr"&tadi.t'5l{n(},/p('pc€*s'',tnet:i3d*lthilbefilblrtot,,/.}diltattud, ffi16tld Nt b t$d br l//[tn cd$ailond Mtw3r6' SlGilAfURE Thg L6ndorsclmordlodgss$athoisho hasfutpolvdrlogxo€ulolhlosgresrnent, that h€tshs hsereadlh6 condl$ons do th6 ro!6160, and lhal ho/sh€ tgrnes lo abl(b by lhose oondidons, lf lhis agrF€{nenl b sigf]od by an ag€rrl o, lhs leatder rnd nol by lh9 lgndst ovld6nc€ ot lhe agpnfs aulhodty mu8l be s$mlfied lo lhe f|€qi6trar, NMAA" sGilE* orlise 0f thr Rr*arrro Nrtioml i,lus('um of Amricar Att 8u&c$ru{r,i{W Wuhinglon D,C &5(()"O: lO 102.35.l18l T€lcphone 203.7ti6.6!) far Bogistrar. Nationsl MuFoum ol An&rlc6n Arl Figure 8.2 Loan Request Form OATE: OATE: PLEASE fiEruFN ArI COPIES OF THIS IGfiEEUET'II- A coFl st6NEo sY ttr€ FEG|STRAfi v{tl s€ s€NT To ].lcu FoR Youn FILE$. PLANNING AND MANAGING AN EXHIBITION PROGMMME 28',1
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