For those who may have been dozing in a cave the past few months, the ongoing furor over the financial meltdown at MOCA, and what to do about is, has apparently been resolved. At least for the short term. An infusion of cash by Eli Broad to the tune of $30 million will save MOCA’s bacon and avoid the dreaded other possible compromise which would have merged MOCA with LACMA. Tarnished director Jeremy Strick has resigned, and a Broad cohort, Charles Young (who isn’t) will step into this role effective immediately.

It remains to be seen how MOCA will function now that its “spend the principal” approach to funding has been discredited. Investigations are also pending to determine if donations earmarked for art acquisitions or other specified uses were instead diverted to support ongoing operations. Not kosher. There are many factions, including artists, who are not enamoured of the deal. Stay tuned for more fun as further information on specifics of the “rescue” become available.

Details here: http://www.nytimes.com/2008/12/24/arts/24moca.html?emc=eta1 for the NY Times version of events.

The R-bomb has been dropped, and everyone is feeling it. Now more than ever it is wise to consider all of your options when having artworks crated. More economical c-crates, and even slat crates will often do the job on a tight art handling budget. A variety of packing options are also available inside these crates in most cases. We encourage you to take a look at our crating page for more information, or email me at chris@fineartship.com.

Chris Barber

TIPS for obtaining an accurate quote for crating artworks:

We have mentioned previously the wisdom of providing the third dimension (the depth) for each two-dimensional artwork to be handled. But equally important is the issue of accurate dimensions. Having correct sizes is critical to crate pricing, and even moreso if crates are to be prebuilt in advance of actually receiving the artworks.

Very often we are provided with dimensions that are ten inches or more off the mark. You artists know who you are… Whether too high or too low, an estimate based on bad information is of little use to either the customer or the vendor. If the “wrong” dimensions are supplied for multiple works, as in a traveling exhibition, then the mistake just compounds and we all might as well just go out for a beer. After work, of course.

Some estimate requestors likely honestly believe that “close” is good enough or that a matter of inches one way or another won’t have a serious impact on pricing. But the truth is that when we design a crate we round up to the nearest 1/8″ inch in most cases. Or for an estimate, perhaps up to the nearest inch. But leeway of several inches? Never. The whole idea of a shipping crate for an artwork is to be custom built to the size of the work. And, believe it or not, too large is just as bad as too small.

When providing dimensions to an art handler the best approach is to supply each dimension labeled as to its correct orientation. For example: L 50 x W 3 x H 80. So if the artwork in question is a photograph that must travel right-side-up, the crating department will know how it must be crated, and any potential shipping issues due to height will be anticipated before it is time to ship the artwork. Send a photo of the work as well where possible, and of course indicate any condition issues that might require a custom or enhanced crating solution.

Guessing at the order of dimensions can be tricky. Many art shippers use art-world configuration of Height x Length x Width. But here at FAS we use the standard shipping configuration of Length x Width x Height in most of our notations, and we always indicate orientation with the letter designations to avoid confusion.

So give accurate dimensions, indicate the correct orientation, and provide as much information as possible about the artworks to be shipped. You will obtain an accurate estimate, and faster, too, as we won’t have to track you down to get more information.

Finally, if you are guessing at dimensions, confess! That way we may be able to offer you a couple of “what if” quotes and there will be less angst all around when that x- plus- ten -incher comes in the door.

Chris Barber & Betsy Dorfman

A well known science research institute selected this dramatic cover artwork for a recent special journal report on China. The sedate and aesthetic rendering of classical chinese characters perfectly set the tone desired by the prestigious Max Planck Institute. Except that, unfortunately, the researchers forgot to do their, well, research. As in, hiring a translator. Turns out this was not a poem or artistic composition but an advertisement.

Which is how the latest edition of this well regarded a scientific journal was published with a cover extolling the services of stripping housewives in a brothel! The poetic looking artwork was in fact a flyer offering “hot houswives in action”, put out (pun intended) by a Macau strip club. Follow the link below for further details.

Leaving aside what your artwork “means,” you now have to be concerned with what it says, especially with so much modern art incorporating symbols, words, icons, and elements from disparate cultures. It probably won’t be long before art services companies such as ourselves offer translation and “embarrassment risk management” services together with our usual roster of packing, crating, storage and shipping services.

Betsy Dorfman

Click here for the full article from The Independent.

Breaks allow time for quick doodles to leak from the pens of craters, art handlers and installers onto the cardboard pads that line the work tables. Some drawings are worked for days when a single break is not equal to the ambition, or when coworkers start riffing on them. For some reason, the crate shop has long been an unofficial revolving gallery for the aimless scribblings passing curatorial muster for anonymous patrons. What gets kept for the wall is a small fraction of what is produced. Most of the cartoons go straight to paper recycling, making them the ephemeral ink sneezes they were all meant to be. Though most are collaborations, about 90% of the keepers are at least 80% from the feavered mind and nimble fingers of Chris Keebles; able seaman. Other doodlers represented below: Daniel Wheeler, Chris Barber, Aaron WIlliams, Owen Rothstein, Robert Thomas, Ian Patrick, Danny Bain and Zak Taylor.

On a side note, here is a dog house our head crater Michael Dawson made for a coworker, recycling a used crate:

Chris Barber

At FINE ART SHIPPING we specify in our estimates how a shipment will be transported, whether by air freight, ocean freight, van lines or other subcontracted trucking service, art shuttle, or exclusive use truck. The type of handing, equipment used, packing standard, security standard, and transit time is different for each of these modes of transport. In some cases the insurer of record may also have criteria that must be met in terms of security or handling. The more a customer understands the terminology the better so that there is a clear understanding of what service is being purchased and performed.

So, what is an ART SHUTTLE and why and when do I want to use one?

COMMODITIES :

Art shuttles are trucks specializing in handling artworks and sometimes antiques. They typically do not ship other commodities, general freight, or household goods. They are staffed by trained art handlers capable of packing and unpacking artworks and handling them appropriately at stops and within the truck. They are essential for transport of very high value and fragile works and are typically full service including the ability to pack, unpack, install, and insure artworks of all descriptions.

EQUIPMENT:

The art shuttle can be a tractor trailer sized truck operating nationwide or a smaller truck making more local or regional stops. Most art handling trucks are museum quality which means they have dual drivers, are climate controlled, and have air ride suspensions. Some art shuttles are not climatized or have only a single driver and in most cases the carrier will note this in their paperwork. Most art shuttle trucks also have logistics systems to assist with tying in and stabilizing packed works in the truck.

PACKING STANDARD:

Art shuttles are suitable for transport of softpacked or crated works. Most will have minimum packing standards and can upgrade packing to their standard or provide packing as needed. “Blanket wrapped” is really a furniture term and does not apply to art shuttles except in unusual circumstances. Art shuttles can be trusted to observe orientation (this way up, or ride flat) markings and will keep artworks properly oriented in transit.

ROUTES and SCHEDULING:

Most art shuttles operate on a route that is pre-scheduled between cities so that institutions and frequent shippers can plan ahead. The time in transit varies based on each shipment’s origin and delivery point. But as a rule of thumb most art shuttles take a week to two weeks to complete a route. This is therefore not a service that is going to work when items need to be moved in just a couple of days. Within their appointed schedules, also, timing may change by a day or so and customers need to have some flexibility in their receiving or releasing schedules. Most shuttles reserve the right to charge an additional fee for “first off” or “last on” or other custom timing requests.

HANDLING:

Many times customers assume that an “art shuttle” will not cross dock or handle a work more than twice: once when it is loaded and the second time when it is delivered. Well, maybe, but don’t count on it. An art shuttle is a consolidated service with items belonging to many customers commingled in the truck. As the truck makes its stops artworks are offloaded and others onloaded and space must be made accordingly. So it is likely that your shipment will be moved around, perhaps several times. Some carriers will cross dock as well which means transfer items from one truck to another at a regional hub. Art shuttles do an excellent job at this and problems are few. However if you have a shipment that can’t be handled several times or where the packing is insufficient for this, an exclusive use truck might be a safer choice.

INSURANCE:

Art shuttles can provide insurance in transit in most cases. Some have restrictions for items packed by the shipper. Insurance ,or declared valuation coverage as it is properly known, must be in place before the artwork is moved or handled. The value of the item or items must be stipulated and the coverage at the stated value will be noted on the related bill of lading. There is no “automatic” insurance except for what is essentially salvage value in some states.

SECURITY:

Most art shuttle trucks are equipped with GPS tracking devices and the trucks themselves have custom locking and other security measures installed as a part of their equipment. Many run “dual driver” trucks which means that the truck is staffed with two people, and in some cases the crew sleeps on board during cross country or longer routes. When in doubt, and if your insurer has specific requirements for coverage, the carrier involved can supply further details of their security arrangements. For ultra high value items an exclusive use truck with a courier on board, or with a security detail in accompanying vehicles, may be elected by the customer or insurer.

COST:

An art shuttle is a costly service due to the custom nature of the equipment and personnel involved. Operating costs are high and shuttles cannot cut corners without jeopardizing their reputation and the safety of the goods entrusted to their care. There is no such thing as a “discount” art shuttle. You wouldn’t want one if there were! Most shuttles charge a minimum and thereafter provide custom quotes based on the dimensions and number of the works to be transported, the locations to be served, and the precise services requested. Costs range from several hundred into the many thousands of dollars.

In figuring costs, mileage is not the most critical factor. Generally costs are most competitive between large markets. For example, it can be relatively affordable to ship a single painting from Los Angeles to New York. That same painting shipped far fewer miles from Los Angeles to a rural location in far northern California however would be considerably more expensive.

OVERVIEW:

So you want a fine art shuttle when you have a valuable or fragile artwork to ship, or one that must be climate controlled or kept in a specific orientation, or where packing, unpacking, installation or insurance is required enroute. A van line, moving company, or general trucker is not going to have trained personnel qualified to properly handle artworks and perform those related services. Art shuttles exist specifically to service this market for custom handling and transport of delicate goods.

WHEN IS AN ART SHUTTLE NOT AN ART SHUTTLE?

For purposes of comparing estimates between companies, always ask the type of service and specifically whether the quote is via art shuttle or some other type of trucking service. Most art shippers, including ourselves, will send shipments subcontracted to van lines or freight carriers as part of our normal constellation of services. There is nothing wrong with this so long as the customer understands the nature of the service and the packages and artworks themselves are suited to the chosen type of trucking and handling.

The term “art shuttle” does have a specific meaning, and it does not mean freight truck, air freight, common carrier, or van line trucking. Look for the terms “climate controlled”, “museum quality” and “air ride trucking” to be sure you are getting a true shuttle where this is needed. If an art services company won’t reveal the actual carrier or define the service in those terms then it is time to try another company who will.

Betsy Dorfman / Fine Art Shipping

Just recently a $300,000 sculpture by artist Carole Feuerman was destroyed enroute to Art Miami.

Here is a link to the complete article with further details:

http://www.miamiherald.com/news/southflorida/story/794402

Needless to say a situation like this is what every art shipper and art handling company works every day to avoid. Worse, there are potential problems collecting from insurers as the timing of the damage is unclear and the basic policy held by the artist apparently does not cover the full value of the artwork under all circumstances. Unfortunately these are critical but all too common mistakes. And while there is never a guarantee that artwork in transit will arrive safely, there are steps that can be taken both to minimize risk and to maximize the likelihood of recovery in the event of a loss.

This article raises many issues and in the next several posts we will examine a few of them, starting today with chain of custody and inspection protocols.

EVIDENT VS CONCEALED DAMAGE

In many cases when artworks are damaged in transit the cause of the damage is clear and matches up to corresponding damage seen on the exterior of boxes or crates. Boxes arrive with a corner crushed or with punctures, crates show evidence of forklift tine intrusion, seams or tops have popped, wood feet have come off etc. These are basic signs of possible mishandling enroute. These “exceptions” are noted on the carrier’s paperwork on arrival, and the damage is assumed henceforth to have occurred in the custody of that carrier who last received the packages in good condition. This is similar to the chain of custody used in police and forensic work. Once received the compromised package is then unpacked in a documented process with photos taken and witnesses at hand; if there is actual damage then to the artwork within, the insurer of record is contacted and the claims process begins. Sad, but at least there is financial recovery possible through insurance.

CONCEALED DAMAGE WAIVER

In the case of the Feuerman sculpture however, there appears to have been no obvious damage to the exterior of the crate. Upon opening the crate however the sculpture was found to be destroyed beyond repair. In shipping terms this situation is called “concealed damage”. Many types of insurance carry a disclaimer or waiver for concealed damage where the goods have been packed by the shipper and are uninspected by the carrier or insuring agent. If the airline had provided insurance, it likely carried such a waiver and so would not respond to a claim under these circumstances. This makes sense, logically, as they would have no way of knowing what was in the crate or its condition prior to taking custody. Big gray area there.

CHAIN OF INSPECTED CUSTODY

While there was a clear chain of custody for handling of the crate, there was no inspection of the artwork itself each time the crate changed hands. The crate apparently left custody of an overseas art handler, was shipped via air freight, handled at Newark airport, then trucked all the way to a receiving warehouse in Miami where it was put away until inspection at a later date by the art handler who was to deliver it to the exhibition. Hence a mammoth gray area i.e. when and where did the damage occur? And who is liable under these conditions?

YOU BROKE IT, YOU PAY, RIGHT? WRONG.

In shipping liability comes down to insurance and specifically, declared value. It doesn’t matter if the airline broke the sculpture if they did not insure it. They are responsible only for what is essentially salvage value unless insurance was purchased and a value declared. In fact most airlines and other freight companies do not insure original fine art. They are protected in their paperwork, signed at the time of shipping, from liability for damage caused in transit where they have not insured the goods. There are always nuances in insurance, and it is true that such an airline might have liability if they can be shown guilty of extreme negligence. If, for example. they left the crate at the wrong address or at a closed dock, or left it out in the rain. But so long as they performed the contracted service i.e. moved the crate from point A to point B according to the terms established with the booking party, they generally have limited liability. Hey, these are freight guys; they are paid to move freight and they moved the freight. Whadda ya want?

IN TRANSIT VS STATIONARY — not as simple as it sounds.

Next in line is the artist’s own policy, which states she can collect $100,000 maximum in transit and $400,000 maximum if the artwork was “stationary.” Oh boy, the attorneys are going to have fun with this one. Stationary usually means in storage, not being moved, in a stable and protected environment. Technically a shipment that has arrived at a warehouse along the way, but which has not yet been delivered to its final destination, is considered IN TRANSIT. Even if it isn’t being moved for a period of time. Under our fine arts all risk policy, in transit status can exist for up to 90 days. Gray area anyone?

Could this situation have been avoided? We’ll take a look at some possible remedies in a future post. In the meantime our sympathies to everyone involved; it is always awful to lose an artwork, period

Betsy Dorfman / FINE ART SHIPPING