Honey, where’s the Hockney?
June 17th, 2009
The most recent and local controversy over museums de-accessioning artworks involves a decision by the Orange County Museum of Art to sell multiple artworks to a private collector. Having learned of this transaction only after the fact, the Laguna Art Museum lodged a protest, upset that they were not offered an opportunity to acquire the artworks in advance of the offer to a private citizen.
Without knowing the details, and having a working relationship with both museums, we have no interest in taking sides, except to say that hopefully the new owner of these artworks will see fit to lend them early and often. As is obvious the basic difference between works held so-called publicly, in museums, and those held privately, does often come down to a matter of access. But there are museums who hold art off public view and, likewise, some private lenders whose artworks are out on loan more often than not. Some lenders loan freely, some sparingly, and some grudgingly. In 25 plus years of dealing with lenders and borrowing institutions we have pretty much seen it all. We thought you might enjoy a peek into this process which is not as cut and dried as you might suppose.
In some cases purchasers of high end artworks agree to loan the work to bona fide requestors as a part of the acquisition process. In other cases no guidelines apply and it is simply up to the borrowing institution to contact owners of prospective works and convince them to participate. Such convincing can be a simple phone call or a long process involving delicate negotiations over many weeks or months. Luckily, that’s not our turf. If these efforts are successful a loan agreement is drafted which sets forth various stipulations such as term of the loan, conditions of transport, insurance, etc. We generally come into the picture once the loan agreements are in place; we receive an inventory of artworks and a corresponding list of lenders. It is our responsibility to contact the lenders to arrange packing and transport to the exhibition venue. On paper, this is all very organized. In real life, not so much.
Hi, this is FINE ART SHIPPING and we’d like to arrange a date this week to pickup the Prestigious Artwork which you are kindly lending to the Prestigious Museum Exhibition next month. Hello ? Hello?
Some lenders, having agreed to the transaction some time ago, change their mind or, let’s say, their enthusiasm diminishes once the reality of giving up the artwork becomes apparent through our phone call. We leave messages, they don’t call back. Or they do call back, and claim the loan agreement is faulty in some way. More delay. Or, the artwork it turns out has been taken to their ranch in Montana, and the caretaker can only be reached there on alternate Thursdays by meeting him in town at the feed store. Where there’s a lack of will there’s no way.
Other lenders could not be more helpful, but experience separation anxiety once our art handlers actually arrive to collect the piece. In one case, a lender actually cried, seeing the bare space left on the wall where her favorite “child” had lately hung. We moved another favorite over from an adjoining room to compensate, calming her down and making the room livable again. At the other extreme, we’ve shown up only to be waved into the living room with an offhanded “take whatever it was you came for…” as the housekeeper or spouse went on with more pressing business.
I once had the personal trainer of a lender who was out of town sit me down at a table and go over every comma in the loan agreement, occasioning many calls back and forth to the museum representative, before “Hans” would release the piece. We were supposed to wrap the painting, but I was so fearful Hans the Inquisitor would change his mind that I simply picked it up “naked” and carried it out through the lobby. The (by now new) security officer on the desk apparently had no problem with a person he had never seen before carrying a valuable painting off into the sunset.
Then there are the occasional lenders who try to get our crews to do extra work, tacitly or even not so subtly expecting that such activity will be billed to the borrower or organizer of the exhibition. Take the artwork off the wall? Sure. Put another painting quickly in it’s place? Reasonable, if essentially a switch of like sizes. Bring the two heavy framed antique mirrors and the chandelier in from the garage and install them “so the room will look nice again”? I don’t think so. Upon return from exhibition, some lenders see this as a chance to re-position all the art in a room or to have us unpack and install a few new paintings that have arrived in the meantime. Generally this works out, and lenders are able to separate (and be willing to pay for) services beyond what is included in their agreement with the borrowing institution. Sometimes the institution agrees to pay even for quite outlandish “extras” based on the deep pocket status of the benefactor in question. Basically, “do whatever they want and try to get the hell out of there” is the instruction, delivered with a sigh. Every art handler has stories of moving the refrigerator out to the pool house, or switching dressers in upstairs bedrooms, all in the normal course of putting a 20 x 20″ framed artwork back on the wall in the den. Lenders have to be made happy, on this the art world depends.
Betsy Dorfman
Tags: artworks, benefactor, borrowing institution, de-accessioning artworks, exhibition venue, high end artworks, install, Laguna Art Museum, lender, lenders, list of lenders, loan, loan agreement, museum representative, museums, on loan, Orange County Museum of Art, Packing, private collector, public view, separation anxiety, transport, valuable painting
June 27th, 2009 at 12:18 am
Honey, where’s the Hockney?…
The most recent and local controversy over museums de-accessioning artworks involves a decision by the Orange County Museum of Art to sell multiple artworks to a private collector….
February 18th, 2010 at 2:54 pm
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