The Asia Society is a multi-discipline, nonpartisan, nonprofit educational institution with offices in Hong Kong, Houston, Korea, Los Angeles, Manila, Melbourne, Mumbai, San Francisco, Shanghai, Washington DC and the headquarters in New York. Their mission is to “prepare Asians and Americans for a shared future.”

We sat down in the Society’s sunny ‘Garden Court’ for lunch and to discuss the insights on international loans that Clare has gained over the past 9 years of working at the Asia Society.  

Clare McGowan at the Asia Society, New York

What countries or regions do you have the most experience arranging international loans from?

Australia, Europe, and of course, Asia. Within Asia, most of our major shows have been from China, India and Japan.

What was the most straightforward country to make arrangements from?

Thailand, but it was a contemporary exhibition, which can be easier, since there are often fewer permits and licenses involved in the export and import, when compared to shipping antiquities.

What is something you learned early on that has been invaluable?

Start as early as possible. Especially as far as making contacts and finding out who is, and needs to be, involved. Get a grasp of the bureaucratic process as early as possible.

How does your institution’s multi-geographical approach (the Asia Society has centers all over the US and Asia) affect how you go about procuring loans; does it help you at all?

Our presence in Asia is definitely a help. The Asia Society name is recognized in many of the major cities in Asia. Our policy and business programming—which is the main activity of most of our centers—provides us with access to consulates and representatives all over Asia. While anyone can look up the current ambassadors to these countries, our activities within the region provide us with an added point of entrée, which is helpful.

Tell me about your current projects and the challenges these present.

We are working on a major exhibition titled Ancient Art of Vietnam by independent curator Nancy Tingley. This will be one of the few exhibitions of its kind to ever leave Vietnam, and will include stone sculpture, porcelain and metalwork. These objects rarely leave the country and many will be seen in the United States for the first time. We have been working closely with the Ministry of Culture to coordinate this project. Since we don’t have a Vietnamese Ministry of Culture here in the U.S., it is a challenge, but we have been able to coordinate directly with the Vietnamese officials. This show has involved over 10 years of planning, which gives you an idea of how long something like this can take.

Do you ever feel embroiled in politics in trying to move a show, perhaps because of controversial subject matter or artists? How does this affect your exhibitions and loans and what do you do to resolve it?

Generally because of our classification as a non-governmental, non-partisan, private museum we are protected from a lot of that. We try to be sensitive to issues that do exist around certain subject matter.

It is more or less impossible to work within a geopolitical context without coming up against conflict. But we don’t shy away from subjects because they are provocative issues. Part of our purpose is to educate and present multiple sides of an idea. Art and Culture is at the center, which helps create a safe context.

What kinds of cultural differences have created the biggest challenges for you?

It’s not so much a question of cultural differences. To me these are practical concerns. I would say communication and timing are the biggest challenges. You need to be aware of a different set of holidays, for example, and details as simple as whether your international counterparts leave the fax machine on at night or not. You also need to know how to address those with whom you are communicating. You must do your homework here. There are a variety of people you will work with on an international exhibition, and you need to be aware of the differences between addressing and communicating with a curator versus a minister versus an ambassador. The idea of protocol is not hugely American so it isn’t always natural for us.

What resources do you tap into when you hit a roadblock?

Our agents are key, and that goes beyond standard fine art services. I have lots of examples where my local agents have helped coordinate communication with lenders that are hard to reach, with processing permits, locating photographers, finding conservators, all kind of things outside of the standard shipping services that you expect.

Also, we always make sure to be in touch with our diplomatic offices in each country, even if it’s not entirely necessary for the process. If something gets tied up in bureaucratic red tape, they can be an immense help.

Did I miss anything or do you want to add any final thoughts?

I advise people to take advantage of colleagues who have done similar projects, even if they were in a different country but the same region - it can be really helpful to hear about their experiences. They can also provide moral support, which can be important when faced with the often challenging and complicated experience that the international loans process can be.

And never discount the importance of asking questions. Do your research and know the culture of the people you will be communicating with. Use all the resources you have!

As the saying goes: “Plan for the worst, but hope for the best!”

By Nicole Bouchard
Crozier Fine Art