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| | ICEFAT
Newsletter #4 | |
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"DON'T UNDERESTIMATE
OUR LEVELS OF EXPERIENCE AND PROFESSIONALISM"
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News talks to Anna Hayes, Senior Exhibitions Registrar at Art Gallery of New South
Wales, Australia, about fine art transports down under. |
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| | Anna
Hayes, Senior Exhibitions Registrar at Art Gallery of New South Wales with her
colleagues at the AGNSW registration staff. From left Emma Smith, Senior Collections
Registrar, Anna Hayes, Senior Exhibitions Registrar, Peter Duggan, Assistant Collections
Registrar, Charlotte Davy, Exhibitions Registrar and Charlotte Cox, Assistant
Exhibitions Registrar
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| | What
are the typical aspects of fine art shipping to and from Australia? Arranging
exhibitions and loans from Australia involves substantial foresight and careful
planning. It is a complex and relatively expensive business to ship such long
distances, so courier and shipment consolidation is vital for the success of our
exhibitions. Because of this our registrars will often work directly with the
lending institution rather than through the nominated freight agent.
As
there are few direct cargo flights into the major Australian cities transshipping
is frequently a hallmark of our shipments. Transshipping is often an area of concern
of lenders to Australia. We therefore must rely on agents professionalism and
experience during these stopovers.
At the Art Gallery of New South Wales
we are very lucky to have an extraordinary state indemnity scheme called the NSW
Treasury Managed Fund. It is a self insurance scheme that pools the contributions
from member agencies and is managed by the GIO for the NSW State Treasury. It
provides a comprehensive cover that can include war and terrorism risks. Other
Australian museums also have access to other state and national indemnity schemes.
What
are the problems getting people to agree to loans? Is it because of the distance
between Australia and Europe/USA? The distance between Australia
and the main museums in the Northern Hemisphere is certainly a challenge when
negotiating sensitive loans. However, we are blessed with a charismatic director
who has the ability to either directly inspire museums to lend or to bring together
a powerful committee to negotiate loans on our behalf. Furthermore our unspoiled
record of caring for rare and valuable loans ensures that our loan requests are
looked upon favorably.
The
conditions in Australia regarding transports, security, distances? The
major Australian art freight companies are highly experienced and have air-ride,
climate controlled trucks. These trucks are equipped with GPS Tracking and have
a registered sleeping cabin for distances that take more than a day to complete.
The climate controlled facility is used on all journeys containing valuable art
work.
Shipments are usually accompanied by a courier overseeing the long
journey between major cities. For example, the distance from Sydney to Melbourne
is approximately 1,000km whilst the distance from Sydney to Perth is about 4,000km.
For
valuable shipments we can contract security escorts to accompany the trucks to
their destination.
The Art Gallery of New South Wales is equipped with
the highest level of electronic security systems as well as 24hours security guards.
What
kind of exhibitions are most common to borrow from abroad? About
6 years ago the AGNSW made a commitment to focus on creating our own exhibitions
and to not rely on picking up touring shows. We wanted to raise the quality and
relevance of the shows we offered our audiences. It was a fantastic challenge
and the results have been impressive. Recent exhibitions have been: Classic Cezanne,
Buddha and Papunya Tula. However, we do also borrow significant touring exhibitions
such as the Dead Sea Scrolls.
Your
personal advice to museums and transporters who want to work with Australian museums
and exhibitors.. My advice to other museums and transports would
be to not underestimate our levels of experience and professionalism, and to always
feel free to ask us for any information you may require.
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