Last Thursday, 39 boxes were returned from an exhibition at the Loveland Museum.
The question and lesson arises, What is your job as the artist when receiving work back from an exhibition?
Several of the exterior boxes were dented, crushed and damaged as mentioned in the previous post.
Step 1. Remove the exterior shipping boxes. What a mess! Peanuts everywhere! That took four hours for two people. (Eight total work hours.)
Step 2. All the damaged exterior shipping boxes were saved in case a claims agent needs to see them. The boxes in good condition were collapsed and put away. Peanuts stored.
Before sending work to the Loveland Museum, the condition of all work was exaimined. Registrars at museums are really "picky" about this. Scratches, dents and imperfections were noted on the Condition Report. I made photocopies of my Condition Reports and mailed the originals to the museum along with the work.
The museum should have sent a copy of the Condition Reports noting the condition of the work upon arrival -- and again before it was returned. Each step in this process is an effort to document the condition of the work.
The purpose of the Condition Report is to document the condition of your work:
- when it leaves your studio;
- at each exhibition location (if it is in a traveling exhibition);
- when it is packed to be returned
- and when it arrives back at your studio.
This Condition Report establishes a clear expectation about how you want your work to be handled.
I made a photocopy of my Condition Reports filled out before the work was shipped to the Loveland Museum. Now begins the tedious task of cleaning and checking each piece.
At least with a thorough Condition Report, you can make a Claim for Damaged Work if it is ever necessary.