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Collection Management Policy

¹ú²ú¶ÌÊÓƵ Contemporary Art Museum

A. Introduction

This Collection Management Policy establishes guidelines and procedures for the acquisition, deaccession, preservation and general use of the art collections of the University of South Florida (USF). These guidelines specifically address art held as Foundation Collection (FC), State of Florida Collection (SC), the Florida Board of Education (B.O.E.), and Board of Trustees (B.O.T.). The ¹ú²ú¶ÌÊÓƵ Contemporary Art Museum (CAM, or Museum) is authorized by the ¹ú²ú¶ÌÊÓƵ to provide oversight in regard to the acquisition, deaccession, preservation and general use of the art collections of the ¹ú²ú¶ÌÊÓƵ. CAM will manage these collections consistent with all policies and procedures established within this document. The authority and responsibility for implementing the policies in this document shall rest with the Director of CAM. The fiduciary responsibility for the works held as FC, SC, B.O.E., and B.O.T. shall rest with the ¹ú²ú¶ÌÊÓƵFoundation, State of Florida, the Florida Board of Education, and the Board of Trustees respectively.

B. Mission Statement

It is the concerted mission of the ¹ú²ú¶ÌÊÓƵ Contemporary Art Museum to achieve a bold, creative environment for the enrichment and intellectual growth of students, faculty of the University (on the Tampa and regional campuses), the Tampa Bay community and beyond. The Contemporary Art Museum provides opportunities for innovative and experimental teaching and research. The Contemporary Art Museum will expand, house, manage, preserve, conserve, and exhibit the University's art collections. The Contemporary Art Museum initiates and develops interdisciplinary programs in keeping with its mission. The Contemporary Art Museum provides the leadership for public art projects and major acquisitions of art on the ¹ú²ú¶ÌÊÓƵcampuses and catalogues, manages, and oversees their care and preservation.

The ¹ú²ú¶ÌÊÓƵContemporary Art Museum maintains and manages a representative collection of contemporary art. The collecting philosophy is to build on the areas of the collection's established strength of contemporary graphics, works on paper, sculpture multiples, and photography.

A teaching collection of objects representing various aspects of a culturally diversified history of art are also maintained and developed.

C. Management of the ¹ú²ú¶ÌÊÓƵCollection

1. Function of the ¹ú²ú¶ÌÊÓƵCAM Art Collection Advisory Committee

The Art Collection Advisory Committee will be the screening committee for all new acquisitions, both purchases and gifts, to the ¹ú²ú¶ÌÊÓƵContemporary Art Museum collection. The committee will also review and recommend the deaccessioning and disposition of works of art already in the collection.

2. Authority

The Art Collection Advisory Committee will review proposed accession and disposition of works of art to make recommendations to the Director of CAM. The Director of CAM shall have final authority on all matters relating to acquisitions and collections management. The Art Collection Advisory Committee must review and approve all works to be deaccessioned. Authority for deaccessioning and disposal of works of art from the ¹ú²ú¶ÌÊÓƵArt Collection will follow the procedure outlined under deaccessioning (D) in this document. Objects to be deaccessioned held in the ¹ú²ú¶ÌÊÓƵFoundation Collection must be approved by the Executive Director of the Foundation. Objects to be deaccessioned held as State property will be sold or traded as outlined by Florida Statute Section 240.52 (page 7) (Florida Statue 1006.58 effective 01/07/03). The President of the University must approve deaccession of artworks valued over $10,000.00. The Director will forward the minutes and recommendations of the Art Advisory Collection Committee together with his/her decision to the Dean of the College of Design, Art & Performance.

3. Composition and Method of Appointment of the Art Collection Advisory Committee

The Art Collection Advisory Committee shall have eight members who shall serve a three-year term—with the exception of the Director of the School of Art and Art History, who shall serve on an ongoing basis. The committee members' terms will be staggered. Members may be reappointed after a one-year lapse, providing that there is a vacancy on the committee.

The Curator of Collections (Curator) will work with the Director of CAM to call meetings and prepare the agenda. In addition, the Curator will serve as the Chair for the Art Collection Advisory Committee meetings.

• Director of the School of Art and Art History—continuing appointment.
• Three faculty from the College of Design, Art & Performance—appointed by the Dean of the College of Design, Art & Performance (recommended two faculty serve from the School of Art and Art History, including one studio artist and one art historian).
• Two faculty from the College of Arts and Sciences—appointed by the Dean of Arts and Sciences.
• Two community representatives, knowledgeable in the visual arts—appointed by the Director of the ¹ú²ú¶ÌÊÓƵContemporary Art Museum.
• If gifts or purchases are proposed for one of the other ¹ú²ú¶ÌÊÓƵcampuses—two faculty members shall be appointed by the Dean and/or Vice President of said campus to vote on proposed gifts, purchases, or proposed objects for accessioning or deaccessioning from said campus.

D. Acquisition of Objects and Accession of Objects

1. Criteria

Any works proposed as donations accepted as a permanent addition to the CAM collection should be of the highest aesthetic standard and therefore reflect positively on USF's commitment to the arts. Works that are regarded as having sufficient quality and of significance to some area in the teaching program will be considered for acquisition even if they are not in the major area of collecting as identified above. In addition, the following factors will be taken into consideration:

• Does the object fill a gap in the collection
• Does the object contribute to the understanding or appreciation of other objects in the collection
• Does the object possess potential for research and scholarship
• Is the object desired for long-term display or exhibition purposes
• Is the object representative of traveling exhibitions presented at CAM
• Is the object's condition such that it can be preserved properly by CAM
• Does CAM have adequate facilities for storing the work

It is the policy of CAM not to accept gifts encumbered with imposed conditions or which intellectual property rights restrict, unless the property rights may be obtained or the object has an intrinsic value which benefits the collection on a greater scholarly level, and does not violate said rights.

Artworks offered by living donors will not be acquisitioned into the collection for the expressed purpose of selling, exchanging, or disposal. Should a bequest be declined for acquisition, CAM may request that the work be sold and the proceeds given to purchase a work more in keeping with mission of the Museum. The University may offer to accept the work as an office accessory, without accessioning it into the permanent collections (See J. Non-Accessioned objects). The donor must be notified in writing of the conditions under which a gift is accepted. Artworks may be accepted as property to be liquidated, if the donor is notified.

2. Method

The ¹ú²ú¶ÌÊÓƵContemporary Art Museum may acquire new works for the collection by gift, bequest, purchase, transfer, or exchange. It is the responsibility of the ¹ú²ú¶ÌÊÓƵContemporary Art Museum Director to refer proposed gifts to the curatorial staff for initial review and recommendation, and then to the Art Collection Advisory Committee for their review and recommendations.

a. Gifts and Bequests

In the case of a bequest, the representative of the estate may contact CAM through the Museum Director. When contacted about a bequest, CAM should coordinate its disposition of the bequest with the Art Collection Advisory Committee.

The ¹ú²ú¶ÌÊÓƵContemporary Art Museum will generally accept only unrestricted gifts. In rare circumstances, CAM may accept a gift or bequest with conditions attached. However, under no circumstances will the Museum agree to conditions requiring the retention or display of the work in perpetuity. Any conditions attached to a gift or bequest must be approved by CAM Director, CAM Curator of Collections, and the Art Collection Advisory Committee. CAM will request that each donor execute a confirmation of gift form, which will help provide documentation of transfer and/or any conditional circumstances.

It is the policy of CAM not to make appraisals of donated or bequeathed works, but rather to suggest the names of two or more outside appraisers deemed competent to make the appraisal. The appraisal will be made at the donors' expense. Donors will be alerted that the burden is on her/him to justify the appraised value. If the donor will not be requesting tax credit, then this general policy may be waived or modified with the advise of the Art Collection Advisory Committee. The Director and the Art Collection Advisory Committee will coordinate with the ¹ú²ú¶ÌÊÓƵFoundation to follow all procedures for gifts and bequests to the University.

b. Purchases

Funds for the purchase of works may be derived from annual state funds allocated by the University, Art in State Building Program, from contributions to the ¹ú²ú¶ÌÊÓƵFoundation, sale of gifts not accessioned into the collection, or from proceeds realized through the sale of works deaccessioned from the collection. All proceeds realized through the sale of works deaccessioned from the collection will be used for collection development.

A purchase agreement or invoice must contain an affirmation of title by the vendor and establish what rights, including copyrights, are being transferred with the work by the vendor to CAM. The Director of CAM may authorize purchases of $5,000.00 or less after consultation with curatorial staff.

c. Transfers and Exchanges

Items acquired through transfer or exchanges are treated in the same manner as gifts and bequests.

3. Accessioning Procedures

The following procedures will be observed:

• When appropriate, the temporary loan status of the proposed acquisition will be closed and insurance for that period canceled.
• Official acknowledgment will be made for gifts, and necessary papers for purchases will be processed through the ¹ú²ú¶ÌÊÓƵContemporary Art Museum's Curator of Collections.
• Accession numbers will be assigned chronologically according to the date of accession, and a collection catalogue will be maintained to serve as an accession record.
• The Curator of Collections will maintain Accession files (see "Records" below), including a record of the object's location.
• A catalogue worksheet will be completed and maintained in the accession files. Selected catalogue documentation information will be entered in the Curator of Collection's files.
• The artwork will be photographed, a copy of the photograph will be placed in the accession files, and a slide of the work will be placed in the Collection's slide files.
• Artworks purchased with Foundation funds, or presented as a gift will be maintained as Foundation property.
• Artwork purchased with State of Florida funds will be maintained as State University property.

The ¹ú²ú¶ÌÊÓƵContemporary Art Museum accession records will include all original appraisals, condition reports, movement history, memoranda, correspondence, invoices, transfer of rights documents, deeds of gift, photographs, biographical information on the artist, and other documents vital to the object's provenance. All original papers must be retained in the accession file. The accession record will be considered the permanent record for the object.

The Curator of Collections will maintain the scholarly record in the form of an open-ended research file for the object. The Registrar will investigate provenance, attribution, dates, current value, and references.

a. Objects Found in the Collection

Objects that are found in the collection and have not been formally accessioned into the collection shall be registered as extended loans until such a time as they can be accessioned into the collection. The Registrar shall maintain files of these objects, following the same criteria as if they were accessioned objects. The legal owner shall be contacted, when possible, to determine the standing of the object as an acquisition candidate, denied accession, long term loan, or a non-accessioned gift to CAM.

E. Deaccessioning

1. Authority

Deaccessioning shall be defined in this statement as the formal adjustment of records to reflect the removal of a work of art from the collection. Disposal shall be defined as the manner in which ownership of an object is transferred from the University to another entity, i.e., by sale, transfer, or exchange. Authority and decision-making for deaccessioning and disposal of works is summarized as follows:

• All recommendations of artwork to be deaccessioned from the ¹ú²ú¶ÌÊÓƵArt Collections (Foundation and State of Florida collections) will come before the Art Collection Advisory Committee.T
• The Art Collection Advisory Committee will pursue the most beneficial avenue to disposal of artworks from the collection -- the Curator of Collections may act on behalf of the Art Collection Advisory Committee to accomplish this.
• All appropriate procedures for deaccessioning the State collection property will be followed with coordination by the Director of University Purchasing.
• All artwork deaccessioned from the Foundation collection will be reviewed and approved by the Executive Director of the Foundation.
• When gifts are accepted by the ¹ú²ú¶ÌÊÓƵFoundation, they will be held in the collection for a minimum of two years after accessioning.
• The President of the University must approve deaccession recommendations valued at $10,000 or more.

2. Criteria 

Objects in the ¹ú²ú¶ÌÊÓƵArt collection will be retained if they continue to be relevant and useful to the purposes and activities of CAM, and if they can be properly stored, preserved, and used. Deaccessioning of objects may be considered when these conditions no longer prevail or in the interest of refinement of the collection for CAM purposes and activities.

The curatorial staff and the Director may conduct periodic reviews of the collection to determine whether objects should be considered for deaccessioning, with the following concerns:

• CAM's ability to continue to properly preserve or care for said object.
• The extent to which said object may, in the context of the collection, be redundant, unnecessarily duplicative, or of inferior quality.
• The extent to which the disposition of said object may, whether by exchange or through the use of proceeds derived from its sale, permit CAM to upgrade, refine, or fill gaps in the collection.
• Whether said object has been found to have been incorrectly documented, described, and/or be a forgery.
• Whether the said object falls under the scope of works protected by the UNIDROIT Convention of 1995 (see #4, below), in which case said artwork shall be returned to the proper authority.
• Whether works are consistent with CAM's scope and mandate to collect. Works that are not of a contemporary nature, are not relevant to the understanding of contemporary art, or that are outside of the Museum's collecting goals, may be considered appropriate for deaccessioning.

Before any works are proposed for deaccessioning, determination will be made as to any restrictions that inhibit its removal from the collection.

3. Procedures

A written appraisal is required by a qualified, disinterested third party for each proposed deaccession, as follows:

• At least one appraisal for objects estimated by the ¹ú²ú¶ÌÊÓƵContemporary Art Museum Director to have a value of less than $1,000.00
• At least two such appraisals for objects estimated by the Director at a value of $1,000.00 to $50,000.00, inclusive.
• At least three such appraisals for objects estimated by the Director to have a value over $50,000.00

If the object was originally received as a gift, and the donor is still living at the time of deaccession recommendation, that donor as a matter of courtesy (when possible), shall be advised of the Museum's decision to deaccession the work.

A statement listing the works proposed for deaccessioning, explaining why the works are no longer needed for the collection shall be prepared for submission to those having authority to approve deaccessioning (as described in section D.1, above). This statement will also propose the method to be used in disposing of each object. Methods of disposal may include public auction, exchange with another public institution, or private sale, as recommended by CAM Director and the Art Collection Advisory Committee. Disposal of deaccessioned objects from the State collection must be made in accordance with Florida Statutes.

All proceeds from the sale of artworks will be used following the Florida Statute Section 240.52 (Florida Statue 1006.58 effective 01/07/03). "The Universities of the State University System may sell any art, art history, or natural history object in their museum or gallery collections if the university determines that it is no longer appropriate for the collection. The proceeds of the sale shall be deposited in the Acquisition, Restoration, and Conservation Trust Fund or other appropriate trust fund of the university. Each State University museum or gallery shall function entirely separate from every other State University System or gallery. The universities of the State University System also may exchange any art, art history, or natural history object which the university museums or galleries judge is of equivalent or greater value to their museums or galleries."

"No employees, representative, or agent of a university shall receive a commission, fee, or financial benefit in connection with the sale or exchange of a work of art, art history, or natural history, nor may he (she) be a business associate of any individual, firm, or organization involved in the sale or exchange."

"Each university may establish an acquisition, restoration, and conservation trust fund or utilize an appropriate existing trust fund."

"The president of each university may delegate the following authority to the museum or gallery directors and governing bodies of the museums or galleries:

• To enter into contracts for the restoration or purchase of art, art history, or natural history objects, with or without competitive bidding, as appropriate.
• To sell art, art history, or natural history objects in museum or the gallery collections, the proceeds of which shall be deposited in the acquisition, restoration, and conservation trust fund or other appropriate existing trust fund.
• To exchange art, art history, or natural history objects of equal or greater value with any other university in the State University System."

New objects acquired through the deaccessioning and disposal of works will be credited with the original donor or testator's generosity.

No deaccessioned object may be disposed of through sale or gift to any employee, commissioner, or officer of either the museum or of the University, nor may the disposal of any object be to the personal benefit of such an individual.

4. The Returning of Artwork

To avoid complications in legal and/or ethical problems which may arise when and/or if a donor or third party has just and reasonable cause to request a transfer of ownership of objects from the ¹ú²ú¶ÌÊÓƵContemporary Art Museum, the following criteria shall be reviewed to see if such a request is warranted:

a. Reasons for returning artwork:

• The donor did not have legal ownership and rights to transfer ownership.
• Ownership of the artwork may bring about questions of self-dealing.
• The artwork was not formally accessioned into the collection, but was assumed to be a part of the collection as "objects found in the collection" (See Accessioning Procedures, above).

b. Compliance with the UNIDROIT Convention of 1995:

• The artwork is protected by the UNIDROIT Convention of 1995.
• The work was/is religious artifact protected by international law or the UNIDROIT Convention of 1995.
• Work was stolen from an agency that was either a museum or internationally protected by the UNIDROIT Convention of 1995.

If the request to transfer ownership is valid and one or more of above criteria are applicable, the Director will present these findings to the Curator of Collections and the Art Collection Advisory Committee, who will give their recommendations to the Director of the ¹ú²ú¶ÌÊÓƵContemporary Art Museum. The Director will have final say as to how, why, and when such transfers will occur.

This policy will be included in the Gift In Kind form, and the donor will be made aware of these policies at the time of the donation.

This policy shall be retroactive in concerns to all works within the collection of CAM throughout its entire history and shall affect all art and artifacts owned or possessed by the ¹ú²ú¶ÌÊÓƵContemporary Art Museum.

5. Records

The Curator of Collections of the ¹ú²ú¶ÌÊÓƵContemporary Art Museum shall maintain records on all deaccessioned objects. The file shall contain papers regarding the deaccessioning of the object as well as all original accession papers. A photograph and/or slide of all deaccessioned objects shall be retained in the file. If there is no photograph or slide available, the work must be photographed before it is deaccessioned. All records maintained by the Curator will remain open to researchers and scholars as well as to the general public, unless the Art Collection Advisory Committee has approved a restriction.

F. Loans

The ¹ú²ú¶ÌÊÓƵContemporary Art Museum considers it a responsibility to loan artwork to worthwhile exhibitions to the extent its resources permit. CAM will make the final determination of the viability of the loan based on a consideration of issues of safety of a work during travel and the ability of a borrower to meet its obligations for the care of the work while on loan.

Restricted Artwork: The classification of "Restricted" artwork includes work that has been selected as generally not available for loan, based on the following guidelines: fragility, uniqueness, difficulty of display and/or travel, and aggressive value. Restricted artworks are reserved for research and display at the ¹ú²ú¶ÌÊÓƵContemporary Art Museum. Restricted pieces may be displayed and/or loaned with an authorized exception from the Director of CAM and/or the Curator of Collections.

1. Outgoing Loans—Museum Loans

All loan requests should begin with a written request from the borrower to CAM Director; the Curator will then review the request. If CAM has not previously lent to the borrower, the borrower will be asked to provide a facilities report describing the borrower's building construction and accessibility, environmental controls, security arrangements, and staffing. If the loan is requested for a touring exhibition, CAM curatorial staff will review facilities reports from all institutions on the tour.

The Curator will make recommendations on the suitability of the loan and note any special concerns or restrictions that should be placed upon it. The Director shall make final approval of all loans.

When a loan has been approved, the Curator shall be responsible for the implementation of the loan, including completion of necessary loan agreements, effecting insurance coverage, and arrangement of packing and shipping. A loan number will be assigned, files established and indexes made. The Curator will be responsible for maintaining all necessary contact with the borrower to assure that all loan agreement requirements are in compliance. CAM may not make indefinite or "permanent" loans. All loans from CAM will be for a specific period of time, not to exceed one year in duration. At the end of the loan period, the loan may be reviewed and then, at the Curator's discretion, be renewed for an additional period not to exceed one year.

 2. Loan of Exhibitions—Touring Exhibitions

When lending an entire exhibition to other institutions, CAM will take every precaution to assure the safest possible handling and care. The Curator's considerations as to the plausibility of a traveling exhibition are much the same as those for lending an individual work from CAM permanent collection: the facilities of the borrower, the duration of the loan, and the condition of the works. In some instances it may be specified that a CAM staff member must be on hand during the exhibition's installation and de-installation at various exhibition venues.

A written agreement prepared by CAM and executed by the borrowing institution shall set forth the terms governing the loans of the exhibition, including participation fees, dates, transportation, insurance, and special requirements for handling and display. Condition report books will travel with the exhibition, and the borrower will be asked to report immediately to the Curator any damage or change in condition of the works in the exhibition. The Curator will submit any insurance claim information and/or authorize repairs after making contact with the lender. The Curator will notify the responsible financial officer(s) of any significant decrease in value resulting from an object's change in condition.

The Registrar will coordinate and monitor packing and shipping arrangements throughout the tour and at the time of dispersal. The Curator will act as liaison for all communications during the tour with the lenders of the works in the exhibition. (See Incoming Loans, below, for further procedures in handling individual works of art.)

3. Art Bank Exhibition Loans—¹ú²ú¶ÌÊÓƵCampuses

The Art Bank program was developed to promote public accessibility of objects in the collections and to enhance the public's appreciation of contemporary art throughout the University. Loans are arranged through either the Curator of Collections or the Registrar. Campus Art Bank Loans will generally not include original art works or selections from the permanent collection, except in highly secured and environmentally controlled areas. The available inventory subject to borrowing shall consist of posters, offset lithographs, and surplus inventory borrowed from Graphicstudio and managed by CAM.

Monetary exchange is for the cost of labor to install, to frame, to maintain art works, and the processing of loan agreements and related registration of materials. All loans from CAM will be for a specific period of time, not to exceed one year in duration. CAM may not make indefinite or "permanent" loans. At the end of the loan period, the loan may be reviewed and may then, at the Curator's discretion, be renewed for another period not to exceed one year. Exhibitions of art works are subject to the following conditions:

• Approval by the Curator of Collections and the Registrar that the object is suitable for travel and exhibition (see E. Loans a. Restricted Artwork, above), and are not required for other Museum purposes during the period of loan.
• Review by the Curator of Collections and/or Registrar of the space(s) in which an exhibition installation is to be considered, environmental conditions of the site, and approval of measures for the care and security of the works of art.
• Complete documentation in the registration files of the loan, precise location of objects, and executed loan forms.
• All objects are identified by label indicating title, artist, medium, and collection status.

The transportation and installation of works of art for exhibitions are conducted by CAM preparators or professional art handlers retained by the Museum for these purposes. Once installed, no work may be handled or moved except by Museum authorized personnel.

4. Art Bank Exhibition Loans—Corporate Public Spaces

Loans of art works from the collection are made to corporate members/sponsors of the Museum through the ¹ú²ú¶ÌÊÓƵCorporate Art Bank Program. Through corporate sponsorship of the Museum, corporations have the privilege of participating in the Art Bank Exhibition Program. The art loan option of the program was developed to promote public accessibility of objects in the collections and to enhance the public's appreciation of contemporary art.

Exhibition loans will be arranged through the Director or the Curator of Collections and must comply with the following conditions:

• Approval by the Curator of Collections and the Registrar that the object is suitable for travel and exhibition (see E. Loans a. Restricted Artwork, above), and are not required for other Museum purposes during the period of loan.
• Review by the Curator of Collections and/or Registrar of the space(s) in which an exhibition installation is to be considered, environmental conditions of the site, and approval of measures for the care and security of the works of art.
• Complete documentation in the registration files of the loan, precise location of objects, and executed loan forms.
• All objects will be identified by label indicating title, artist, medium, and collection status.

Loans arranged through the Corporate Art Bank Exhibition Program will be monitored by the Curator of Collections. No single period of loan shall extend beyond one-year duration. Upon return of objects from exhibition, their condition is reviewed, with any change in condition being reported to the Registrar. The transportation and installation of works of art will be conducted by CAM preparators or professional art handlers retained by the Museum for these purposes. Once installed, no work may be handled or moved except by authorized CAM personnel.

5. Incoming Loans

Works of art come into CAM for a variety of reasons, including individual display in the galleries, special exhibitions, offers of gifts, study, photography and attribution. Incoming loans may be from private individuals, museums, commercial galleries, and public and private institutions. CAM considers any work placed in its custody at its request for any length of time to be a loan.

Generally, the Curator or the Director initiates incoming loans. All such works must be recorded as either temporary loans (six months or less) or long-term loans (more than six months, but not to exceed three years). The lender and CAM must agree upon insurance coverage, method of shipment and any special requirements before the work is received by the Museum. Temporary loans will be provided insurance coverage as available through the university insurance policy. In the case of long-term loans, insurance coverage will be maintained by university insurance policy; the Curator and the lender will sign a loan agreement specifying insurance and other requirements.

Except for those instances when a lender delivers an object to CAM, CAM staff must make all arrangements to transport the work to the Museum, and in most cases CAM will assume the cost of necessary packing and shipping.

A condition report will be completed when the work arrives at CAM and again before it leaves. A loan number—either temporary or long-term—will be assigned, a receipt will be sent and a file established for all loans. Loan numbers designate the year in which the loan was made and the number of the loan within that year, or by exhibition number and objects within said exhibition. CAM staff will perform regular monitoring of the loans.

If an art object not requested by CAM is left on the premises and not reclaimed, an attempt will be made to contact the owner and determine the object's status. If the owner cannot be contacted or is unknown, CAM shall consult with the Art Collection Advisory Committee concerning the disposition of the object. After these procedures have been followed the object will be considered an "object found in the collection" (see Accessioning Procedures, D. 3a. above).

The Curator must be notified immediately of all works of art personally owned by staff members that are brought onto Museum premises. (Staff members are cautioned to refer to the ¹ú²ú¶ÌÊÓƵStandards of Conduct and the AAM Code of Ethics with regard to personal collecting.) The Registrar shall keep a current file on all such works of art. CAM does not insure such works unless the Director grants an exception in writing upon determining that the presence of such a work at CAM provides a special benefit to the Museum.

6. ¹ú²ú¶ÌÊÓƵContemporary Art Museum Exhibition of Collection Objects

Curatorial offices will be responsible for compiling a list of works and lenders for each exhibition organized by CAM. These offices prepare the initial correspondence with each potential lender and send to each a loan agreement that has been prepared by the curatorial office, accompanied by a letter signed by CAM Director giving full details of the exhibition.

Loan agreements are returned to the Curator, which will then act as a liaison and conduct further correspondence or communications with lenders. The Curator will maintain copies of all loan forms and correspondence.

7. Art In State Buildings Program

The Art In State Buildings Program shall be managed and maintained by the Director of Public Art under the auspices of CAM and the ¹ú²ú¶ÌÊÓƵ. All aspects of the Art In State Buildings Program shall comply with standards set forth by the Florida Arts Council in accordance to Florida Statute 255.043 (Chapter 95-235, Laws of Florida).

G. Care of Collections

The ¹ú²ú¶ÌÊÓƵContemporary Art Museum considers the care of the collections to include not only the preservation and protection of its works but also the maintenance of the full range of records and inventories of its holdings. The daily management of these responsibilities will be conducted by the Curator of Collections, the Registrar (if there is no one person as Registrar, the Curator will conduct the duties of Registrar), preparators, and the Director.

Objects on display in public galleries will be safeguarded by patrolling guards, a smoke detection system, and an alarm system connected to a central security office. Other highly valued objects will have special security devices. It will be the Exhibit Supervisor's responsibility to monitor environmental conditions affecting objects--relative humidity, temperature, light, vermin, and air pollutants.

Daily inspections, of works of art on display, will be made in addition to the weekly gallery check by a member of CAM professional staff. The organization of these gallery inspections will be managed by the Chief of Security for the ¹ú²ú¶ÌÊÓƵContemporary Art Museum and by the Director. Any problems or dramatic changes in condition will be brought to the attention of the Curator who will contact appropriate personnel to take necessary action. During hours when the Museum is closed, objects both in the public galleries and the storage areas will be monitored by electronic security alarms.
The Registrar shall be responsible for storage of works of art in the CAM collection. Whenever feasible and physically possible, temperature, humidity, and light levels in storage areas, as well as in public galleries, shall be maintained at levels which are safe and appropriate to the objects located there.

Artwork in CAM collections will be moved within the Museum with prior approval by the Curator. A properly trained staff member of the ¹ú²ú¶ÌÊÓƵContemporary Art Museum will move and/or supervise the movement of a work of art.

If a collection object is missing, and theft, or vandalism is suspected, the University Police Department and CAM Director shall be notified immediately. The Curator of Collections will notify the responsible financial officer(s) of the theft or vandalism. It is the responsibility of the Curator to provide any written documentation requested. It will be the responsibility of CAM's Chief of Security to plan for the security of artworks while galleries are being changed or remodeled and during the installation and dismantling of temporary exhibitions. The plan may require review by the University Police Department and additional security surveillance by the security staff.

H. Access to Collection Objects and Records

The teaching mission of the Contemporary Art Museum is reflected in the "open stack" access to the University's art collection. Faculty, students, visiting scholars, and curators from all disciplines are encouraged to use the collection as part of academic course work as well as for research projects. It shall be CAM policy to make works in the university's collection accessible for viewing or study, whenever feasible. Advance appointments are required for works in storage, and a staff member must accompany the visitor in collection storage. Access to an object may not in some instances be possible, if storage conditions do not allow for visitors or viewing.

I. Insurance

The ¹ú²ú¶ÌÊÓƵContemporary Art Museum will normally insure works lent by others while such works are on CAM premises or in transit (see Section D4 Incoming Loans, above). Works of art that are insured will be recorded as loans to the ¹ú²ú¶ÌÊÓƵContemporary Art Museum. CAM insurance coverage statements are included on all loan agreements. Works left at the CAM not at the Museum's request will not be insured. CAM will not insure university property while on its own premises.

Works from CAM collection that are borrowed by other institutions will be insured at the borrower's own expense or through the ¹ú²ú¶ÌÊÓƵ's policy. Works in touring exhibitions lent by CAM to other institutions (see Section E3, above) will normally be insured by the organizing institution.

All damage or losses must be reported promptly to CAM Curator. All insurance claims will be settled through ¹ú²ú¶ÌÊÓƵCAM and ¹ú²ú¶ÌÊÓƵFoundation Inc. The owner of a loaned work of art damaged while at CAM will be contacted for appropriate authorization before any repairs are made.

Possible deviations from these procedures that might be considered in the best interest of CAM may be suggested by the Curator and approved by CAM Director.

CAM Chief of Security controls access to the collection storage area. The Guard is responsible for making routine safety checks during hours when the Museum is closed. During operating hours entrance to the storage area may be sought by contacting the curatorial staff.

Related to access of objects, is the accessibility of collection records. The files maintained in the Office of the Curator are for the use of scholars, students, visitors, and the general public. Although most official documents in the accession files are considered public information, a curatorial staff member will be responsible for monitoring access to the records and for responding to inquiries made in person and by other communications concerning the collection. Accession files may be charged out only to staff members under prescribed controls. Photocopies of file records may be obtained with a modest charge for expenses of copying.

J. Non-Accessioned Objects

Certain objects may be acquired by CAM not for its permanent collection of artworks, but for other purposes, as gallery or exhibition accessories, office furnishings or for educational use. Objects donated to the collection and not accepted, and objects donated to the Museum not meant for accessioning, fall under this category. Although these objects will not be accessioned, CAM Registrar shall account for these items by assigning a control number and record of the location.

When no longer required for Museum purposes, such an object may, at the discretion of CAM Director, be sold, transferred to another institution, given to a non-profit organization, or destroyed. The Registrar shall retain a written record of each object so removed, with the reason for removal, and the method of disposal.

K. Inventories

The ¹ú²ú¶ÌÊÓƵContemporary Art Museum shall follow university policy in conducting inventories of art. CAM considers inventories, either in whole or in part of the collection, to be an ongoing responsibility inherent in the management of the collections. These inventories shall be used in part to establish a long-term plan for the development of the collection. The Registrar will be responsible for conducting inventories and keeping current accurate information on the location of all works of art.

L. Changes to Policy and Procedures

Policy and Procedural changes will be addressed in a timely organized fashion.

• A formal report on the changes requested will be presented to:
  • Director of the Museum
  • Associate Director of the Museum
  • Curator of Collections
• The report will be evaluated for viability in regard to budget, personnel needed, and benefit to the collection.
• Accepted changes in Policy and Procedure will be assigned to the appropriate department in charge of the aspects included, where a schedule of implementation will be initiated.

The Collection Management Policy shall be reviewed and updated every five years, by the Curator of Collections. This update shall undergo the same procedure as "Changes to Policy and Procedure" (above).

M. Compliance

The ¹ú²ú¶ÌÊÓƵContemporary Art Museum Curator of Collections is responsible for monitoring compliance with the provisions of this Collections Management Policy. The Curator of Collections shall further be responsible for preparing annual and other reports for the ¹ú²ú¶ÌÊÓƵContemporary Art Museum Director, College of Design, Art & Performance Dean, and others as may be required in conjunction with this policy.

N. Document History

Curator of the Collections, Michelle Juristo, originally drafted the Collections Management Policy in 1989. CAM Director Margaret Miller approved the document that same year. In 1996 the acting CAM Registrar Yrik-Max Valentonis provided oversight for the first revision. Curator of the Collections, Peter Foe, with contributions from CAM Registrar Devon Larsen, drafted the second revision, dated 2002.