This has been a very interesting project. If I had heard the words ‘Collection policy review’ in the past before knowing what it meant in the present, I might have guessed that it had something to do with either culinary pursuits or the justice system. Before this class began, I made frequent mental notes reminding myself that I needed to dig in early. “Make certain,” I told myself several times “that you do not get behind.” As well-intentioned as these mental notes were, there were some things I did not anticipate such as getting ill (which is rare for me), though I certainly anticipated my job sponging up copious amounts of time, which is to be expected. And to my chagrin, I found myself asking for yet another deadline extension which I am not ungrateful for.
But there is certainly a bright side! I was finally able to get my hands on a collections policy copy! Before this development (during a stretch of several weeks), I telephoned and wrote numerous emails in an effort to get a collections policy. The fact that I live overseas was an added complication and challenge to overcome. I had not been able to get a copy of a collections policy from any institution I wrote. Even when I mentioned in the titles of my emails that I was interested in donating to certain museums I still got no response.
I would not have minded donating a small sum to a museum for model railroading, or a museum that houses the Spruce Goose. I was sure this subsequent tactic would help me get noticed and assist me in acquiring a copy of their respective collection policies. But, surprisingly, no. A few days ago, in frustration (after I had received no word from the institutions I had written to) I went on Duckduckgo and typed in “collections policy copy,” and one of the results was the collection policy of some institution/museum called, at first, what I though was MET, but was actually the Metropolitan Museum of Art (MMA) in New York City. Well, here at last was a collection policy! Initially, I did not realize what a mammoth institution the Metropolitan Museum of Art in New York City was, and I would say that, as far as my memory serves me, it might even rival the British Museum.
I found the collections policy of the MMA to be very sensible. I would say that they covered their bases very well and of course I will be expanding on this soon. Their opening statement is certainly lucid, admirable and relevant.
“The Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the city of
New York, for the purpose of establishing and maintaining in said city a museum and library of
art, of encouraging and developing the study of the fine arts, and the application of arts to
manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to
that end, of furnishing popular instruction."
I could certainly say that the MMA is a collections-based institution. This is significant for several reasons. If it was not a collections-based institution, then their collection policy itself (19 pages) would not need to be as lengthy as it is. Also, it would probably mean that the museum in question, whether because of finances, space or human capital had no foreseeable plans to expand. In terms of their collection, this is not true of the MMA. In the collection policy there is a section called “Purchas Procedures,” and this of course adds finality to the truthful assertion that MMA is a collections-based museum. It makes me wonder if there are many museums that are not based on continual collecting, but I can investigate that later. Considering that the opening statement was written in the 1870’s, it has weathered well in terms of what it conveys in today’s English.
The collection policy upon a first and second reading does not seem amiss when stating and agreeing with the aim of the institutional mission. (This statement is reconfirmed in this italic tail-end edit/insert.) It truly does advance the general knowledge of kindred subjects. I have stated that the opening statement has weathered well. It is possible that others might not see it this way, and this could reflect my love of etymology in that archaic lingo does not strike me as abnormal but rather, in a classical sense, it rubs me in a style reminiscent of past values and scruples that are lacking in today’s world.
The MMA is an art Museum, and I spent some time on YouTube watching video tours of this extensive museum. I was surprised that an art Museum could be so broad in terms of what was considered art. In one of the initial lobbies was a large, sitting statue of the Egyptian Pharoah, Amenemhet II. I began to suspect that my understanding of what constituted both art and the fine arts might be narrow. The MMA seemed more akin to a general history museum than an art museum, but perhaps this musing could be termed a technicality at this point. There was a lot of interesting history there and I now have a reason to visit NYC.
The MMA collections policy has conscientiously amassed a bullwork of insurance ramparts against the MMA being sued, being taken advantage of, being cheated, being manipulated, being hoodwinked, getting the shorter end of the stick, losing money, being stuck with forgeries and many other downturns of what might otherwise be called fate...to the disinterests of the museum. There does not seem to be a chink in their armor that would be opportunists might espy for their own coffers or interests, whether those persons work for the museum or not. This could certainly be placed under the strengths category.
As to the weakness category, the first item that came to mind was that, for a collections policy that was last revisited by the board of trustees and stakeholders in May of 2023, there did not seem to be much of a word on recent digital or technological advances. In the video that I saw, aside from digital screens every once in a while, I could not detect a great amount of digital renovation that the contemporary patron might harmonize with. As to placement and space between the exhibits, as well as good taste in relation to what was, and should be a promenade from one area to another, I felt that I could not improve on it at all. I was impressed, informed and appreciative of the museum's style and sense of what worked.
The de-accession policies were sensible and to the museum’s distinct advantage. If the museum had paid a hefty price exceeding $50,000 then the item in question would not be permitted to be de-accessioned for the next 25 years. If it was my decision and the museum paid $50,000, I would specify that the period should be 50 years. The inventory of the offsite works of art, in whatever curatable department, is specified to be reviewed by that department every year. There is not a lot of space given to de-accessioning, but what is there is straightforward and concise.
As to object loans policies, the variety of loans fall into several classes as stated by the collection policy and are divided up according to the situation under which the loan is considered along with the stipulation of who must approve the loans whether to a person non-associated with the museum or someone working for or connected with the museum. Some pivotal considerations for whether the loan is approved would be duration, conditions, insurance and indemnity. Ironclad is an adjective that could, in many respects, describe MMA’s collection policy.
Regarding the opening statement and the alignment of the policies to the institutional mission, I have not seen any egregious or mild disaffection between what the MMA has conveyed in their mission statement and the collection policies discussed thus far. I mentioned earlier that the collections policy seemed to me to be on the longer side, but I am second guessing this observation (and second guessing second guessing) because having gone over the collections policy for MMA several times, I have encountered no word on preservation regarding any works of art, the museum’s efforts at restoration or how they store different types of items and artifacts. There was a brief mention of items that were stored in a facility offsite, but no further information was provided on that point. It was conspicuous by its absence in the collection policy, and I have not been able to come up with a good reason as to why though I have theories.
I am not certain, but this might perhaps be because issues of this sort are less under the auspices of the collections policies and more closely linked with how to engage patrons and stakeholders. There does not seem to be any mention of procedural documentation and I don’t know why. Also, there does not seem to be any mention of hands on or interactive learning, though perhaps, if I had watched more of the recent video tour of the MMA on youtube, I might have seen something of this nature.
It would seem to me that more interactive displays, and hands on learning might be suggested or put to good use for the sake of the different learning styles in the diversity of stakeholders and patrons who visit the museum. I am becoming less certain as to if I should expect to see this in the collections policy. Diversity of learning styles would be a good strategy. As a teacher, I have tried to incorporate activities that capitalize on the different learning strengths of different students whether they are visual, auditory or kinesthetic learners, and a museum could benefit from this kind of strategy. This would be a good step towards meeting the needs of today's museum audience and interactive displays and hands-on learning are relevant aspects of this. Should they be included in the collections policy? I am still mulling this over.
While I observed quite a bit in the video that I saw regarding the MMA, I must reassert that I could not improve on any of the museum environments that I saw in the video. It was inviting, uncluttered and had the natural and preplanned tendency of guiding patrons from one exhibit to another and one room to another. And I could say of the collection policy that it flowed well too, from one topic to another, though again, there were some topics I thought to see covered that were not. Like the museum itself, the policy did not depart from the opening statement regarding its mission, and the providing of many finer details in the policy was on the same tune as the overall policy.
I would say that the adequacy of the collection policy, while not addressing some points that may or may not belong in a collection policy, such as methods for engaging patrons, was holistic in the sense of informing patrons and stakeholders of just how and in what manner the museum would handle its collection. This point was not in question and the museum is indeed worthy of praise and commendation regarding this. I would say the application of principles and theories is well expressed in the collections policy. I have learned so much in such a short period of time. Whether or not I work in a museum, I believe that I will remember what I have learned, and it would be interesting, some day to have the chance to see what I have learned put into action.
Sources:
Ambrose, Tim, 1993, Museum Basics, ICOM in conjunction with Routledge, London, New York, https://archive.org/details/museumbasics0000ambr/page/12/mode/2up?view=theater
