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Deaccessioning is the process by which a work of art or other object is permanently removed from a museum's collection to sell it or otherwise dispose of it. [1] [2] [3]
The process undertaken by a museum to deaccession a work involves several steps that are usually laid out in a museum's collection management policy. The terms under which an object may be considered for removal, as well as the individuals with the authority to approve the process are outlined in the deaccession section of this article. [4] Additionally, this section lays out the legal restrictions and ethical considerations associated with removal of the object and the types of disposal that are appropriate based on the reason for the deaccession.
Each museum establishes its own method and workflow for the deaccession process according to its organizational structure. However all object deaccessioning involves the two processing steps of deaccession and disposal. [5] [6]
The process begins with the curator creating a document called a "statement of justification", which outlines their decision criteria and reasoning for presenting the work as a possible deaccession. To determine if a work should be deaccessioned from a museum's collection, a curator or registrar completes and documents a series of justification steps and then present their findings to the museum director and governing board for final approval. [5]
There are a number of reasons why deaccessioning might be considered. The following is a typical list of criteria for deaccession and disposal: [1]
The typical steps that need to be taken to justify the deaccession and disposal of the work include: [5] [6]
Disposal is defined as the transfer of ownership by the museum after a work has been deaccessioned. Following approval of deaccession from the governing board and/or the CEO/museum director, the work is disposed of and the title of ownership is completely transferred away from the museum or terminated. The method chosen is determined by the physical condition of the work, the intrinsic value or cultural value of the work and extrinsic value or monetary value of the work. With all methods of disposal, museums are charged to maintain and retain all records of the object, its deaccession and disposal.
The process of disposal is completed through the following methods: [4] [5]
Several professional museum associations have drafted codes of ethics governing the practice of deaccession. Two majors areas of ethical concern that are common in these codes of ethics are the prohibition of sale or transfer of collection items to museum trustees, staff, board members, or their relatives and the need to restrict the use of proceeds from any works disposed of via sale or auction. [7]
The first of these ethical concerns is rather straightforward. The second has become a point of contention in recent years since museums and cities, like Detroit, have been struggling with financial shortfalls.
According to the Association of Art Museum Directors: "Funds received from the disposal of a deaccessioned work shall not be used for operations or capital expenses. Such funds, including any earnings and appreciation thereon, may be used only for the acquisition of works in a manner consistent with the museum's policy on the use of restricted acquisition funds." [1] This stipulation was relaxed in April 2020 due to the COVID-19 pandemic and its negative impact on museum revenues, permitting some degree of deaccession through 2022 to "support the direct care of the museum's collection". [8] [9]
According to the American Association of Museums: "Proceeds from the sale of nonliving collections are to be used consistent with the established standards of the museum's discipline, but in no event shall they be used for anything other than acquisition or direct care of collections." [10]
According to the AASLH (the American Association for State and Local History): "Collections shall not be deaccessioned or disposed of in order to provide financial support for institutional operations, facilities maintenance, or any reason other than the preservation or acquisition of collections." [11]
According to the International Council of Museums: Proceeds should be applied solely to the purchase of additions to museum collections. [12]
These associations have each determined to their own degree that all proceeds from sale or auction should be restricted to the future acquisition of collection objects and/ or to the ongoing maintenance of current collection holdings. Their decision and perspective on the practice of deaccession reflects a long-term view of museum collections as items held in public trust and preserved for access, appreciation, education, and enjoyment of not only today's public but the future public. See public trust doctrine .
An example of a recent controversy over deaccessioning was Northampton Museum and Art Gallery's sale of its ancient Egyptian statue of Sekhemka to an unnamed buyer despite protests from local residents and the Egyptian government. In 2014, Arts Council England deleted the museum from its accredited list. [13]
Deaccessioning is a controversial topic and activity, with diverging opinions from artists, arts professionals and the general public. [14] Some commentators, such as Donn Zaretsky of The Art Law Blog critique the notion of "the public trust" and argue that deaccessioning rules should probably be thrown out altogether. [15] Others, such as Susan Taylor, director of the New Orleans Museum of Art and the AAMD's current president, believes that proceeds from the sale or funds from the deaccession can only be used to buy other works of art. [16]
In 2017, the children of Norman Rockwell sued the Berkshire Museum in an attempt to block the deaccessioning of their father's artworks. [17] In 2023 the heirs of Hedwig Stern filed a lawsuit concerning Vincent Van Gogh's Oliver Pickers which was deaccessioned and sold to the Basil & Elise Goulandris Foundation in Athens without a complete provenance. [18] Also in 2023 a court in Indiana dismissed a lawsuit challenging the proposed sale of three works of art by Valparaiso University. [19]
The Metropolitan Museum of Art, colloquially referred to as the Met, is an encyclopedic art museum in New York City. By floor area, it is the fourth-largest museum in the world and the largest art museum in the Americas. With 5.36 million visitors in 2023, it is the most-visited museum in the United States and the fifth-most visited art museum in the world.
A museum is an institution dedicated to displaying and/or preserving culturally or scientifically significant objects. Many museums have exhibitions of these objects on public display, and some have private collections that are used by researchers and specialists. Museums host a much wider range of objects than a library, and usually focus on a specific theme, such as the arts, science, natural history or local history. Public museums that host exhibitions and interactive demonstrations are often tourist attractions, and many attract large numbers of visitors from outside their host country, with the most visited museums in the world attracting millions of visitors annually.
The Buffalo AKG Art Museum, formerly known as the Albright–Knox Art Gallery, is an art museum in Buffalo, New York, United States, in Delaware Park. The museum was expanded beginning in 2021, and re-opened in June 2023.
Mary "Mimi" Gates is an American art historian who is the recent director of the Seattle Art Museum. In 1996, she married Bill Gates Sr., the father of Bill Gates.
A museum is distinguished by a collection of often unique objects that forms the core of its activities for exhibitions, education, research, etc. This differentiates it from an archive or library, where the contents may be more paper-based, replaceable and less exhibition oriented, or a private collection of art formed by an individual, family or institution that may grant no public access. A museum normally has a collecting policy for new acquisitions, so only objects in certain categories and of a certain quality are accepted into the collection. The process by which an object is formally included in the collection is called accessioning and each object is given a unique accession number.
Repatriation is the return of the cultural property, often referring to ancient or looted art, to their country of origin or former owners.
The Everson Museum of Art in Downtown Syracuse, New York, is a major Central New York museum focusing on American art.
The Association of Art Museum Directors (AAMD) is an organization of art museum directors from the United States, Canada, and Mexico.
Fay-Cooper Cole was a professor of anthropology and founder of the anthropology department at the University of Chicago; he was a student of Franz Boas. Some argue that he, most famously, was a witness for the defense for John Scopes at the Scopes Trial. Cole also played a central role in planning the anthropology exhibits for the 1933 Century of Progress World's Fair. He was elected a Member of the American Philosophical Society in 1941.
Art museums in the United States and the United Kingdom have been hit especially hard by the 2008–2012 global recession. Dwindling endowments from wealthy patrons forced some museums to make difficult and controversial decisions to deaccession artwork from their collections to gain funds, or in the case of the Rose Art Museum, to close the institution and sell the entire collection.
The Association on American Indian Affairs is a nonprofit human rights charity located in Rockville, Maryland. Founded in 1922, it is dedicated to protecting the rights of Native Americans.
The Robert S. Peabody Institute of Archaeology, formerly known as the Robert S. Peabody Museum of Archaeology, is a learning center and archaeological collection in Andover, Massachusetts. Founded in 1901 through a bequest from Robert Singleton Peabody, 1857 Phillips Academy alumnus, the institute initially held the archaeological materials collected by Peabody from Native American cultures. Peabody's passionate interest in archaeology led him to create the institute at Phillips Academy to encourage young people's interest in the sciences, and to foster respect and appreciation for the Native American peoples who have inhabited that hemisphere for thousands of years.
Artemis and the Stag is an early Roman Imperial or Hellenistic bronze sculpture of the ancient Greek goddess Artemis. In June 2007 the Albright-Knox Art Gallery placed the statue into auction; it fetched $28.6 million, the highest sale price of any sculpture at the time.
Collections management involves the development, storage, and preservation of cultural property, as well as objects of contemporary culture in museums, libraries, archives and private collections. The primary goal of collections management is to meet the needs of the individual collector or collecting institution's mission statement, while also ensuring the long-term safety and sustainability of the cultural objects within the collector's care. Collections management, which consists primarily of the administrative responsibilities associated with collection development, is closely related to collections care, which is the physical preservation of cultural heritage. The professionals most influenced by collections management include collection managers, registrars, and archivists.
A museum/library/archival registrar is responsible for implementing policies and procedures that relate to caring for collections of cultural institutions like archives, libraries, and museums. These policies are found in the museum's collections policy, the guiding tenet of the museum explaining why the institution is in operation, dictating the museum's professional standards regarding the objects left in its care. Registrars focus on sections that include acquisitions, loans, exhibitions, deaccessions, storage, packing and shipping, security of objects in transit, insurance policies, and risk management.
Weeding, also sometimes referred to as deaccession, is systematically removing resources from a library based on selected criteria. It is the opposite of selecting material for incorporation, though the selection and de-selection of material often involve the same thought process. Weeding is a vital process for an active collection because it ensures it stays current, relevant, and in good condition. Weeding should be continuous. Educating the staff with workshops and presentations on collection quality, maintenance, and the importance and positive benefits of weeding the collection are important components for a library to consider.
"Found in collection" (FIC) is a term used by a museum to refer to "undocumented objects that remain without status after all attempts to reconcile them to existing records of permanent collection and loan objects are completed". Despite the best efforts of museum staff, museums often have FIC items. This term was developed so that collections with incomplete provenance would be handled ethically and with transparency. Depending on the paperwork and information accompanying the material, the museum has several choices in how to proceed.
The documentation of cultural property is a critical aspect of collections care. As stewards of cultural property, museums collect and preserve not only objects but the research and documentation connected to those objects, in order to more effectively care for them. Documenting cultural heritage is a collaborative effort. Essentially, registrars, collection managers, conservators, and curators all contribute to the task of recording and preserving information regarding collections. There are two main types of documentation museums are responsible for: records generated in the registration process—accessions, loans, inventories, etc. and information regarding research on objects and their historical significance. Properly maintaining both types of documentation is vital to preserving cultural heritage.
The exhibition of cultural property is a practice used by organizations where collected objects are put on display to the public. The objects are carefully chosen and placed together to offer educational value, and often to tell a story.
In early 2023, Valparaiso University in Valparaiso, Indiana, U.S., under the leadership of president José Padilla, announced that it had decided to sell three paintings in its collection to fund dormitory renovations. The proposed sale of three paintings—Mountain Landscape by Frederic Edwin Church, The Silver Veil and the Golden Gate (1914) by Childe Hassam, and Rust Red Hills (1930) by Georgia O'Keeffe—sparked fierce opposition, including protests from faculty and students, and from Richard H. W. Brauer, founder and director of the university's Brauer Museum of Art where the paintings were exhibited.
{{cite web}}: CS1 maint: archived copy as title (link) Accessed November 14, 2015. 
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