Changing environmental guidelines for museums

I have been chairing a taskforce for AICCM (Australian Institute for the Conservation of Cultural Material) for the last eighteen months on changing guidelines for environmental conditions for museums. We’ve collated a pile of material on what is happening around Australia and in the world in this most interesting space. It is driven by a combination of rising energy costs (as much as 70% of museum expenses post salaries are spent on energy, most of it running climate control systems), reducing budgets and the need to be and to be seen to be environmentally conscious.


The opportunity for using these circumstances to relax the tight parameters that are currently stipulated for the display and storage of museum collections (typically 20 degrees C +/- 10% and 50% RH +/- 10% ) is being welcomed by some conservators and regarded with suspicion by others. The reality is that only a few types of materials really require these tight levels and we have ended up in a position where they are stipulated as a blanket condition for all collections. But as for coming up with new guidelines around potentially more relaxed conditions, in reality we can only move in Australia as fast as the rest of the world. As a net borrower of artworks and objects we must provide exhibition space that accords with international environmental parameters.

So it is very good news to have at last the UK’s latest thinking on these issues just published in the British Standards Institute’s PAS ( Publically Available Specification) 198 – Specification for environmental conditions for cultural collections.

Whilst these new specifications do not lay down the final rules on the new parameters (that will come in the British Standard) what they are saying is:

• Collecting institutions need to acknowledge that attempts to establish a universal safe zone has resulted in unsafe conditions for atypical collections and unsustainable use of energy
• The new parameters will not be narrowly prescriptive and will allow an acceptable degree of deterioration/loss
• They will take into account the use of energy to maintain the collection environment
• They will require decision making on environmental parameters to consider energy usage data, expected usage of collection items, and include a risk assessment
• They will include as integral to the package of environmental parameters acceptable levels of light and pollution

We are busy writing the first draft of the AICCM Guidelines right now and hope to have them widely promulgated by the end of the year. We have even submitted them to the MAGNA Sustainability Project Awards at this year’s Museums Australia conference in Perth.

I will keep you posted as to when these are publically available.

Julian Bickersteth
Managing Director
internationalconservationservices

Google matters

A quick note on the fast moving world of Google and particularly how it impacts on the museum world.

I blogged on Google Art in March and April - a new initiative that involves providing 'street views' of the contents of 17 of the great art galleries around the world, and high resolution images of selected artworks.

Google Goggles is a visual recognition app that has been around since 2009. It is like the music recognition app Shazam, except it does it visually rather than by audio. It has focused on two areas to date namely architecturally recognisable buildings and wine labels. The former I could understand, but why the latter had taken the fancy of the folks at Google was not entirely clear – apparently there are enough wine connoisseurs out there who want to photograph a wine label and find out whether the bottle is worth $10 or $100.

However, the application of using a visual search engine activated not by putting in key phrases but by taking a picture with your smartphone has been begging to be applied to artworks, and finally Google has announced they have teamed up with the Getty to "Goggles-enable" (don’t you love the phraseology!) their permanent collection. Read all about it in the LA Times.

How it works is that you take a picture of any of the Getty paintings during your visit and instantly access information about the painting. You can also hear commentary from artists, curators and conservators on the works of art themselves.

The Getty has been trialing ways in which they can provide more information to visitors than fits on a wall label for some years. They pioneered the so-called ‘Getty Guides’, a mp3 player format that provided an advance on the audio guide concept by including images, but it was not found to be taken up with much enthusiasm by visitors.

The bigger picture is whether we are moving to a label free world in museums, as MONA in Tasmania is pioneering (see my blog). My view is that we shall never dispense with the label but the opportunities that smartphones in particular are providing for seriously enriching access to information on what is being viewed are only going to multiply.

Julian Bickersteth
Managing Director
internationalconservationservices

Connectedness and museums

We are inundated with information on how the digital world is changing our lives on almost a weekly basis, and one of the issues I struggle with is making sense in a practical way of what we hear and read, i.e. what these changes mean in our professional lives working in museums.

So it is good to report on two interesting documents which have appeared in the last week which provide some hard data to help cut through what it all means.

The first is a report from the Pew Foundation of Washington DC. I blogged about their presentation to Museums and the Web in April, and this is a useful update on internet use. What they have found from their most recent survey is that:

• 79% of US adults now use the internet.
• 47% of US adults use at least one social networking site (SNS), which is 59% of those who use the internet. This is close to double those using a SNS in 2008.
• The average age of SNS users is now 38, up from 33 in 2008, with over half SNS users over 35.
• 92% of SNS users are on Facebook, 29% on MySpace, 18% used LinkedIn and 13% Twitter (up from 8% a year before).

The second report, which ties in well with this has been produced by the Australia Council. Entitled Connecting://arts audiences online it is a most useful survey of how new technology and platforms are making connecting and engaging with the arts quicker, easier and more open. No surprises there, nor the ability of this technology to enrich the experience, but what I was looking for was up take of this technology. For instance Twitter may appear to be prevalent as a SNS but Pew tells us only 13% of SNS users in the US are engaged with it.

So what I usefully learnt about the Australian online scene is as follows:

• Half arts audiences have an internet engaged phone and this is growing fast
• 64% of arts attendees aged 55 and over actively use Facebook
• 90% of arts organisations have a Facebook presence and 69% had made a wall post in the last week
• Although 25% of arts audiences have used Twitter, half no longer use their account
• One in three arts attendees are going on line and engaging with others DURING an arts experience
• 34% shared photos, audio or video after the event

What do I take from all of this?

Social media provides a new way for audiences to express their affinity for the arts. Arts audiences want to engage with the event before, during and after it to extend, relive and remember the event. Such behaviour is spontaneous amongst younger audiences but needs prompting amongst older audiences.

Museum web sites need to easily link to social media, both to provide a functional means to reach their social media presence, but more importantly to respond to a comment often made during this survey that simply seeing key social media brand logos on an organisation’s web site immediately gives it street cred.

I am doing lots of work with apps and visit tracking at present through our technology company Smarttrack RFID (see the latest announcement), and in my view we are already beyond just producing apps that provide a guide to the exhibit or museum.

Apps now need to allow users to share the experience and interact with the exhibit. This is a world where we need to encourage SNS use big time, as it has the potential to draw a demographic into the museum which is currently not well represented. Whilst I hesitate to draw parallels with the new SNS view on classical concerts (listeners being allowed to photo and tweet during performances), the upside for engagement with artworks, objects and exhibits is enormous and so exciting.

Julian Bickersteth
Managing Director
internationalconservationservices

The free entry debate

I had dinner last week with senior staff from the Natural History Museum in London, here in Australia for the opening of the new Scott exhibition at the Australian National Maritime Museum. Do make time to visit it if you are in Sydney until October or catch it after that in London at NMH or mid next year in Christchurch at the Canterbury Museum. And spare a thought for our colleagues at the latter museum, who had just finished getting straight after the February 22nd earthquake when another one struck last week and took them almost literally back to square one again.
But coming back to NMH, they have a nice problem of over crowding. At weekends and on public holidays they can have as many as 22,000 visitors a day and that is significantly compromising the quality of the visit. Overall numbers grew by 10% last year taking them over the 3 million visitors a year mark , and fourth in the UK museum popularity stakes behind the British Museum, Tate Modern and the National Gallery. So their focus is now on how to fill the Museum on quieter days and also ensure the quality of the visit is maintained. Bear in mind that all National museums in the UK are still free entry, despite political murmurings of doing away with this.

Meanwhile on the other side of the Atlantic, achieving growth in visitor numbers is taxing senior museum executives, with numbers either plateauing or sliding at most major museums. One significant difference is that they are almost without exception ticketed entry institutions. The Met may still be the third most visited museum on the planet (after the Louvre (8.5m) and the BM (5.8m) at 5.2 m visitors per annum), but they have decided they need to raise the entrance fee on July 1st from $20 to $25.

That is causing some interesting debate as reported in the NY Times last week. Perhaps the most interesting are: a) whether public museums have a moral obligation like libraries to be free, i.e. should the public have to pay to see what belongs to them and b) how should an entrance fee compare in value to say a cinema ticket or a meal.

No one has a definitive answer to these issues, but there is little doubt that the acres of treasures at the Met remain good value for hours of edutainment even at $25. The bigger consideration is whether the rise is going to discourage lower income visitors, and indeed whether the price hike is in fact a way of limiting over crowding. The Met says very much not and points out quite validly that the entry fee is only recommended, and voluntary. Either way it is going to be interesting to watch their visitor numbers.

Julian Bickersteth
Managing Director
internationalconservationservices

Sydney Ice Bear in perspective

It has been a phenomenal week, with the Sydney Ice Bear’s impact being much greater than we ever thought possible.

To recap, we craned it into position at 2.30am last Friday morning:

Started carving at 7.30am:

And completed carving at 12.30pm that day:

Each night it has been complemented by the Vivid Festival’s illumination of Customs House, seen well on this 360 degree image of the ice bear in the middle of the Customs House forecourt.

Then on Sunday as the ice bear started melting we had a public rally at which Katie Noonan performed:

Followed by an ice carving masterclass on Monday:

The story has gone round the world from the Times of India to Xinhua Newsagency - see the clip here.

I am still trying to digest how we have achieved so much media and public attention, but it appears to be a mix of the incredibly power of this art installation and the skill of the media and marketing company Momentum2.

Catch it if you can before it leaves Customs House on Saturday.

Julian Bickersteth
Managing Director
internationalconservationservices

The Sydney Ice Bear is arriving tomorrow

The Sydney Ice Bear is finally about to happen tomorrow, Friday June 3rd! I first came across this wonderful project in late 2009 when my sculptor friend Mark Coreth was developing it for the Copenhagen Climate Summit in December of that year. It ended up being the centrepiece of the WWF exhibit there and seemed to be the back drop to almost every news story from the Summit. Thence to Trafalgar Square in London, and Toronto, Montréal and Manchester.

Mark’s concept, drawn from watching polar bears in the wild in Canada, was to create an ice sculpture that people could touch, thus allowing them to metaphorically touch the Arctic, feel the problem of climate change, and be inspired to become part of the solution. So tomorrow a block of ice, weighing 9 tonnes and containing frozen in it the bronze skeleton of a polar bear, will be placed in Customs House Square in Sydney. From 7am Mark and his team will carve it into the shape of a polar bear, which will take about 4 hours.

With the inconclusive result of Copenhagen, the heart went out of the climate change debate, and getting funding for such a project proved nigh impossible in Australia. So it’s been fantastic to have found the wholehearted support of Rob Purves and the Purves Environmental Fund to make this happen. Rob has been tireless in his efforts to promote this project, working with Momentum2 to raise funds off the back of it for WWF- Australia, 1millionwomen and the Australian Youth Climate Coalition. It’s a complete eye opener how this world of not-for profit fund raising around environmental issues works, I can tell you!

Tomorrow I’ll post some pictures of the bear arriving and being carved.

But for today check out this promo the National Geographic have done for us, and if you are in Sydney do come on down to see the Sydney Ice Bear at Customs House.

Julian Bickersteth
Managing Director
internationalconservationservices

That pesky issue of deaccessioning

I see I have not mentioned the word deaccessioning in this blog for at least 18 months, but the issues that I wrote about then just keep on coming up.

The latest salvo comes from students of the University of Sydney’s Fisher Library upset by Senior Librarian John Shipp’s plan to deaccession 500,000 books and periodicals

John is a thoroughly decent man who does not deserve the vitriol being thrown at him, but that is what the process of deaccessioning seems to generate whenever it is mentioned.

The reality behind this situation is spelt out in a letter to the Sydney Morning Herald on May 14th 2011, where a former staffer at the Library writes that “This is a decision that has been avoided by librarians at the University of Sydney for the past 40 years. Libraries cannot be allowed to grow indefinitely”. The writer then cites how a previous librarian accepted all the discards from American libraries in a large shipment that is still cluttering up the stacks.

Meanwhile in the UK as reported in the latest Museums Journal, Nick Merriman (see previous blogs for his interest in this area) continues to champion the deaccessioning of collections for financial purposes in certain circumstances: “The Museums Association continues to believe that ethically sound, financially motivated disposal has a role to play in the development of collections”.

What the words ‘ethically sound’ refers to is the MA’s Code of Ethics which states that disposal for financial gain is unethical where an artwork or item is part of the collecting area of the collecting institution. Thus for instance Bolton Council has withdrawn a painting it was due to deaccession and auction by a local artist, Alfred Heaton Cooper, because it did not fall outside their stated core collecting areas, despite the fact it did not depict Bolton.

The core issue here is that deaccessioning is and must remain a part of good collecting policy. The temptation to sell valuable items to keep the show on the road in times of financial stringency is strong, but that is clearly bad policy. Where however items are clearly beyond the collecting areas of the institution and are most unlikely to be publicly displayed, and where the funds that they might realise can help other parts of the organisation, e.g. with a new storage facility, then it makes good sense.

Antarctic conservation matters

The heritage of Antarctic exploration is one of my passions. At ICS we have been deeply involved in the Antarctic Heritage Trust of New Zealand’s program conserving the some 15,000 artefacts that still remain in the four historic huts and various other structures in the NZ Antarctic Territory that survive from the Heroic Era of Exploration (1899 to 1916).

The project has had so many different facets from the process of writing conservation and implementation plans, to resolving logistics and finding conservators who are willing to spend six months in an Antarctic winter, most of it in 24 hour darkness. We are now into our sixth winter of conservators working at Scott Base conserving artefacts in the purpose built lab, and alongside that six summer seasons of conservators working out in the field at the historic huts.

The exposure that this conservation work has had has been fantastic for the profession – it has been referred to as ‘the most exciting conservation project in the world’. And that has been helped by some good publicity.

Primarily this has been through what must be one of the conservation profession’s longest running blogs hosted by the Natural History Museum in London. It is well worth trawling back through the last six years to see some real gems of postings.

More recently, last summer season Ben Fogle and a team from the BBC spent two weeks at Scott’s Hut at Cape Evans filming conservators in action, the resulting documentary being screened on prime time UK tv a couple of weeks ago. Again it is great to see conservators as the focus of the story. You can watch it here. 

2012 is shaping up to be a big year for Antarctic exploration aficionados. It is after all the year that Douglas Mawson’s Australasian Antarctic Expedition landed in Commonwealth Bay (January 7th), Amundsen (having reached the South Pole in December 1911) announced his success from the steps of Hobart Post Office on March 9th, and Scott, having also reached the Pole, died on the return trip about March 28th 1912. I am busily organizing a meeting of the ICOMOS International Polar Heritage Committee for March next year in Hobart, during which we intend to re-enact Amundsen’s announcement.

And finally to commemorate the centenary of Scott’s expedition the Natural History Museum, London, the Canterbury Museum, Christchurch and the Antarctic Heritage Trust have collaborated to create an international travelling exhibition that will open at the Australian National Maritime Museum, Sydney in mid June 2011. It will include a stylised representation of Scott's expedition hut at Cape Evans as per below. Check it out here.

Julian Bickersteth
Managing Director
internationalconservationservices

Museums, mobiles and apps

I often find that the full impact of a conference, especially one so immersive as Museums and the Web 2011 , only really hits home a week or two after the event is over. So, in promising not to mention the conference again, here are my considered thoughts on where the world is in this corner of the museum sector.

1. The museum in a mobile world was the primary focus of the conference, by which I mean that although tons of other issues were discussed, it is the potential for how mobile technology can significantly change the museum visit, whether through content delivery, visitor interaction or way finding that kept appearing as the most exciting current opportunity. And what became clear is that, just as there is no one single mobile platform (e.g. Android, iOS ( iPhone operating system) etc, there is no uniform way of using mobiles in museums. Indeed as David Bearman, the conference convenor, said the landscape reminds him of the late 1990s when museums were debating whether or not they should have a web site. Now they are debating whether or not they should have an app, and what it should look like. It is going to take some time until an element of uniformity arrives with a ‘standard’ app platform.
2. Apps are not going to be the latest iteration of audio guides. Not only is the business model going to be different, with museums choosing to do part of the app development in-house, depending on internal capacity and strengths (typically audio guides have been put together by external companies (e.g. Acoustiguide or Antenna) who have then leased the equipment to the museum), but the use to which they will be put is quite different. Using audio guides is essentially a passive activity. Apps are active encouraging interaction both with other users, but also the museum and in some cases the exhibit itself.
3. This new world of mobiles is going to need some significant organisational change within the museum profession. Mobile use is about a collaborative rather than authoritative approach to learning from exhibits. This is a challenge to the traditional view for museum staff. Social media programs are currently being run by the marketing/PR part of the museums, but it must draw in staff working in cross disciplinary groups from across the whole museum, with more face to face conversations for its opportunities to be maximised.

For a great example of what the world of the app in museums looks like, from internal cross disciplinary involvement to external marketing go no further than the Explorer system at the American Museum of Natural History in New York.

Julian Bickersteth
Managing Director
internationalconservationservices

Museums and the Web 2011 – the web site picture

One of the highlights of the annual Museums and the Web conference is the Best of the Web awards. Museum web sites are submitted from all over the world and vetted by a panel of web developers, museum professionals and general tech heads. It is peers critically judging the work of their peers, and the awards are highly valued within the museum community.

So it was great to see Australia doing well with Museum Victoria taking out the award in the Audio Visual/ podcast category, and the Australian Centre for the Moving Image (ACMI) getting not only the award in the education category but also the best web site overall – quite an accolade.

More broadly what I came away with from the papers I heard on web site issues is the depth of thinking now going on in the museum world about how web sites are used and the opportunities they provide for creating a quite different experience from the museum visit. I would particularly highlight:

1. The work of the National Museum of Denmark in bringing art stories alive (including an innovative and embedded use of what conservators do and what they can contribute to art stories). Read the paper here.
2. What the Tate are up to in rethinking their web site as a result of a massive four year rebuild. The Tate has always been at the forefront of web site development being one of the first major art museums to place their entire collection of 60,000 artworks on line. They realised that the budgetary and cultural restrictions imposed on museum websites was holding them back from competing in terms of leveraging the power of relational databases in a way their commercial rivals do, and that their website displays artworks on line in the same paradigm as print publishing – namely as reproductions. No real surprises there but the conclusions they come to are worth reading.
3. And finally the Smithsonian. They are engaged on a collaborative project across the whole Institution to review their web strategy, which involves a series of staff workshops open to all staff . Each of the workshops includes a real-time transcription of the proceedings posted to a wiki, where it can be openly evaluated, sifted, weighed, and considered by all. The project has very clear goals namely to define the optimum role for the Smithsonian in the next 100 years by:

• Embracing new models of knowledge creation and dissemination
• Providing better access to knowledge for geographically and demographically diverse audiences
• Providing richer, more engaging means (storytelling) for different types of audiences to engage with our knowledge assets
• Creating opportunities for inter-disciplinary collaboration and learning
• Identifying new revenue sources to support the ever-growing programs

It is a great model for where the museum web site is going. Check it out here.

Julian Bickersteth
Managing Director
internationalconservationservices