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Tuesday, 28 June 2016

Guest Post: Alison Moulds on guest curating “Vaccination: Medicine and the masses”

Guest curating “Vaccination: Medicine and the masses” at the Hunterian Museum
Alison Moulds (PhD candidate, University of Oxford)


Alison Moulds at the opening of her collaborative exhibition
This April saw the launch of my first-ever exhibition; working alongside the Hunterian Museum (at the Royal College of Surgeons of England) I helped to guest curate a series of displays that explores the history of vaccination from its inception in the late eighteenth century to its ubiquity in the present day.

My colleague Sally Frampton, a Postdoctoral Research Assistant, and I became involved with the exhibition through our wider research project, Constructing Scientific Communities. Funded by the Arts and Humanities Research Council, it looks at citizen science in the nineteenth and twenty-first centuries, and is particularly interested in interrogating the public-professional divide in fields such as natural history and medicine. We’re partnered with other institutions, including the University of Leicester, Natural History Museum, Royal Society, and Royal College of Surgeons.

Given the focus of our project, when it came to creating the exhibition narrative, we were keen to look at the ways in which ordinary people have contributed to the history of vaccination. This included not only those who had a hand in its discovery – such as Benjamin Jesty, the Dorset farmer whose experiments with cowpox predated those of the GP Edward Jenner – but also those who protested against its usage. During the Victorian period vaccination was made compulsory through legislation, a landmark moment in the history of state public health, but also one which sparked widespread resistance. Our exhibition’s title “Vaccination: Medicine and the masses” signals the way in which we see vaccination as a key site for interactions between medical professionals, individual patients, and the wider public. Pro- and anti-vaccination activities were equally important to us, though we knew a medical museum needed to engage with the scientific aspect as well as the social history.


Cruikshank's The Cowpox Tragedy (1812), Courtesy of the Hunterian Museum at the Royal College of Surgeons
As newbies to the world of curating, one of the most exciting aspects for us was undoubtedly tracking down the objects for display. We decided early on that we wanted a diverse range of material, from ephemera to medical instruments, portraiture to film. One of our first ports of call was the Hunterian Museum’s own catalogue. Here we found papers belonging to Jenner, including personal correspondence and a draft manuscript of his inquiry into experiments with cowpox (1798). The Hunterian’s in-house collection also contained one of the earliest and most iconic satirical images about vaccination – George Cruikshank’s The Cowpox Tragedy (1812). All these items ended up on display.
We then started exploring other collections, including the Jenner Museum in Gloucestershire, the Gordon Museum of Pathology at King’s College London, and the John Johnson Collection at the Bodleian Libraries in Oxford. Among the gems we discovered was an incredibly affecting set of photographs of smallpox patients from the early twentieth century, which show the devastating effects of the disease. These were objects found ‘behind the scenes’ at the Jenner Museum that we reproduced for the exhibition. Following the installation, seeing the way in which all our objects interact with one another in the space has been one of the most rewarding aspects of the exhibition becoming a reality.




The process of display wasn’t without its hurdles, however. There were anxieties about how to share the reproduced patient photos, as well as human specimens, sympathetically. We didn’t want their inclusion to seem gratuitous, but neither did we want to adopt a sanitised approach. We were committed to showing people the reality of the disease, which is all too easy to forget now it has been eradicated. We also experienced an eleventh-hour emergency when we discovered we didn’t have a suitable screen available to show a wonderful public health information video we’d tracked down at the Wellcome Library. Getting one installed in time was a huge relief, especially since Surprise Attack (1951) has proved immensely popular with visitors. A narrative of mild peril, the film depicts a young girl who contracts smallpox and a town responding with a mass vaccination campaign co-ordinated by the local Medical Officer of Health. One of its biggest draws is probably the fact it features John Le Mesurier, better known for his later role as Sergeant Arthur Wilson in Dad’s Army.



Bringing together such a wide range of objects wasn’t always easy and perhaps one of the biggest difficulties for us was constructing a coherent and accessible narrative about the history of vaccination around them. We hoped to give some sense of the chronology of vaccination but also tease out overarching themes along the way. We wanted to tackle the objects on display but also gesture towards other aspects of the debate. As academics, brevity isn’t always our strong suit and we had to be rigorous about slicing and dicing our beloved words into something that would work well for museum audiences. We also struggled with creating object labels where provenance wasn’t always clear or where it was protracted and confused!

Since our academic research usually sees us poring over weighty tomes on our own, often in a dusty archive somewhere, the collaborative aspect of exhibition work was something we really enjoyed. It enabled us to work not only together, but also with the Museum’s in-house curator (Bruce Simpson) and curators elsewhere, as well as archivists and librarians. We were also committed to promoting wider public engagement around the exhibition, and worked with the Hunterian’s Learning and Events Officer, Hayley Kruger, to organise a “Museums at Night” opening, complete with anti-vaccination songs, a screening of public health information videos from across the twentieth century, and a talk from Dr Richard Barnett, medical historian and author of The Sick Rose. It was great to watch people exploring the space and to hear their thoughts on the exhibition. Rarely does our work have such an immediate and widespread impact.

Alison Moulds is a second-year DPhil English Literature student at St Anne’s College, University of Oxford. Working as part of the AHRC-funded project “Constructing Scientific Communities”, and in partnership with the Royal College of Surgeons of England, she is researching the construction of the doctor-patient relationship and the formation of professional identity in nineteenth-century medical writing, including fiction by doctors. She previously undertook her MA Victorian Studies part-time at Birkbeck College, University of London while working full-time in health policy and public affairs. She is Peer Review Editor for the Victorian Network journal. She blogs at https://victorianclinic.wordpress.com/ and can be found on Twitter @alison_moulds.


“Vaccination: Medicine and the masses” runs from Tuesday 19 April to Saturday 17 September at the Qvist Gallery, Hunterian Museum. Open Tuesday-Saturday, 10am-5pm. Free admission.

Wednesday, 15 June 2016

Hop onboard: a first visit to the London Transport Museum


I have always been a bit reluctant to visit the London Transport Museum because of the high cost of an access ticket and the inability to use a national museum pass to get through – perhaps tight of me but hey – museums wages!  So this is perhaps a bit of a different post for us, usually we only review big central London museums in terms of their current exhibitions. So what’s it like for a museum blogger to visit an institution for the first time?


For one, remember that here at The Ministry we tend to assess museums through museum worker eyes, looking at a few important factors – the unusual display of objects, their conservation and adherence to familiar guidelines, the accessibility of texts and what we find personally humorous or amusing. We’re going to moan about a few things that may seem trivial but as a museum professional could seem like the end of the world.

As I’ve said I have been reluctant to visit the London Transport Museum because of the cost of the ticket £17 with gift aid. As a museum worker almost £17 on a permanent display seems like quite a lot especially when I invest so much money into Transport for London already via my oyster card. But I was pleasantly surprised to learn that the ticket was a one off payment for the year, a model used by many museums focused around additional access for parents the ticket is scribed with your name and a date and ability to use as many times as you like in one year. Also kids go free.

First off a bit of history the London Transport Museum is situated in the Victorian home of the Covent Garden flower market, the infamous selling space for flowers, herbs, fruit and veg has been well documented in history through literature (My Fair Lady!) in 1980 the site became the home of the London Transport Museum. A collection formed on the preservation of two Victorian Horse buses and an early motorbus by the London General Ominous Company in the 1920’s, the collection grew and the museum had humble beginning in its display in a bus garage in Clapham in the sixties, before opening in 1973 as the London Transport Collection in Syon Park.

Opening in Covent Garden in 1980 and undergoing a major refurbishment in 2005-2007 the museum now operates as the London Transport Museum and its collection fills the site. Upon entering you are invited to clamor into a lift and ‘go back in time’ and excitedly visit and climb on board  the collection of large and small buses trams and steam trains and sit with a whole bunch of creepy mannequins to sense what early transport was like in London.

Quite a bit of the experience of this museum is about finding the unfamiliar in the familiar. The ability to read a history and step back in time by climbing on board a historic tube train does help to give Londoners a perspective on how much things have changed and perhaps it’s a clever device plan  to show us how lucky we are with our current situations. Interestingly the World First Underground gallery on level 1 text panels discuss how people found the underground to be uncomfortable and packed in – sounds familiar? Nonetheless it’s impressive and exciting to read on the history of the underground and fortunate to see and sit upon the only surviving engine from the 1860’s Metropolitan number 23.

The London Transport Museum has so much to offer in terms of discussing the history of London and can almost be a continuous seams of thought trundling through modern London. The social history of transport, the workers, the politics and all intertwined and the museum offers a glimpse into many of these areas.

My particular favourite area is the history of London transports iconic design. Before coming across the temporary exhibition on its history I noticed and loved the hang of the destination roller blinds that replaced the wooden destination boards in the 1920’s.

The temporary exhibition Designology explores the complete and integrated approach to design taken by TFL those Londoners and tourists have grown to love. Mind the Gap and other iconographies are instantly recognisable and widely reproduced on a range of souvenirs, influencing fashion and artists and vice versa. The consistent and strong design was spearheaded by Frank Pick who hugely influenced the clear branding that we see everyday. In 1916 he commissioned the calligrapher Edward Johnstone to design the typeface for the underground often referred to as ‘London’s handwriting’ and even now 100 years later is seen in an adapted from across signage, maps, leaflets, posters in the city.


Visiting the London Transport Museum for the first time I massively enjoyed the familiarity of the history, its low tech interactive displays and some of the high tech ones too - a working map of the underground is pretty astounding. £17 may be a bit steep for entry but it was certainly worth it for the few hours of enjoyment and I can go back again within the year! The London Transport Museum is open daily from 10am to 6pm nearest tube: Covent  Garden (but don't think you can handle the stairs!) 

Sunday, 29 May 2016

SMARTIFY the Great British Graphic Novel

A few weeks ago, to celebrate Museums at Night, we headed to Bloomsbury's Cartoon Museum (one of our favs) to check out the celebrations around their new exhibition: The Great British Graphic Novel. While art, culture, and a bar have been known to lure us just about anywhere, on this particular evening we had something more particular in mind. The exhibition is also playing a part of an important live run for a new museum-y app called Smartify. We were invited to chat with one of the founders and see what its all about. 


I think first of all we have to say that the Cartoon Museum's exhibition is definitely worth a visit on its own merit. Drawing a link between the classic works of 18th century cartoonist William Hogarth, through the graphic novels of the 1980s and 1990s and right up to the present with unpublished sneakpeaks at new works, the exhibition is a celebration of the British contribution to the graphic novel genre. Unlike the British Library's recent comic book exhibition (a spectacular effort which ended up being a tad overwhelming), the Cartoon Museum's rendition is punchy and finely tuned. From the Victorians to Neill Gaiman, the exhibition definitely makes its point about the importance of British artists to the world of the graphic novel. We particularly loved the new works by Birmingham based-artist Asia Alsafi, whose perspective as a Libyan immigrant to Britain, tackles present day issues around cultural integration with a Manga inspiration. 

Panel from an upcoming Alsafi graphic novel
But, what's even more exciting is that the exhibition is also the first live trial of a new art app called SMARTIFY (smart, art- get it?!). A combination of a virtual tour and instagram, the app is aiming to be a platform for a more personal, emotional interaction with art. We met with Anna Lowe, the Partner Development Manager, to tell us more. Anna is a museum education professional who, in her spare time, decided to work with a small team to develop a new piece of technology to change the way we interact in galleries and commercial art exhibitions. Makes you feel lazy right? The concept of the app is deceptively simple: using your phone camera, you scan the works and the app bring up information about it onto the screen. Having a play around in the Cartoon Museum, we can testify that the image recognition software is on point, and even works through glass cases.

Tank Girl, obvs. 
But acting as a digital tour isn't enough for Anna and the SMARTIFY team. The idea is that you can add images to a personal gallery (think like your Instagram) and then add your own comments and reflections. These will then be tagged to the images, so the next person along can read them and add their thoughts. So when you wave your phone in front of a piece of art, not only do you get the gallery-standard interpretation, you get to interact with other visitor's responses. The potential here is incredible. What about a guided tour from a celebrity? Anna is particularly keen on working with artists to record their perspectives on their work - something which is in progress for the Great British Graphic Novel. Well, with the living artists at least!

An new acquisition for the museum- an annotated draft from Alan Moore's Watchmen
We all talk a lot about technology and museums, and apps seem a natural way forward to try to do something different in the gallery. We have to say though, we haven't met too many people like Anna who are actually out there doing it, and have actually implemented it in an exhibition! Hats off to the Cartoon Museum for being so supportive. We hear that SMARTIFY is already talking to several other London galleries who might be interested in the technology.

The idea behind SMARTIFY raises some interesting museological questions. Who gets to speak for a work of art? Is it the museum (so when the app brings up the caption on your phone)? Or is it the artist? How about the exhibition curator? Or is it you? How would a gallery handle people leaving comments (digitally) all over their art? We love the democratic visitor-centred vision of SMARTIFY, although we are interested to see how the internal museum politics play out in different institutions. Personally, we think that the curator, the artist, the institution, the visitor, all play an important role in what we can learn from a work of art. How you collate and then explore that information is the tricky bit. But with their sleek platform and branding, we think SMARTIFY might be up to the task. 


So far the museum world has had a pretty start and stop approach to app. Sometimes a particular institution will get a little funding and develop one for their own collections. But (and stop me if I'm wrong) I've not seen anyone developing a platform that could be used across collections, from temporary to permanent exhibitions, and even commercial art. You might just soon be seeing the SMARTIFY logo in other London galleries so we recommend heading down to the Cartoon Museum and being one of the first to give it a go!


SMARTIFY is available for free download from the iTunes store. The Great British Graphic Novel is on at the Cartoon Museum until July 24th. 

Tuesday, 24 May 2016

Hispter Museum - The Worshipful Company of Clockmakers Museum

You’ll know by now that here at the Ministry of Curiosity we like to celebrate London’s smaller museums with our hipster museum series. Small collections, mini museums and those hidden gems are explored and reviewed by us on the website and twitter using the hashtag  #hipstermuseum.


Image courtesy of salonqp.com
 Well, on this occasion we want to bring to your attention The Clockmakers Museum a stunning collection of timekeeping objects belonging to the Worshipful Company of Clockmakers. This is no ordinary small, hidden collection because it can be found in the most obvious of places – a national. Since October 2015 the Clockmakers museum has been sited at the Science Museum, South Kensington.

It’s not uncommon for larger national museums to amalgamate collections of smaller museums into their own as they become unable to care for the objects in the wide variety of ways necessary. This is something that the press have recently discussed in detail with the controversial move of the Royal Photographic Society’s collection from the National Media Museum to the Victoria and Albert Museum as the Bradford based museum shifts its collection policies and collection it has come under fire for centralising national collections to London and again taking away from the North.  

Nonetheless the Worshipful Company of Clockmakers museum has never been displayed on its own site from 1874 to 2014 it was housed by the Guildhall Library. Founded in 1631 The Worshipful Company of Clockmakers was charted as a way to regulate the clock and watch making trade – originally only those who were members of the company could make timekeeping devices.  The collection is the oldest of its kinds in the world having started in 1814 and consists of more than 1000 watches, 80 clocks, 25 marine chronometers.

The museum has been on my watch list (geddit?!) for some time, and unfortunately I never got a chance to visit it at its Guildhall site so I can’t say for sure how much of a change in impact it has had in relocating to the Science Museum. However, I can certainly say that it is more accessible for me and perhaps others on its new location, and thus I was able to spend a joyous lunch hour perusing it in its new home.

The current display is a treasure trove of a museum and tells the story of the socio-economic history of British clock making since the company’s formation, the clocks and their makers through the beautiful, delicate and intricate clocks and tools of the collection.

With some objects stunningly illustrating the domestic time keeping and how the Longitude Act 1714 assisted in the formation of mechanical skills by offering monetary prizes for anyone able to present a simple and practical method for the precise determination of a ship's longitude. An, how the formation of the prize and winnings had the knock on effect of the industrial revolution. The museum really emphasises how clocks, their formation and importance have had an exceptional impact on British History.


Other timepieces are more beautiful and exemplary examples of craftsmanship.  The Nelthropp collection for example shows and spectacularly displayed group of watches and shows and insight into the mind of a private collector without any reference book.

Then there are the almost novelty object but nonetheless significant and beautiful , a pedometer from the 18th Century that could track how many steps were taking across 12 miles by a swinging mechanism from a waistband. Additionally the museum hosts the early 19th century skull watch that belonged to  Mary Queen of Scots skull as a horological memento mori the case sites within the jaw and the watch face within the skull, it’s a beautiful, creepy and fascinating piece.


If you want to see these items and more head to the Science Museum, the Worshipful Company of Clockmakers museum is on the second floor of the museum and free entry then enjoy the Media Space galleries – I here there’s some great shows on in there too! 

Wednesday, 11 May 2016

Baffling out millennials in museums

We have been a little behind in our reading at the Ministry, so thankfully a friend of ours brought this topic to our attention. 'Have you read this article on millenials in March's Museums Journal?' she exclaimed. 'It makes it sound like all we want is booze and technology! Don't they know we do all the work?!' Digging out the MJ from our 'to read' pile, we found she was right. 'Late-night events and mobile-friendly content are just two elements need to get right for this group' the tag line reads. Oi. Museums like many other industries, seem to be struggling with how to reach out to younger people. The funny thing is, millennials make up a huge amount of museum staff- so why is this so hard exactly?


First of all, it would be impossible to write a short blog which addresses all of the issues of using the term 'millennial' in the first place. Applied to all 18-35 year olds, the likelihood of the stereotypical description of a millennial matching the personality and preferences of a given individual is about as likely as a horoscope predicting your future. Sure, if you say enough general things, you are likely to get a match. Millennials like evening open hours, millennials like hands-on events, millennials like unique experiences- ok, but who doesn't? 

Our issue is not really with the fact that the Museums Journal has published some (fairly accurate) observations about events that entice young people to museums. As a note, I would say that things like Lates events, artistic interventions, hands-on activities and art classes do not appeal uniquely to people in their 20s, they are (or rather should be) part of a broader movement for active audience engagement in museums (regardless of your year of birth). The point is that museums and museum advocacy organisations talk about 'what millennials like' 'how millennials behave', like we are some bizarre, distant race that must be studied by anthropologists. 


Lates event at the National Museum Scotland
Museums, like many sectors in fact, are interested in millennials because they are generally seen as having disposable income which they like to waste in coffee shops or at clubs. Money you could be getting, right museum management? No, according to a recent study, 1/3 of UK millennials live in poverty, and most are struggling with debt. Little indulgences like a nice coffee or a night out at a Lates event are important to bolstering social lives typically limited by our bank balance. Millennials aren't something to be farmed for cash, but an audience that needs museums as much as any other. 

This is made even more frustrating when you think about what percentage of the museum workforce falls within this age bracket. Hello! We are your front of house team, your documentation specialists, registrars, art handlers, researchers, curators, conservators, interns and on and on. Museums are run on millennial brain power. I'm sure if you looked into the teams who are pioneering Lates events in London they are - you guessed it- millennials. So why do policies, events and programmes aimed at people born in the 1980s and 1990s feel like such a burden for museums.




The answer is because you don't listen to us. You don't need to pay marketing companies to tell you how to get in touch with younger audiences, you need to listen to your younger staff members. Despite the shakeups, the short term contracts, the overhauls in museums of the years of the cuts, there remains a massive divide between museum leadership and the people doing the everyday work. I can just imagine a meeting of Directors, puzzling over the 'millennial' problem, reading reports written for them by their younger staff. If giving decision making powers to your junior staff scares you, that might be the reason why you are struggling to attract younger audiences.

I'd like to just say, from my own experience as a so-called 'millennial' and those of my friends, Londoners in their twenties are (generally) educated, cultured, engaged and enthusiastic. Even those who don't work in museums love coming to events because they love performance art or gaming or music. Not just because we like to get plastered and take selfies (although that is fun). No we don't have a lot of money to spend on events (housing shortage, university loans, being poorly paid in museums) but we still like to enjoy our city. You are very welcome to keep on keeping on with the mobile-friendly content and after hours events, but you should probably have a look within your organisation if you are feeling like you need some insights into programming for young people.

Monday, 2 May 2016

So you want to be a museum blogger?

We are so thrilled and excited to be featured in this month's Museums Journal in their feature on museum bloggers. It's odd to think we started this little blog in November of 2012, and we are still at it! The MJ's piece is such a great opportunity to meet the people behind the blogs and get to know a little bit more about what interests them. From comedy and natural history, to autism in museums, and art crime news, each blogger brings something new to the community. If you read this issue and thought, wow I'd like to do that! - then just let us say, you definitely should! But if you wanted some pointers before you start out, here are some of our top tips!



1) Think about your hook- What makes you different than anyone else writing about museums? What struck is reading the MJ article is the very different takes all the bloggers had on the field. At the Ministry we focus on young people working in museums, registry and collections issues, and women in museums. If you want your blog to get some traffic, then you have to have some kind of hook that makes people interested in your opinion. Just writing exhibition reviews probably won't get you much of a following.

2) Create your voice/brand - Ok so you have a concept, how are you going to make that consistent? You want your readers to know they are reading a blog by you each time, so think about your unique writing style. Once you've thought about the tone you want to take - friendly, informal, or critical and hard-hitting, then stick to it. Your blog should be unique to stand out from the crowd.

3) Have a content plan- How frequently are you going to post on your blog? Try to make it realistic. We aim for once a week, although twice a week would really be ideal! Very frequently bloggers start out with daily posts that peter out after a month or two. If you have so many ideas, save them up and schedule them to go out at more even intervals! If are you posting new content, be sure you let your readers know. Which brings us to...

4) Snap up those social media accounts- Twitter, Instagram, and Facebook are all great ways to keep your followers up to date and drive them towards your site. The museum community on Twitter is amazing and really supportive. Be sure whatever site to use hashtags like #museums #culture #museblogger to get some attention. 

5) Get to know your community- Even before you get started, have a look around on twitter and instagram for bloggers you admire. Then FOLLOW FOLLOW FOLLOW - the best way to get followers on twitter or anything else is to follow other people. But not just anyone, the kind of people who you want reading what you right. Get stuck in on online conversations like #museumhour or visit an event like Museums Showoff to get your name our there. Some museums like the Wallace Collection offer museum blogger only events, so do your homework. 

6) Just keep swimming - Blogging can be harder than you think, especially over a long stretch of time. Life find a way of getting in the way of your ambitious plans. Maybe you had a fantastic idea for this week's post, but your boiler broke. C'est la vie. Either try and have some posts saved as drafts, or just leave it til next week. Just don't get disheartened! 

Our number one tip however is that if you want to blog, make sure its for you. Don't set up a blog because you think you have to, or its the 'done' thing. Blogging is hard, and the only way to sustain it is your passion for it! If you haven't quite figured out what drives you, maybe leave it for a bit until you find something that makes you excited! 


Saturday, 23 April 2016

Loving Loan Agreements: Negotiations, complexities and 'no sketching'

When the Guardian released this article on the 22nd April titled 'No Sketching': V&A signs betray everything the museum stands for' by Oliver Wainwright like many I was saddened to hear that the V&A were clamping down on sketching in the exhibition spaces, but it has become clear that not all is what it seems and it is the elusive agreements that museums make with lenders that is the root of the issue.



Museums are sites for reflection and learning and there is no doubt that art museums and galleries hold an important aim in allowing students, researchers and artists of all levels to spend hours in galleries taking inspiration from the objects and works and sketching away. I believe, and have seen from my time in those spaces that this is something that many museums do regularly allow visitors to sketch without much restriction and sometimes even hosting events to facilitate.


But when it comes to temporary exhibitions it's not just the museum's collection at stake, creating a successful exhibition requires curators to lure in the public with an offer of objects they will not usually have the opportunity to see be it from private collections or another museum loans come with their own set of rules and stipulations.

The Guardian article may have played down the importance of the loan agreement in the first instance, later correcting their news story to say that 'it is to do with preventing congestion and the strict loan agreements the museum signs for each new exhibition.'  that influenced the decision to not allow sketching in the temporary exhibition space.


For those of you that are not familiar, the loan agreement is a document that sets out what the lenders and museums obligations are in terms of the transportation, display, insurance and costs associated with the borrowing of an object. Usually the standard contracts cover assurances such as the environmental conditions, a promise that the showcase will not be opened without a courier present and even sometimes the more unusual requests - I once had to add a clause that stated an object would not be DNA tested whilst it was in the museum!

The clauses also cover the IPR, copyright and security of the object and perhaps it was a combination of the three that has reflected in the V&A’s loan agreement that has prompted the no sketching rule. While sketching is an exemption of copyright law many loan agreements refer with presumed knowledge to the complexities of IPR and copyright law and perhaps in fright, some may wish to omit any sort of image taking be it photography or sketching in their agreement. It’s hard to say however without actually checking out the document - which is likely to be stored in a fireproof safe and knowing what loans have requested this omission. Its this same agreement that means that often ' no photography' is allowed in temporary exhibitions.


Whilst it is unfortunate in some respects that the lenders dictations prevent photography, sketching or even DNA testing, without this agreement, and the sometimes complex negotiations that  museum registrars spend time agreeing. It is important to remember that this would not have been a decision that the exhibition team would have taken lightly. And sometimes without these discussions and resolutions agreed in the loan agreement it would not always be possible to borrow and display some of the treasures of private collections and international museums. 

Like many registrars there is a certain level of dislike for complex loan agreements and the sometimes months it takes to iron out the complexities for shows as large as Undressed but we can't deny their importance in securing the rare, beautiful and often never before seen objects for public display.
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