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I had a recent request for a disaster protocol
I helped develop for an international exhibition of paintings. The borrower
found it very helpful and called for permission to use it for a current
exhibition. She suggested I put it on the distribution list. So, here it is,
and please use it if it is helpful.
An emergency is defined as
any event which alters or may have the potential to alter the environment or
safety of the paintings. Listed below are examples of obvious emergency
situations. Other emergency situations are less easy to define. These
situations can include unusual smells or vapors in the gallery, or any other
unusual occurrence. When something out of the ordinary occurs, the staff should
assume it is an emergency or a potential threat to the collection and contact
the consulting conservator, Shelley Reisman Paine, for further instructions.
She can be reached at 242-0979 or by beeper, 923-6481.
The conservator has the
right to recommend to TSM and BSM to remove paintings at any time until
emergency conditions have been properly remedied. Any dispute regarding the
removal or reinstallation of the paintings will be handled directly between the
directors of TSM and BSM.
The purpose for this
protocol for emergency is to establish in advance the special care and handling
required by the paintings in the MASTERWORKS exhibition. The following are a
list of obvious emergencies and the methodology required:
In the event a vandal marks
or damages a painting(s) the following should occur:
A. Call Delta room to contact Evadine
McMahan or Bill Griffith who will contact Shelley Paine on her beeper, and
designated TSM staff.
B. The painting(s) will be removed
from the exhibition, by collections staff members and placed in a safe location
within the climate controlled collection storage area. The painting will be
remain horizontal on a table.
C. In the event that no collection
department staff is available, the armed guard should remove the painting(s)
and place it face up on the gallery floor. The Chief of Security will then take
it to the small laboratory and remain there until it can be transferred to the
highest security location in the collection storage room.
D. The painting(s) will remain in
collection storage until the BSM has been contacted and they have given
authority for any treatment.
In the event that acid or
alkaline touches the painting it will:
A. Call Delta room to contact Evadine
McMahan or Bill Griffith who will contact Shelley Paine on her beeper , and
designated TSM staff.
B. The painting will be taken to the
conservation laboratory. The painting will remain horizontal on a table.
C. Tap water will be applied to the
surface area on the painting with a sponge or a cotton swab.
D. The painting will be removed from
the frame.
E. The tap water will be reapplied
with a sponge or cotton swab.
F. A final rinse of the area will be
made with distilled water.
G. The conservator, once at the TSM,
will measure the pH of the area and buffer as needed to neutralize the surface
of the object.
In the event that there is
an emergency which requires evacuation out of the building and/or transfer to
the State Computer Center, the painting(s) will be handled in the following
manner: A. All potential exits from the building will be mapped. Procedural
instructions for evacuation are under 4. Security procedures for an emergency,
at the end of this document. The materials and methodology is as follows:
Climate
The
gallery is to be maintained at 55% + 2.5% within any given day and + 5% over
month at all times. If this 55% range cannot be maintained then, with the
permission of BSM, the conditions will be maintained at 50% + the same ranges.
Major fluctuations or abrupt not non-repairable climatic conditions may require
evaluation of the collection from the gallery and possibly from the building.
The methods for removal are the same as in #2 above , the means to determine if
enveloping or evacuation is needed is as follows:
A. If a
potential emergency or if the climate is reaching its outer limits, 52.5% or
57.5% relative humidity or 77 or 66 degrees F, call the Delta room and contact
Evadine McMahan or Bill Griffith who will contact Shelley Paine on her beeper,
and designated TSM staff if necessary.
B. If the
relative humidity falls below 40% for a period of 24 hours, then the paintings,
designated as "A" (see attached list - 18 in total), will be placed
in the envelop and remain the the gallery, unless told otherwise by TSM or BSM.
The "A" painting will be identified in the gallery by attachment of a
color symbol below the painting near the floor. This will permit easy
identification of the "A" paintings.
C. What is
most important is the rate of the fall in relative humidity. The more
consistent the relative humidity or the more steady the fall the less effect
the drop will have on the paintings. Therefore, if the relative humidity falls
without apparent reason to 40%, or if there is no apparent means to correct the
drop then the paintings will be placed in the envelop and remain in the
gallery, protected by an armed guard.
D. The
paintings will be placed in the envelope when the relative humidity reaches 35
% for any reason. Although it is not likely, if the relative humidity exceed
70% the paintings will be placed in the envelopes.
Building
mechanical systems
There
are many different mechanical systems in the building, for example, electrical
and plumbing. Should there be any malfunction of these systems the following is
recommended:
Call
the Delta room and contact Evadine McMahan or Bill Griffith who will contact
Shelley Paine on her beeper.
Plumbing
A. Although
gutters have been installed under all the potentially problematical pipes a
potential still always exists for a leak. In the event of a leak, the paintings
effected should be removed, by the person who notes the leak, from the wall and
placed in a safe area within the alarm system in the gallery. The armed guard
will then notify Evadine McMahan, who will contact Shelley Paine and
appropriate TSM staff.
Electrical
A. The
problem of electrical systems is largely smoke. If there is smoke in the
gallery and HVAC system that provides air to the gallery, then the paintings
should be placed in the envelop. and evacuated if necessary.
Sprinkler
In
the event that the sprinkler system is discharged the following is recommended:
A. All
paintings should be removed from the gallery to a safe work space, and then
unglazed and unframed and allowed to dry horizontally. The paintings should be
elevated 2" to allow air flow under the object to facilitate drying.
B. If the
water appears discolored, or if the Painting Conservator deems it necessary,
the surface of the paintings will be cleaned using distilled water applied with
a cotton swab. This work can be done by the Painting Conservator and or the
Representative of the Paintings.
Light
A. No
supplementary lights will be allowed to photograph or video tape the paintings
in the collection. The media will use instead the transparencies provided by
BSM or use available exhibit light conditions.
Removing the paintings from
the building is the last resort in the protection of the collection. Moving the
paintings to another secure, although perhaps not climate controlled, area
within the building is preferred.
The paintings should be
enveloped in the gallery prior to leaving the building. However, if there is no
time to envelop the paintings then they will be moved first to a staging area,
enveloped and protected by an armed guard at all times.
The type and location of
the transportation vehicles will be determined in advance and available on a
will call basis 24 hours a day, seven days a week.
The location of all
possible staging areas and their location to an exit will be mapped and routes
to these areas established by the TSM and Building management company as part
of preparing the emergency plan.
The gallery will be secured
in the following manner.
A. Contacts
the State motor pool to put a vehicle on standby. After hours Motor pool
emergency contact: Mr. Floyd Cliff, Capitol Park Apts. 242-55
B. Alerts
any other TSM staff and guards of any need to meet artwork at the stairwell or
freight elevator door exits.
A. Takes the
radio from Bari's desk or from an unarmed guard.
B. Calls
Shelley Paine on the beeper (923-6481) with the code 11111 to indicate an
alarms is in progress.
C. Stands in
gallery and listens to radio to determine the location of the emergency and if
evacuation is necessary.
If
the alarm is in the tower evacuation is probably not necessary.
If
the alarm in within A-H levels there is a change for evacuation.
If
the alarm is a fire in DOT, TSM staff should be concerned for their safety.
D. If the
emergency is called off then call Shelly Paine (923-6481) on beeper with code
22222 to indicate the alarm is over.
A. Gallery
guards escort visitors from the building.
B. Perimeter
doors and grill are locked bu// gallery guards and the armed guard.
C. Armed
guard goes to a location between the double doors and the grill and listens to
radio to determine if the emergency relates to the Museum area. If it does not
relate than the guard will stay on post unless he fears for his safety.
Armed
guard or staff allows emergency trained staff and Shelly Paine into the
gallery.
A. Determine
whether paintings should be evacuated to collection storage or out of the
building. If it goes out of the building it can go up the freight elevator or
the stairwell across from Bari's desk.
B. If time
permits the paintings should be placed in the aluminum bags, cardboard placed
over the surface of the frame and the bag taped closed before they exit the
building.
C. The
paintings are then carried to the elevator or up the stairs.
D. The emergency
trained staff member should alert staff outside the building to receive the art
work at the stairwell or at the dock. If the freight elevator is used, the
paintings will then be loaded onto vehicles or taken out the pedestrian
doorway.
E. Other
staff will then receive the paintings and the guards will stand watch.
A.
The locations and route for the evacuation, in order of choice are:
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