• Section 1 - Introduction
• Section 2 - Purpose
• Section 3 - Scope
• Section 4 - Audience
• Section 5 - Definitions
• Section 6 - Valuation
• Section 7 - Collection Development
• Table 1 – Art Collection Acquisition Selection Criteria
• Methods of Acquisition
• Purchase
• Commissions
• Donations
• Deaccession
• Disposal
• Repatriation
• Section 8 - Loans and Deposits
• Incoming Loans
• Outgoing Loans
• Deposits
• Section 9 - Collection Management
• Conservation
• Storage
• Registration and Record Keeping
• Born Digital Collection Items and Digitisation of Artworks
• Section 10 - Collection Access and Use
• Exhibitions and Displays
• Copyright, Reproductions and Moral Rights
• Section 11 - Risk Management
• Section 12 - Responsibilities

Section 1 - Introduction

(1) University Galleries, comprising the University Gallery, the Senta Taft Hendry Museum and Watt Space Gallery, is responsible for the development and care of the University's Art Collection. The University Galleries and the Art Collection are a visual representation of the strategic and academic goals of the University. Through the acquisition, care, display, and interpretation of the artworks and cultural material in the Art Collection, the University Galleries function as a core component of student experience, a vehicle for teaching and research, and providing a two-way portal between the institution and the wider community.

(2) The Art Collection is maintained with the long-term objectives of fostering academic excellence, inspiring creativity, collaboration and understanding among staff and students, providing a public resource for the University and the wider community; enriching the visual and cultural environment of the University and its regions; preserving cultural material for future members of the University and the nation.

Section 2 - Purpose

(3) This document establishes the processes and responsibilities for the development and management of the University Art Collection, ensuring:

1. the development and management of the Art Collection is transparent;
2. compliance with Government legislation, including but not limited to copyright, intellectual property, Indigenous Cultural IP, and record management;
3. alignment with the Art Collection Development and Management Policy;
4. best practice for collection management of the Art Collection; and
5. continued accessibility, authenticity, and integrity of digital content, regardless of the challenges of media failure, file and technological change.

(4) These Procedures must be read in conjunction with the Art Collection Development and Management Policy.

Section 3 - Scope

(5) This document applies to all activities relating to acquisition, management, care, conservation, deaccession, exhibition, and public use of material and artworks which are managed by the University Galleries, regardless of format, at the University campus, other University sites or controlled entity or partner locations.

(6) Items that have been acquired by a College, school, controlled entity or research centre without prior consultation and approval of the Art Curator or an authorised delegate may be deemed outside of the University's Art Collection, and therefore, not subject to this Procedure.

Section 4 - Audience

(7) Staff, students, University affiliates and alumni, honorary academics, galleries and museums, philanthropic benefactors, the general public, resource-sharing organisations and industry partners.

Section 5 - Definitions

(8) In the context of this document the following definitions apply:

1. “accession” means the formal process of acknowledging an artwork, object or archive to be part of the collection;
2. “acquisition” means the formal process of obtaining valid title to an artwork, object, or archive;
3. “archives” refers to documentation and other ‘secondary materials’ related to material in the Art Collection. This may include material traditionally created alongside an artwork, including photographs and sketches, as well as records such as letters, promotional or exhibition materials. The Galleries archive exclude official University records, which are managed by Records Governance Services;
4. “Art Collection” refers to items that are University property and have been formally accessioned through the University Galleries. It is the aggregate of artworks, original creative works, archival material, objects, and cultural material under the ownership and care of the University Galleries. The Art Collection includes objects such as, but not limited to, drawings, paintings, sculptures, photography, cultural and other artefacts, digital media and design items;
5. “Cultural Material” refers to items of material culture that have a functional, symbolic or spiritual purpose that has been made or used by humans. An item may or may not have a known creator;
6. “born digital” refers to works originally created in a digital format;
7. “collection management” refers to the strategies and processes of acquisition, retention and management, record keeping, preservation, de-accession and provision of access to artistic and cultural material;
8. “Collection Management System” means a system that allows individuals or collecting institutions to organise, control and manage their collections by tracking all information related to, and about, objects in the collection;
9. “conservation” means the care of cultural material. Conservation activities may include preservation, restoration, examination, documentation, digitisation, research, advice, treatment, preventive conservation, training and education. All measures and actions should respect the significance and physical, historical, aesthetic and cultural integrity of the object;
10. “Cultural Gifts Program” means a program that encourages Australians to donate items of cultural significance from private collections to public art galleries, museums, libraries, and archives;
11. “de-accession” means the process of officially removing an item from the collection to sell, return or dispose of the item;
12. “digital preservation” means a series of managed activities, policies, strategies and actions to ensure the ongoing accessibility, authenticity and integrity of digital collections, regardless of the challenges of media failure and technological change;
13. “digitisation” means the process of converting information into a digital format by photographing, scanning or otherwise converting analogue materials for access and preservation reasons;
14. “incoming loans” means any contract agreement related to artworks or objects which the owner grants a temporary right of possession to the University, or a loan for a finite period for the purpose of display or exhibition;
15. “Indigenous Cultural and Intellectual Property” or “ICIP” refers to the rights of Australia’s First Nations (Aboriginal and Torres Strait Islander) peoples to their heritage. ICIP incorporates traditional knowledge, traditional cultural expression, artistic work, performance, language and places;
16. “material” includes, but is not limited to, artworks, cultural materials and archival material. Materials may be physical or digital, or in other formats or media;
17. “outgoing loans” means the loan of artworks or objects to an approved partner such as institutions, museums or galleries, subject to a contracted agreement, for the purpose of making collections accessible to broader audiences through the sharing of cultural material;
18. “preservation” refers to activities or actions undertaken to slow down or prevent deterioration of or damage to cultural material and thereby extend the life of collections and collection material. It is enacted through the formulation and implementation of policies and procedures related to appropriate environmental conditions; handling and maintenance; procedures for storage, exhibition, packing, transport and use; integrated pest management; emergency preparedness and response; and reformatting/duplication;
19. “provenance” means the history and ownership of an artwork or object from the time of discovery or creation to the present time from which authenticity and legal title is determined;
20. “registration” means the process of creating and maintaining permanent means of identity – usually a digital record – for an artwork or object for which an institution has ownership. It is a means of identifying, tracking and controlling the movement of collection items within and between organisations;
21. “repatriation” means the return of artworks or cultural material to the country of origin, or to former original owners (or their heirs). It can refer to artefacts,  heritage items, human materials (including ancestral remains), paleontological and ethnological items;
22. “restoration” refers to the treatment of materials through minimal intervention to enhance its interpretation. Restoration may involve the reassembly of displaced components, removal of extraneous matter, or re-integration using new materials.

Section 6 - Valuation

(9) The Art Collection will be valued by the Art curator and external valuers where required. Valuations will be evidenced by appropriate supporting documentation to support the University's insurance and risk requirements.

(10) Valuation records must be maintained in accordance with the Records Governance Policy.

Section 7 - Collection Development

(11) The University Galleries will develop the Art Collection through strategic acquisitions, commissions, and where relevant, deaccessions in accordance with the requirements of the Art Collection Development and Management Policy.

(12) Acquisitions must comply with the National Standards for Australian Museums and Galleries and the following Acquisition Selection Criteria outlined in Table 1.

Table 1 – Art Collection Acquisition Selection Criteria

Methods of Acquisition

(13) Methods of acquisition include purchase, commission, and donation (including the Cultural Gifts Program and bequests).

(14) The Art Curator must conduct an appraisal of an item’s condition and physical and/or digital preservation and storage requirements prior to its acquisition into the Art Collection. This appraisal must include consideration of factors that may affect the preservation and care of the item, including but not limited to current storage capacities and the environmental provisions required for the item. The value of the item must justify the projected costs involved in long term storage and conservation of the item.

Purchase

(15) The purchase of any artwork or material for the Art Collection is subject to relevant delegations of authority (see Delegations Register).

(16) Purchased works must be accompanied by:

1. a current valuation, if the item is considered to have a significant value (in excess of $10,000); and
2. confirmation of authenticity and provenance.

(17) Any work purchased with University funds, with the exception of work purchased for gifts, must be registered as an asset of the University in the Art Collection database.

(18) Items that have been acquired by a University business unit, including but not limited to Colleges, Schools or Research Centres, without prior consultation and approval from the University Galleries, may be accepted into the Art Collection only if, upon assessment by the Art Curator, items comply with the art collection acquisition selection criteria and relevant documentation is provided.

(19) Items that do not comply with the art collection acquisition selection criteria will not receive an accession number from the University Galleries. The management and costs of curatorial care, conservation care, insurance, valuation, security, framing, maintenance, freight, relocation, installation, and any other associated costs of such works will remain the responsibility of the business unit’s concerned.

Commissions

(20) Artworks may be commissioned by a University business unit for operational purposes or for enduring historic reasons, such as Chancellor and Vice-Chancellor portraits, subject to the University commissioning agreement reviewed by the Art Curator and the Legal and Compliance unit.

(21) Licence agreements for Copyright and Moral Rights must be executed at the time of commission by the University Galleries.

(22) The business unit commissioning the works will be responsible for all associated funding. Artworks commissioned through an agreement reviewed and approved by the Art Curator will, upon completion, automatically enter the Art Collection. The display of these works may remain with the commissioning unit with prior agreement.

Donations

(23) Acceptance of donations will comply with the:

1. Donation Acceptance, Management and Fundraising Policy; and
2. Art Collection Development and Management Policy.

(24) Acceptance of donations must be approved by an authorised delegate as outlined in the Delegations Register and the approval must be noted in the accession documentation.

(25) The Art Curator must arrange a valuation certificate for donations. Costs for valuations may be negotiated with the donor or funded by the University.

(26) Gifts, donations, bequests and transfers will only be accepted where the donor has provenance and full legal title to the work, and the donation is made based on a total unencumbered transfer of ownership from the donor to the University.

(27) Donated items will not be accepted with conditions attached unless they bear historic or artistic significance (e.g. to be housed as a discrete collection). Items accepted with conditions will be evaluated for suitability by the Art Curator.

(28) Donations under the Cultural Gifts Program must comply with all relevant government guidelines and will require two independent valuations. The acceptance of any Cultural Gifts Program donation must be signed by an authorised delegate, prior to submission. Cultural Gifts Program donations will not be returned to the donor.

(29) Acknowledgements for acquisitions under the Cultural Gifts Program, or for significant donations will only be publicly accredited following approval from the donor.

Deaccession

(30) Selection, deaccessioning and disposal of collection material is acknowledged as an integral part of developing the collection and of sound collection management. Decisions relating to deaccession of collection items will be in consideration of the value and appropriateness of the item, and the University's capacity to care for, and provide access to the collection.

(31) The Art Curator is responsible for all decisions related to the deaccession and disposal of collection items.

(32) The University will consider the following when making decisions about deaccession and disposal:

1. alignment of the material with the current Art Collection Development and Management Policy and this procedure, particularly the Acquisition Selection Criteria (see Table 1);
2. the cultural significance of material created by or referring to Aboriginal and Torres Strait Islander or First Nations People;
3. all cultural or related issues that might arise in relation to disposal;
4. the research value of the material;
5. the monetary value of the material
6. the uniqueness of the material within the Art Collection;
7. any legal obligations that may prevent deaccessioning and/or any risk associated with a decision to deaccession and dispose of material;
8. significant damage or obsolescence of format, or hazardous conditions; and
9. storage demands.

(33) Digitisation of a physical collection item is not criterion for deaccessioning.

(34) The University Galleries must comply with the Tangible and Intangible Capital Asset Management Policy.

(35) Deaccession processes must be completed prior to any disposal action. All records associated with the material that is deaccessioned, including information relating to the deaccession process, must be maintained in the collection database and managed in accordance with the Records Governance Policy.

Disposal

(36) The disposal of material is subject to delegation of authority as outlined in the Delegations Register, and must be authorised by an appropriate delegate.

(37) The University will observe any legal conditions pertaining to its right of disposal and will comply with the conditions of the donation where applicable.

(38) Works approved to be disposed may be:

1. returned to the donor;
2. transferred to another institution;
3. sold by public auction, subject to approval and in accordance with the Commercial Activities Policy and its associated procedures, and approved under delegated authority;
4. destroyed or recycled under supervision;
5. used for learning and teaching purposes; or
6. repatriated to other cultural institutions or traditional owners.

(39) Proceeds from any sales may be directed to the University to support the acquisition of additional relevant works.

(40) A thorough documentation of previous existence of the work in the Art Collection and decisions leading to, and procedures taken prior to the items disposal must be created and managed in accordance with the Records Governance Policy.

(41) Any funds made from the sale of First Nations works must be directed to the artist or community without commission.

Repatriation

(42) The University unconditionally supports the repatriation of holdings from the Art Collection of any Aboriginal and Torres Strait Islander or other First Nations materials, in accordance with the principles of the United Nations Declaration on the Rights of Indigenous Peoples. There is no time limit on the return of items.

(43) The University accepts responsibility for the ongoing custodial care of any items which Aboriginal or Torres Strait Islander, or other First Nations peoples, resolve to leave in the University's Art Collection and/or care.

(44) The University must comply with the Australian Government Policy on Indigenous Repatriation in all matters to which it applies.

Section 8 - Loans and Deposits

(45) The University Galleries may borrow artworks or objects from reputable institutions and/or individuals for a defined period of time for the purpose of exhibition or display.

Incoming Loans

(46) Incoming loans must be endorsed by the Art Curator, subject to the provision of evidence of provenance and a full condition report of the work.

(47) All incoming loans will be:

1. subject to the execution of an official loan agreement by an authorised delegate before the works are transferred to the University;
2. registered in the appropriate University database with full details, including Loan Accession number, the loan agreement and value; and
3. reported to the Director, Risk Services for insurance requirements.

(48) The University must provide a copy of the limited insurance provisions of the incoming loan to the lender, if requested.

(49) Incoming loans to the Art Collections are limited to a period of 4 years, with yearly reviews conducted by the Art Curator and University Galleries staff.

(50) Installation and placement of incoming loans must be agreed to by the University and the lender and detailed in the official loan agreement. Relevant environmental conditions, security, handling and care and any other associated requirements, will be taken into consideration by the University and detailed in the agreement.

(51) Freight costs and additional costs, where reasonable and applicable under the official loan agreement must be negotiated between the University and the lender. The curatorial care, limited insurance, security, conservation care, relocation and installation of such works is the responsibility of the University.

(52) The University reserves the right to refuse an application or agreement for an incoming loan and to terminate an existing loan agreement subject to approval by an authorised delegate.

Outgoing Loans

(53) Items from the Art Collection may be loaned for exhibitions external to the University on recommendation of the Art Curator. Loaning works of high value is at the discretion of the Art Curator.

(54) All requests for loans from the Art Collection must be in writing, addressed to the Art Curator, University Galleries. an official loan agreement must be forwarded to applicants for signing and executed by an authorised delegate of the University. Evidence of risk assessment, transport, preservation procedures and insurance cover must be provided with the loan agreement before any work is released.

(55) All requests for loans or the movement or relocation of cultural material held within the Wollotuka or Birabahn collections must be endorsed in writing by the Head of Wollotuka Institute.

(56) Items from the Art Collection must only be lent to professionally operated galleries, exhibition spaces or institutions that can demonstrate suitable environments and appropriate collection management practices.

(57) Freight costs must be negotiated between the borrower and the University. All additional costs such as crating, packing and reinstallation on return, where applicable, should be decided by negotiation between the borrower and the University.

(58) Only appropriate Fine Art transporters are to be used for carrying any work from the Art Collection. The University, with recommendations from the Art Curator, reserves the right to nominate the carrier.

(59) All outgoing loans must be attributed to the University in all publicity material, publications, and display labels. The University name must appear in full and any use of the University logo must be approved by an authorised delegate.

(60) A condition report must be provided by the University on dispatch. All works must be returned in the condition in which they were despatched. Works on loan must not undergo any treatment, reframing, hanging alterations or other changes without approval in writing from the Art Curator.

Deposits

(61) The University may accept deposits in exceptional circumstances and by signed agreement. An individual or institution may deposit an artwork or object in the Art Collection for a limited or indefinite amount of time. During the time in which the item is in the collection, the item remains the legal possession of the depositor. The University is responsible for the item’s curatorial care, insurance, security, and storage during the time it is in the collection.

(62) Deposited items may be borrowed back from the University with 30 working days prior notice. The depositor may also choose to permanently withdraw the deposited items at a future date.

(63) In the case of permanent withdrawal, the depositor may be liable to reimburse the University for expenses incurred for storage, cataloguing and conservation during their term of deposit.

(64) Aboriginal and Torres Strait Islander cultural materials and archives may be deposited where an agreement is executed by an authorised delegate to allow the University Galleries to manage and have custodianship of a collection, without full title and possession.

Section 9 - Collection Management

(65) The University Galleries is responsible for managing the Art Collection according to clear ethical, quality assurance, security, conservation, sustainability and disposal regimes in a manner that balances the long-term preservation and integrity of individual artworks, materials and the collection with accessibility for present and future generations.

(66) The University Galleries must advocate for the care of art and cultural heritage through the provision of training and education for University staff, students, industry professionals and the public. This training must include all relevant copyright, moral rights and ICIP.

(67) Copyright, moral rights and ICIP extend to all reproduced images of cultural materials that have been licenced for publication purposes such as marketing, merchandise, social media, exhibition and other print materials.

Conservation

(68) The University Galleries is responsible for the proactive care of the Art Collection and for mitigating and managing the risks of damage and deterioration to materials in its collection and care. To achieve this, the University Galleries may employ a number of core strategies regarding the condition assessment, digitisation, preservation, storage, handling, packing and transportation, display and security of items.

(69) The University Galleries must manage its facilities using sustainable environmental controls, pest management and the development and implementation of disaster and emergency planning and response strategies.

(70) Restoration of artworks and cultural materials must be undertaken on a case-by-case basis based on significance, risk, research, and exhibition priorities, as determined by the Art Curator.

Storage

(71) Physical collection storage areas must be maintained in accordance with sound and considered environmental control standards, utilising appropriate storage materials, furniture, systems and supports, storage layout, cleaning and maintenance schedules, and traffic management practices in order to minimise risks to the collections in the University Galleries care.

(72) Digital collection storage must be maintained for material that is born digital or has been digitised for preservation and access needs. Digital collection storage must meet preservation requirements, which includes establishing a trusted digital repository that meets recommended national and international best practice guidelines.

Registration and Record Keeping

(73) The University Galleries must apply registration and collection management standards to ensure materials in its care can be identified, located, and tracked.

(74) Record keeping must ensure respect for and compliance with security, risk management, and confidentiality and privacy considerations, while also providing digital access to its collections where appropriate and in line with copyright and ICIP requirements.

(75) An accurate inventory of all collection items is maintained by the Art Curator and Galleries Collections Officer. The location of all items in the collection is monitored by the Galleries Collections Officer. Only University Galleries staff or an University approved agent can install and move art collection materials to and from storage and display locations.

(76) Culturally sensitive material must be identified and documented. Consultation with authoritative and responsible authorities, including First Nations persons and communities, or guidelines, must inform all future preservation procedures and conditions of display and access.

(77) Relevant copyright and ICIP information must be documented at registration and relevant written approvals related to copyright and ICIP must be filed with the accession in the collection management system.

(78) University Galleries must maintain records related to the management of materials in the Art Collection and care, including relevant acquisition and legal documentation and supporting materials, decision-making, evidence of risk management strategies, and all relevant incident and condition reporting. Record management must be in accordance with the Records Governance Policy.

Born Digital Collection Items and Digitisation of Artworks

(79) Digital material is inherently vulnerable and at risk and requires careful management and planning to ensure its preservation.

(80) The University Galleries digitises its Art Collection for the purposes of access and preservation. Access to the database is managed by the Galleries Collection Officer to ensure copyright legislation, moral rights and ICIP is appropriate to the access level. Any creation of a digital copy, or digital surrogate must comply with legislative and moral rights.

(81) The Art Curator is responsible for determining priorities for digitisation through an assessment of significance and risk. Priority will be given to highly significant materials and materials that are inherently vulnerable and require digitisation as a means of long-term preservation.

(82) Digitisation of all new objects to the collection will occur during accession.

Section 10 - Collection Access and Use

Exhibitions and Displays

(83) The Art Curator is responsible for curating exhibitions of the University Galleries Art collection within the University's gallery spaces (Callaghan Campus and City Campus) and at off-site locations, where appropriate.

(84) The Art Curator is responsible for providing advice on plans for commissioning public art for placement across all University sites and its partner institutions.

(85) Senior staff may request works from the Art Collection to display in their office or public areas providing a satisfactory assessment of the conditions under which the work is to be displayed is undertaken by the Galleries Collections Officer. The Art Curator is responsible for assisting with the selection, display, and installation. If damage or loss occurs while an item is on display, associated costs of repair may be conferred to the department which requested the loan.

(86) The Art Curator is responsible for the distribution of collection works to the various off campus locations associated with the University after an appraisal of practical rationales including security, insurance, and conservation.

(87) No movement of collection works must take place without the prior knowledge and approval by the Art Curator. The Art Curator is responsible for supervising, assisting, advising, and supporting all movement of collection works.

(88) Plans for construction or renovation activities in spaces where collection works are installed, on display, or stored must include consultation with the University Galleries. Infrastructure and Facilities Services, University staff, the University community, and the Art Curator must manage these planned activities with respect for the condition and state of the Art Collection.

Copyright, Reproductions and Moral Rights

(89) For all items acquired into the Art Collection, copyright remains with the artist(s) and/or creator(s) unless otherwise agreed between the artist/creator and the University at the time of acquisition. This includes works acquired through commission.

(90) The Copyright Act 1968 permits use of copyright material in some circumstances, including for educational purposes where use falls under the ‘fair dealing exemption’. See the University's Copyright Compliance Policy.

(91) University staff, students and affiliated partners must comply with the University's ICIP Protocol and accompanying Community Guide where they are applicable to material in the Art Collection.

(92) Those wishing to use or reproduce artistic or cultural items from the Art Collection must adhere to the following:

1. permission to reproduce any items in the Art Collection for commercial or promotional online and print publication, including but not limited to the University's public website and intranet, social media, In The Loop publication, and University and departmental reports and publications, must be requested from the University Galleries and granted by the copyright holder (where applicable). No reproductions may be used without prior permission from the University Galleries. Relevant copyright information must be included alongside any image used in print or online.
2. artworks by First Nations artists or objects with First Nations provenance may not be reproduced for any online or print publication, unless the publication is part of the promotional, curatorial or educational material related to an exhibition organised by the University Galleries. Prior permission from University Galleries and the artist(s) and/or creator is required; and
3. some items in the Art Collection may not be used for educational purposes under the ‘fair dealing exemption’ without prior consent from University Galleries and the copyright or ICIP holder (where applicable). These include artworks and objects of a sensitive or restricted cultural nature.

(93) Permission to reproduce any materials in the Art Collection for online and print publishing, commercial products, or any other educational, commercial, or public use must be requested from the University Galleries and granted by the copyright holder (where applicable).

(94) Some items in the Art Collection may fall outside copyright protection, either because the creator(s) has been deceased for more than 70 years, except in the case of ICIP where copyright endures in perpetuity, or the creator(s) is not known. All and any reproductions should be referred to the University Galleries for permissions.

Section 11 - Risk Management

(95) The University Galleries must manage risk concerning its Art Collection and the related space in accordance with the Risk Management Framework.

(96) The University Galleries must conduct systematic and regular assessments of the risks concerning the following:

1. safety and preservation of the collections (physical and digital formats); and
2. health and safety of staff and clients.

(97) The University Galleries must maintain a Business Continuity Plan for the preservation of high value and priority items in the event of an incident that may impact on the Art Collection.

(98) In the event of major damage due to natural disasters, the Art Collection will be re-assessed. Remediation will be proposed by the Art Curator by report to Infrastructure and Facilities Services.

(99) Breaches to copyright including ICIP and moral rights will be immediately notified to the Art Curator and the University's Legal and Compliance unit.

Section 12 - Responsibilities

(100) Responsibility for the Art Collection, its development and management rests with the Art Curator.

(101) Complaints concerning material in the Art Collection should be addressed in writing to the Art Curator for resolution. All complaints will be handled in accordance with the Complaint Management Policy.