[MSN] MOA Security Protects, Preserves. But theft is not security's biggest worry; it's damage from patrons.

[Museum Security Network Mailing list]

MOA Security Protects, Preserves


Photo by Geoffrey McAllister: http://newsnet.byu.edu/print/story.cfm/64011
Sgt. Randy O'Hara and Andrew Cobabe, student security supervisor at the
Museum of Art, show their "challenge coins," used to add fun and enhance
morale on the job.By Lindsay Cusworth
11 Apr 2007


To protect artwork from being stolen, security guards are strategically
placed on all floors of the Museum of Art and alarmed detectors are
positioned near valuable paintings. Multiple cameras, moved around based on
need, also keep watch over the museum's treasures. 

But theft is not security's biggest worry; it's damage from patrons.

"We have had problems with groups and unintentional damage," said Randy
O'Hara, security coordinator at the museum. "We had a group with crayons and
they got too close to the artwork before the security could get to them."

O'Hara said no serious harm was caused to the painting at that time, but
when there is a situation of intentional damage, the student guards will
contact the university police. 

"The biggest problem we have is people touching the artwork," said Emily
Poulsen, registrar at the museum. "They are usually innocent people who
don't realize the damage in touching a painting. We have finger prints on
almost everything that we take down."

Poulsen really understands the lengthy process of setting up a new exhibit
and sending one off when its run is over. After all, it's her job to oversee
both activities.

The artwork arrives in crates that need to acclimatize for a time period
ranging from a couple of days to two weeks. After the artwork is taken out
of the crates, a detailed condition report is recorded. The report shows any
damages made prior to arrival. 

Each painting is insured for its fair market value. The museum gets each
painting insured while it is in transit and during its stay at the museum. 

"We are responsible for the work while it is here," Poulsen said. "If a work
is damaged while it is here, then the museum is liable."

Poulsen said the museum has tried many tactics to encourage people to not
touch. A small sign is located next to a handful of paintings reminding
visitors "Please do not touch the artwork." At one point, metal bars were
placed in front of valuable paintings, but they were taken down for safety
reasons. 

Recently, for the Paths to Impressionism exhibit, museum staff started
putting sandpaper tape on the floor 18 inches in front of paintings to
signify how far away a visitor should stand. 

"We researched it and found that the tape is effective," Poulsen said. "It
mentally keeps people at a distance away from the works of art. It also
helps the guards so they can show people where they can stand."

The guards at the museum are an entire staff of students who are trained to
be "eyes and ears." Their job is to circulate through the exhibits and to
enforce the rules. 

"Enforcing the rules is sometimes an awkward thing because the security
guards have to tell visitors in a public space that they are doing something
wrong," said Chris Wilson, marketing and communications manager at the
museum. "We hope our visitors realize that when a security guard asks a
person to step back from a painting that it's nothing personal. They are
just trying to protect valuable works that many people have made great
efforts to preserve in their current condition."

Security is an important part of the overall operation of the museum. Wilson
said between the cameras installed throughout the museum and the security
guards patrolling the galleries, the museum staff is confident the works are
safe and well protected.

"Every time we host a traveling exhibition and every time we borrow a work
from another institution we are evaluated on how well we care for the
artworks that have been entrusted to us," Wilson said. "It is important to
us to care for these artworks because these other places trust us to care
for and safeguard them. If we don't do everything in our power to keep their
works safe, we would find that nobody would want to lend works to us."

Museum security is an issue everywhere, and other art museums in Utah Valley
and the Salt Lake area are implementing their own security measures.

Vern Swanson, director of the Springville Museum of Art, said there are two
major problems when it comes to protecting the artwork at his museum: adult
women and children. 

"The women bang on the paintings with their handbags," Swanson said. "They
back up into the painting and damage it. And none of them know it is
happening."

In response to this problem, Swanson puts up rope in front of a handful of
paintings and requires all people with backpacks and purses to carry them on
their stomachs.

"We also don't allow children into the museum without an adult supervisor,"
Swanson said.

But even with adult supervisors present, Swanson said not a day goes by
without seeing a group of young children playing hide-and-go-seek in the
museum.

"We are the art Nazis," Swanson said. "The art is a living document to our
cultural heritage, and it cannot take care of itself."

Bonnie Souliere, operations manager at the Utah Museum of Fine Arts at the
University of Utah, agreed that patrons touching the paintings is a problem
at that museum as well.

"People don't realize that they get too close to the painting," Souliere
said. "Our staff is reminded to monitor their surroundings and to act if
they see something."

http://newsnet.byu.edu/