What do we need to consider when we are shipping artwork? The big four have always been security, risk, expediency, cost and now more museums and art galleries are considering a fifth factor, environmental impact. We need to consider and weigh all the factors to obtain a combined number for overall risk as any one of the listed five will impact the others. A faster arrival for example will usually cost more and have greater environmental impact but a slower arrival means more handling and time in motion which increases risk of damage. How do we properly weigh these risks when making a decision on how to transport artwork?
As someone with extensive experience as an employee transporting artwork for museums, blue chip galleries, universities and artist run non-profits I can say from experience that risk is subjective in the sense that some venues are more willing to accept risk than others. When I evaluate risk I use a system similar to how medical practitioners measure pain with a patient. Pain, similarly to risk, can be subjective.
When I had hip surgery I was regularly asked what my pain level was on a scale of 1-10. What isn’t painful to me may be excruciating to someone else so understanding the tolerance of the individual or institution is crucial in coming to a decision on risk.
A typical pain chart is as follows:
- 0: No pain
- 1: Very mild, barely noticeable
- 2: Minor pain
- 3: Noticeable pain
- 4: Moderate pain
- 5: Moderately strong pain
- 6: Moderately stronger pain
- 7: Strong pain
- 8: Very strong pain
- 9: Pain that is very hard to tolerate
- 10: Worst pain possible
With artwork the degrees of risk are much less as there is always some risk even in storage and for most institutions anything between numbers 3 and 10 on the above chart are unacceptable. So my risk chart for acceptable risk for objects under my protection is limited to four;
- 1. Acceptable risk
- 2. Possible risk
- 3. Anticipated risk
- 4. Unacceptable risk
What are the factors I look for when I am considering risk. Or how is artwork damaged? The big risk is vibration.
There are several ongoing studies on how much vibration an object can absorb before the object is destroyed. An example is a paper published in Polytec Magazine, “Vibration Analysis Helps to Protect Art”, by Dale Kronkright, Head of Conservation, Georgia O’Keeffe Museum, states the following:(https://magazine.polytec.com/us/vibration-analysis-helps-to-protect-art)
“Every work of art is “born” with a finite number of chemical and mechanical bonds which provide both mechanical and visual characteristics. As a rule, the older a work of art becomes, the fewer bonds remain and the more susceptible the work is to damage as stresses exceed the decreasing strain fatigue limits. The tradition of canvas painting during the 20th century involved stretching a woven linen canvas over an adjustable wooden frame.
The resulting painted fabric membrane is like that of a rectangular drumhead with each painting having natural and resonant frequencies falling into a range that is dependent upon the size, weight and tension of the canvas, and the application and direction of design paints. The resonant vibration frequency range of 16 to 50 Hz is problematic to the preservation of the museum’s paintings precisely because it coincides with the range of input vibration frequencies created by fine art transport trucks traveling down a highway.”
When transporting artwork I always have the following checklist in mind, as well as considerations on how to mitigate that risk, as I weigh potential risks. Vibration as discussed above is my first consideration:
- Vibration:
- How can vibration be dampened with packing?
- Improper handling and storage:
- Artwork can be damaged if it is moved or stored inappropriately.
- How can I limit time on tarmacs, loading docks and cross docking where I have no control of the handling of my cargo?
- How can I limit the possibility of inspections where cargo may be inspected by untrained individuals?
- Exposure to light: Ultraviolet light can cause fading and discoloration of artwork, especially if it is displayed in a location with high levels of natural or artificial light.
- Again limiting inspections where cargo is opened under improper conditions.
- Vetting vendors that are handling and packing my collection as thoroughly as I vet institutions that are borrowing my collection.
- Climate and environmental conditions: Extreme temperatures and humidity can cause damage to artwork, causing materials to expand, contract, or deteriorate over time.
- Limit exposure to transportation or cross docking that exposes my collection to climate extremes.
- Insect infestations: Pests such as insects and rodents can cause significant damage to artwork by chewing, nesting, or leaving behind droppings that can stain or degrade the materials.
- Limit exposure of my collection to carriers that may expose my collection to moisture or share space with possibly contaminated cargo.
- Accidents and mishandling: Artwork can be at risk of damage from accidental mishaps such as spills, falls, or impacts.
- Decrease possibilities of cargo handling accidents such as crane drops or forklift strikes.
When shipping artwork, there are risks associated with all modes of transportation – air freight, ocean freight, and ground transportation. The level of risk will vary depending on factors such as the value of the artwork, its fragility, and the distance it needs to travel. Here is a comparison of the risks associated with each common mode of art transportation:
Ground Transportation: Obviously not an option for overseas shipments but when considering air or ocean freight, ground transportation needs to be included, as it is always the first and last transportation stage.
Advantages: Ground transportation provides a more direct route for shipping artwork, allowing for less handling and fewer opportunities for damage. It is also a more cost-effective option for shorter distances.
Risks: The main risks associated with ground transportation include accidents, theft, and damage from road conditions. While the risk of damage may be lower than with air or ocean freight, there is still a potential for mishandling during transit.
X Acceptable risk – ground transportation has risks that can be mitigated through carefully vetting the experience of the shipper, the condition of their vehicles as well as ensuring the proper packing and securing of your cargo. You want to be sure your packing has proper insulation for temperature deviations as well as vibration muting. You want to be sure your packaging is waterproof and cannot hold standing water which attracts vermin. You want to be sure the vehicles climate control and air-ride are in proper working condition, that the handlers and driver are professional and knowledgable and that the cargo is strapped in place both at both top and bottom.
Air Freight:
Advantages: Air freight is the fastest mode of transportation, making it ideal for time-sensitive shipments. It also offers greater security measures and protection from potential theft or damage.
Risks: The main risk associated with air freight is the potential for damage from turbulence or mishandling during loading and unloading. Additionally, extreme temperature changes in the cargo hold can also pose a risk to fragile artworks.
TSA inspections should also be considered a risk that can be mitigated by proper adherence to screening protocols and using experienced freight forwarders that are in compliance and knowledgable of the TSA order.
Air freight is often the fastest option, but it is also the most expensive. And, of course, there is the environmental impact to consider. Air freight emits more carbon dioxide than other transportation, making it a less sustainable option.
X Acceptable risk – Though more complicated and more difficult to control measures can be taken to limit risk. These include proper courier training and choosing a freight forwarder that is familiar with tarmac requirements. Crating for air freight has the same requirements as ground transportation with the expectation that temperature deviations will be more extreme.
X Possible risk – Mishandling, strikes and drops are more common on tarmacs and harder to identify as they usually occur behind the scenes. For many years the museum I managed several departments for had the standard dolly risers lowered for air freight shipments. This caused airport tarmac forklift drivers to approach our crates much slower in order to lift them and decreased the occurrence of strikes. There are other possible risks but most are anticipated and can be controlled with the exception of environmental risks.
I believe the art service industry needs to take a hard look at the sustainability of several of its practices primarily it’s dependence on hardwoods and plastics. This is a discussion and a problem that has been poked at with no real concessions for at least the last 30 years. I am seeing changes throughout the industry that are heading in the right direction and I am seeing companies committed to finding sustainable solutions to packing and shipping which is heartening. That said as museum and art service professionals, protection of cultural artifacts is our responsibility, and assessing and limiting risk to the object as we look for more sustainable methods and materials should be our primary consideration. Keeping possible risks in mind I have not found a reasonable option to air freight for over seas shipments.
Ocean Freight: Ocean Freight has recently become a transportation option due to environmental concerns over air transportation and in some cases as a way of cost reduction for large shipments. I personally have used ocean containers a few times. In each case it was for a full household or studio relocation that included artwork. I had to use extreme measures to secure the artwork and protect it from extreme vibration and environmental conditions.
Advantages: Ocean freight is a cost-effective option for shipping large and heavy artwork over long distances. It also allows for more flexibility in terms of packing and shipping larger pieces.
Risks: The main risk with ocean freight is the potential for damage from rough seas, moisture, and temperature changes. There is also a higher risk of theft during the longer transit time and a higher risk of theft or damage due to the multiple handlings that goods must endure before reaching their final destination
Goods can be damaged or lost due to rough seas, weather events, or accidents. Containers may also be unprotected for long periods of time during transit, increasing the risk of theft and breakage. Transit times can take weeks or months, depending on the distance between ports. Delays can lead to revenue loss for businesses that rely on timely deliveries.
In addition ships sink more often than planes crash or trucks run off the road. In 2022, 38 ships were lost, with common causes including foundering, fires, and hull damage.
X Anticipated risk – Ocean freight is an option that has me holding my breath until the object arrives. there are too many associated risks to fully mitigate and using this mode of transportation requires the acceptance of something happening.
X Unacceptable risk – Even with the advantage of lower costs and less impact on the environment I find the associated risks too high to consider ocean freight as an option for a museum quality artifact. That said if I was shipping a large quantity of items on a limited budget this would be an option I would have to consider.
Each mode of transportation has its own advantages and risks when it comes to shipping artwork. It is important to carefully consider the specific requirements of the artwork being shipped, as well as your institution’s mission statement, values and budget, and choose the most appropriate mode of transportation to minimize the risks involved.
Working with experienced art shippers who specialize in handling and transporting valuable artwork can sometimes help to mitigate potential risks and ensure a safe delivery but it is always wise to trust your own instincts and weigh the potential risks before making a decision.
Going back to my pain chart, I listen to what my doctor suggests but in the end I have to weigh the risks and make the best decision for myself, my family and my current circumstances. The decision and the acceptance of risk is mine.
The same can be said for any decision you make for your collection.
Chuck Agro - Project Management For The Arts 