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Full text of "1975-2000, arts and artifacts indemnity program : 25 years"

197 



i. * 




"Because of the indemnity program, members of 
the public get to experience tremendous works of 
art that they wouldn't normally be able to see 
unless they could travel to the countries of origin. 
That's out of reach for most Americans." 



>well m, Di 

Gallery of Art, Washington, D.C. 



"We would nor have been able ro mo 
of foreign shows we do without the indemnity pro- 
gram," according to Powell. "It would really limir our 
options because the insurance costs would just be 
prohibitive. " 

Many of the Gallery's shows provide the onlv public 
access to rare items. In the case of its exhibition titled 
Sculpture of Angkor and Ancient Cambodia: Millennium of 
Glory, virtually all of the objects came from sites that 
were largely inaccessible for decades due to political 
turbulence and isolation. Olmec Art of Ancient Mexico 
contained many works from remote provincial sites in 
Mexico that receive few visitors. Eao: Art in Japan 
l()l 5-1868 gave Americans an unusual chance to 



view many wc 



apanesc have never seen. 



)m private collections that most 



This bronze image of the Hindu goo" Vishnu, treated in the 1 !'" century, was i 
the National Gallery of Art's 1997 indemnified exhibition Sculpture of Angkor t 
Ancient Cambodia: Millennium of Glory. Photo courtesy of the National Gallery of Art. 




"The indemnity program allows smaller institutions 
like ours to mount exhibitions that we could only 
dream about otherwise." 

Nancy Netzer, Director 

McMullcn Museum of Art, Boston College 



"Ii allows us access to superb examples of artists' 
works in fpreign collections, many of which have 
never before been on public display in America," says 
Netzer. One example is the MeMullcn's presentation 
of Edvard Munch: Psyche, Symbol and Expression, an examina- 
tion oi the style, subject matter and interpretations 
of the Norwegian artists works. Many of the shows 
83 paintings and prints have rarely, if ever, been on 
public display in America, Nearly one-third of them 
are being loaned from overseas collections, through the 
indemnity program. 



1 hese kinds of loans enable the museum to add a 
new dimension to its exhibitions. "By displaying our 
own works of art in context with other works outside 
of their immediate realm, we can explore them more 
broadly, gaining new insights," Netzer observes. 
"1 he interdisciplinary kinds of shows we produce 
have raised cultural awareness in our community." 



Above: Edvard Munch: Psyche, Symbol and Expression included 28 indemnified 
works, among them this painting, Story Night, on loan from Oslo's Munch Museum. 
The exhibition, presented by the McMullen Museum of Art at Boston College, provided 
Americans a rare look at the works of this fascinating Norwegian artist. Photo 
courtesy of the Munch Museum. 



LI(T)0 




The Federal Council on the 
Arts and the Humanities 

Chairman, National Endowment for the Arts 
Chairman, National Endowment for the Humanities 



Secretary, Department of Education 

"Secretary, Smithsonian Institution 
Director, National Science Foundation 
Librarian of Congress 
^Director, National Gallery of Art 
Chairman, Commission of Fine Arts 
Archivist of the United States 
Commissioner, Public Buildings Service 






Secretary, Department of State 

Secretary, Department of the Interior 

^Secretary of the Senate 

^Member, House of Representatives 

Secretary, Department of Commerce 

Secretary, Department of Transportation 

Chairman, National Museum Services Board 

Director, Institute of Museum and Library Services 

Secretary, Department of Housing and Urban Development 

Administrator, General Services Administration 

Secretary, Department of Labor 

Secretaiy, Department of Veterans Affairs 



■SHI 



Assistant MtrcfL 



Jervices. Administration on Aama 



'■"Members who do not vote on mdemniiv 



Above: The Metropolian Museum of Art in New York has presented many world treasures 
through the indemnity program. One of its best-known such exhibitions was Splendors of 
Imperial China in 1996. Photo courtesy of the Metropolitan Museum of Art. 

Cover: Renoir's Young Girls at the Piano was one of the paintings included in From Renoir 
to Picasso: Masterpieces from the Musee de I'Orangerie. While their Paris home was being 
renovated, more than 80 works were loaned to the Kimbell Art Museum in Fort Worth, 
Texas for this unprecedented exhibition. Photo courtesy of the Kimbell Art Museum. 



Examples of 

Indemn ified Exhibitions 



Treasures from the First 
Emperor of China 



The Dead Sea Scrolls 



The Art of Seeing: 
John Ruskin and the 
Victorian Eye 



A Grand Design: 

The Art of the Victoria and 

Albert Museum 



Mongolia: The Legacy of 
Chingghis Khan 



Images in Ivory: Precious 
Objects in the Gothic Age 



Master-works from Stuttgart: 
The Royal Academy of Arts The Romantic Age in 
in the Age of Queen Victoria German Art 

■ 



Dali's Optical Illusions 

Edgar Degas: The Many 
Dimensions of a 
Master Impressionist 

Rings: Five Passions in 
World Art 



Treasures of Tutankhamun 



Diego Rh 



Gifts of the Nile: 
Ancient Egyptian Faience 



This Detftwore dish portraying Britain's Burghley House was port of on indemnified exhi 
that traveled to museums in Ohio, Florida, Louisiana, California and South Carolina. The Cecil 
Family Collects: Four Centimes of the decorative Arts from Burghley House was organized and 
es International. Photo courtesy oF Burghley House.' 



& 



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Priceless canvases pa/ited by Picasso, fragile terra cotta warriors 
from ancient Chjw(, a gilded Baroque silver tea service used by 
nobility in onortft Russia's most opulent palaces. These and other 
irreplaceable Tx)jects have been carefully packed in crates and 
shipped around the globe so that the American people could enjoy 
them and marvel at the cultures that created such astonishing works. 

Given the tremendous value of these objects, their owners require 
insurance prior to shipping them to Americas museums. The Arts 
and Artifacts Indemnity Program was created by Congress in 1975 
to minimize the costs of insuring international exhibitions. Since 
its inception, the program has indemnified nearly 700 exhibitions, 
saving the organizers almost $150 million in insurance premiums. 
Two hundred museums in all parts of the United States have par- 
ticipated in the program, which helps make it possible for millions 
of Americans to see firsthand important works of art and artifacts 
from around the globe. 

The Indemnity Program is administered by the National 
Endowment for the Arts on behalf of the Federal Council on 
the Arts and the Humanities. The Council has adopted policies to 
reduce risks, such as excluding certain fragile objects from coverage. 
By statute, the maximum coverage for a single exhibition is $500 
million and the total amount of coverage available for all exhibitions 
taking place simultaneously is $5 billion. Participating museums 
agree to a sliding-scale deductible that ranges from $15,000 to 
$400,000, based on the value of works m the exhibition. 




\L6 (kK(U 



Frans Hals' 77?e Merry Lute Player, 
was included in the indemnified 
exhibition Dutch and Flemish 
Paintings: The Harold Samuel 
Collection. The works, organized 
and circulated by Art Services 
International, traveled from London 
to Richmond, Pittsburgh, Boston, 
Seattle and Jackson, Mississippi. 
Photo courtesy of me Guildhall Art 
Gallery, Corporation of London, U.K. 





Americans were given the chance to view rare royal treasures, including this oversized 
malachite basin, in the indemnified exhibition Strogonoff: The Palace and Collections 
of a Russian Noble Family, presented by the Portland Art Museum in Oregon. 
Photo courtesy of the Portiond Art Museum. 




The Fedet^fl Council on the Art^Snd the Humanities is 
authorise! to make indemnity agreements with U.S. non- 
prot/ytax-exempt organizations and governmental units for: 

• objects from outside the United States while on 
exhibition in the U.S. 

• objects from the United States while on exhibition 
outside the U.S., preferably when part of an exchange 
of exhibitions. 

• objects from the United States while on exhibition in the 
U.S. if the exhibition includes other objects from outside 
the U.S. that are integral to the exhibition as a whole. 

Eligible objects include art works, artifacts, rare documents, 
books, photographs, films and videotapes. Such objects must 
have educational, cultural, historical or scientific value, and 
the exhibition must be certified by the U.S. Department of 
State as being in the national interest. 



Application Deadlines 

Postmarked by: 
April 1 
October 1 



Project may begin: 

Julyl 

January 1 



197.5-2000. 

its &.kcjL i^htxTattt 




Raphael's ho Women with Children was one of the indemnified works shown as a part 

of the exhibition Italian Drawings, 1350-1800: Master Works from the Albertina. 

The drawings, organized and circulated by Art Services International, journeyed 

from Vienna to Los Angeles and Fort Worth. Photo courtesy of the Albertina. 



How to Apply 



^M 



.Tested in ap 



obtain materials nv contacting: 

Alice M. Whelihan 
Indemnity Administrator 

National Endowment for the Arts 

1100 Pennsylvania Avenue. NAY. 

Washington, D.C 20506-0001 



202-682-5574 



Fax: 202-b$2-5b03 
E-mail: whelihaa@arts.endow.gov