Documenting Artworks [A Mundane but Fundamental Task]
As a curator, one mundane but important task is examining artworks and creating condition reports!
By steadily conducting research on the collection,
you can grasp the condition of the artworks (allowing for early detection and prevention of deterioration).
By physically taking notes, information about the artwork is etched into your mind.
It sparks ideas for exhibitions.
It leads to the creation of a collection database.
Information can be shared through the reports.
These are some of the benefits.
Conversely, if you do not properly document them,
you will have to keep pulling out the artworks repeatedly to check their condition.
Even though they are in your museum's collection, you won't have a clear understanding of what the works are.
The collection database will remain inaccurate indefinitely.
These are the kinds of troublesome situations that arise.
Key Points for Artwork Reports
Now, let me explain specifically what points I pay attention to during an examination and what kind of reports I create.
There is no set format for reports. I prefer having a large space for free writing like this. I also draw diagrams. Some museums have highly structured forms with subdivided fields and prepare different types of reports depending on the type of artwork.
Common points for any artwork report
Attach a simple diagram (copies of plates are also acceptable).
Record the presence or absence of accessories and storage boxes.
Make it understandable for others (it goes without saying that the handwriting must be legible, and subjective impressions or evaluations should be avoided).
Take record photographs at the same time as creating the condition report.
Enter the name of the surveyor and the date of the survey.
Note any other observations or points of concern. If there is a risk of damage during handling, write that down clearly.
When in doubt, do not force a conclusion; use phrasing like "possibly?" instead.
Key Points for Condition Reports of Paintings (Framed)
Record information about the back as well as the front.
Record the condition of the frame as well as the painting itself.
For dimensions, record both the total size including the frame and the size of the artwork itself. Also record the thickness of the frame.
*Front
Record the material of the support (canvas, board, etc.) and the technique (oil, watercolor, etc.).
Record whether the frame is fitted with glass or acrylic.
Presence or absence of the artist's signature.
Check for any information that can identify the year of production.
If there is mold, stains, cracks in the paint, or lifting, record these including their locations.
*Back
Record the presence or absence of a backing board and the shape of the hanging hardware.
Presence or absence of labels or stickers.
Record the condition of the back of the support and the wooden frame.
Check for any inscriptions by the artist.
In the case of paintings (scroll-mounted)
Record the material of the support (silk or paper) and the technique used.
Draw a diagram to show the presence of the wrapper (futai) and to identify the ichimonji and tenchi sections.
Record the condition of the mounting (hyogu).
If there is an inscription on the storage box, record that as well.
Record the dimensions, including the scroll itself. If time permits, record the dimensions of each part of the mounting.
Note the presence of the artist's signature and seals (if they can be deciphered, include those as well).
Check for any information that could help identify the year of production.
If there is mold, stains, cracks in the paint, lifting, or horizontal creases in the paper, record these, including their locations.
For crafts and three-dimensional works
Record the materials and techniques.
Record the width, depth, and height (write things like 'Width: XX cm' to avoid confusion with numbers).
If there is mold, stains, cracks, warping, or deformation, record these, including their locations.
Note the presence of any artist's marks or inscriptions.
These are the points to keep in mind when creating a condition report.
Although we are often too busy with daily tasks to find the time, curators occasionally seclude themselves in the storage room to create condition reports for each individual piece like this.
Furthermore, these reports do not belong to the individual, but are shared throughout the museum as documentation attached to the artwork.
As an aside, when I first started working, I didn't understand this and would write my own personal critiques of the works in the reports, feeling quite pleased with myself. I have memories of being scolded by my boss, who told me, 'We don't need that kind of thing.'
This article is included in [Online Curator Internship @note].
You can see a list of back issues here (I've written quite a lot, if I do say so myself).