The Jule Collins Smith Museum of Fine Art
at Auburn University

 Advisory Board Duties, Responsibilities and Governance   

The Advisory Board of The Jule Collins Smith Museum of Fine Art is different from a Board of Trustees of a private museum.  The museum is administered by Auburn University, and it is the university’s Board of Trustees which is ultimately responsible for the operation of the museum.  The Board of Trustees sets the policies for the museum, oversees its operation, and ensures that the museum is responsibly managed.  The Director of the museum reports to the Associate Provost, the Provost, the President, and, ultimately, the Board of Trustees of Auburn University.  In short, the Advisory Board of the museum has no fiduciary responsibility and is not legally liable for any improprieties occurring within the museum’s governance. This is not to say that the Advisory Board does not perform an important function.  In fact, the Advisory Board plays an essential and active role in maintaining the health and vigor of the museum.  Although the Director is responsible for the administration of the museum–the daily execution of those necessary tasks which allow the museum to operate–the Advisory Board aids in the establishment of the general principles that will guide the museum through both good and bad times.  The Board will help the director establish priorities, raise funds, conceptualize the mission of the museum, create long-range plans, and evaluate the performance of the museum in a number of key areas. This is why the Advisory Board of the Jule Collins Smith Museum of Fine Art is composed of individuals coming from a variety of backgrounds and possessing a wide array of special talents and experiences.

Essential to the success of the Advisory Board is the committee structure.  Each of the museum’s five committees has a specific charge: Education and Programs, Collections and Acquisitions, Exhibitions, Strategic Planning and Finance. The creation of these five committees demonstrates the museum’s priorities.  It is vitally important that each of these committees create long-term goals, articulate them to the entire board and periodically evaluate the committee’s success or failure in meeting these goals.  In general, committees will be composed of 8-10 members.  Members from outside the board may serve on committees, but this is usually limited to no more than two members per committee.   

The President of the Advisory Board is elected by the members of the Board for a two-year term which can be renewed once.  Like the Director of the museum, the President of the Board is an ex-officio member of all museum committees.  Working with the Director and referring to the preferences expressed by board members, the President and the Director appoints members to the various museum committees.  The President and the chair of each committee compose the Museum Executive Committee.  A set of approved by-laws which can be found in The Jule Collins Smith Museum of Fine Art Code of Ethics and Advisory Board By-laws (see below) govern the Advisory Board.  These by-laws have been submitted to the entire Advisory Board and have been ratified by majority vote of the board.

JCSM Advisory Board Committees

Executive Committee

The future of the Jule Collins Smith Museum of Fine Art depends heavily on financial support from Auburn alumni, friends, corporations, foundations, as well as citizens of the community and region.  To help the museum meet its financial objectives and to develop positive relationships with the aforementioned constituency, we note that one of the primary roles of the Executive Committee is to provide assistance in the coordination of all fund-raising and Advisory Board membership recruiting activities.

The Executive Committee will be an active volunteer committee comprised of committee chairs, the past Advisory Board president, the current Advisory Board president and the museum director.  This group will work with the museum director and development officers to establish and reach annual fund raising and membership goals.  A primary emphasis will be on securing  gifts and memberships to the museum at the $1,000 level and above.

Roles and Responsibilities of the Executive Committee

President of the Advisory Board

• becomes familiar with the museum’s mission, areas of excellence, goals and needs in order to develop a compelling case for enlisting support.
• enlists committee members with assistance from the museum Director and development officers.
• has overall responsibility for motivating the volunteer force and sees that responsibilities accepted by the volunteers are carried out in a timely manner.
• presides over both Advisory Board and Executive Committee meetings.
• participates in solicitation and cultivation activities.
• works closely with the museum Director and development officers to assure that the support required and needed by volunteers is provided in a timely manner.
• makes a personal gift that will inspire others to emulate his or her generosity.

Executive Committee Members

• become familiar with the museum’s mission, areas of excellence, goals and needs in order to develop a compelling case for enlisting support.
• act as spokespersons, ambassadors and advocates on behalf of the museum in their communities and among various segments of the museum constituency.
• recruit individuals to become museum members at the higher levels.
• recruit individuals to make charitable contributions to the museum at the $1,000 level or higher.
• work closely with the museum Director, or chairman of their individual committees in the planning and implementation of activities.
• make a personal gift that will inspire others to emulate their generosity.

Collections and Acquisitions

The Director and Curator presents this committee with an update of the budget designated for the acquisition of works of art and the care and preservation of the museum’s permanent collection. The committee will concern its self with the following:

• a collections management policy articulating the following: collection ethics, acquisition and accessioning policies, the policy for the disposition of non-accessioned objects/materials, loan policy, access to the collection policy, and a deaccessioning policy  periodic reviews of the condition of works belonging to the museum’s permanent collection.
• a review of any work that might be available for acquisition into the collection either through auction, direct purchase from the owner or gift to the museum.
• motions requesting that the committee vote on the acquisition of a work or works to be accessioned into the permanent collection (only the Director of the museum will have the authority to expend funds on the purchase of works of art).
• motions requesting a vote that any work (purchased by the museum or gifted to the museum) be placed either in the museum’s collection or accessioned by the museum for its permanent collection.     

Education and Program Committee

The Education Committee is responsible for advising the Director on subjects related to the educational mission of the museum and the effectiveness with which that mission has been implemented. One of the most unique aspects of the museum is the breadth of its educational mission since it includes all grade levels from K-12, as well as students, faculty and staff at Auburn University.  We also seek to engage a diverse regional audience with our programs.  To meet this mission, the Education Committee should:

• work with the museum’s Development officer to create an endowment for the salaried position of  Education Curators.
• work closely with the museum’s educators to implement all programs related to volunteers and the training of docents.
• work with the educators to plan all educational material related to special exhibitions involving the museum’s own permanent collection or exhibitions traveling from other institutions.  These may include videos and published material like brochures and workbooks for children.
• work with the educators to create a lecture series (or a number of series’) devoted to addressing topics that will educate and enrich the lives of a wide spectrum of children, university students, and adults

Exhibitions Committee

The Director and Curator will present to this committee potential exhibitions for the museum. Members of the committee may also present ideas or material related to exhibitions for the museum.  It is common for museums to create a schedule of exhibitions covering a three-year period.  Exhibitions may be curated from the museum’s own permanent collection (often augmented by works borrowed from other collections) or “travel” from other museums or exhibition services.

Strategic Planning Committee

The Strategic Planning Committee considers and develops a long-range plan for all aspects of the Museum’s mission (see Mission Statement).  This includes an assessment of all the Museum’s stakeholders’ interests in the short- and intermediate terms as well as the ultimate goals of the Jule Collins Smith Museum of Fine Art at Auburn University.  Such matters as facilities expansion, enhancement of the Museum’s educational goal and refinement of the service mission of the Museum are within its purview.  Long-range means for increasing annual endowments for acquisitions, exhibition support, educational programming and publications are yet other matters that the committee will consider.

Finance and Development Committee

This committee spearheads all development activity working in tandem with the Director, museum Development Officer and the Auburn University Foundation Office.  Its purpose is to maintain and build endowments and to solicit funding for future collections, exhibitions and programs.

Code of Ethics and Advisory Board By-Laws 

I.          Advisory Board Responsibility

Governance

The duties of the Advisory Board of The Jule Collins Smith Museum of Fine Art include:  1) to act with due care with respect to any action associated with the Museum; 2) to be loyal to the Museum; 3) to protect and preserve Museum property and art objects; 4) to advise in the making of Museum policy; and 5) to aid in the selection of  a competent and qualified Director.

By accepting this trust, each AB member has a responsibility to act with fidelity and in good faith. An AB member must exercise ordinary and reasonable care in performing his/her duties and is under a duty to preserve and protect Museum objects and property.

A member of the Advisory Board is a constant ambassador and proponent of the arts to the general public. AB members serve the organization’s welfare in all possible ways.  Specifically, an AB member’s responsibilities ideally should embrace all of the following:

• To join the membership of The Jule Collins Smith Museum of Fine Art at Auburn University at the highest level possible to demonstrate personal support for the Museum and inspire other members of the community and Auburn University;
• To give all meetings and other activities pertaining to the The Jule Collins Smith Museum of Fine Art high priority on his/her calendar of commitments;
• To be familiar with and stay current with all the facts upon which the Advisory Board must base their collective opinions and decisions–to seek answers when they seem to be lacking; 
• To diligently work on committees assigned by the Director and/or President of the AB and to attend committee meetings regularly;
• To recognize that an essential function of a good board is fund-raising and to cooperate fully in achieving the Museum’s financial goals by making his or her own gifts as generous as possible and by participating in annual fund-raising efforts;
• To support Museum programs by personally attending selected programs as time permits;
• To be involved fully in all deliberations and decisions affecting the ongoing philosophy and future planning of the Board–to be both a knowledgeable purser of “old business” and an aggressive proposer of “new business.”

Advisory Board By-Laws

A meeting of the Advisory Board shall occur at least two times annually (Fall and Spring).

The number of members to The Jule Collins Smith Museum of Fine Art Advisory Board shall be no less than 20 and no more than 45.

Membership to all Advisory Board committees includes several non-voting ex officio members: the President of the University, the President of the Advisory Board, the Associate Provost, the chair of the Art Department and the Director of the Museum. 

Nominations for possible membership to the JCSM Advisory Board shall be requested from the entire Advisory Board at least once a year.  The Executive Committee will meet annually  to discuss the profile of the current Board and the opportunities for involvement of new Board members.  Further discussion will concern the profile of open Board positions including background expertise and cultural and geographic diversity.  Contact is then initiated with the prospective member(s) and the candidates are provided descriptive information concerning all aspects of the museum, a profile of the current board and its committees and a copy of Advisory Board Responsibilities from the Advisory Board By-Laws.  Approval of interested candidates will be voted on by the full Advisory Board at the next Board meeting.  The University President is forwarded the names and, upon his approval, the President will send out formal letters of invitation to join the Jule Collins Smith Museum of Fine Art’s Advisory Board. No person is eligible to be an Advisory Board Member who does not belong to the Membership of The Jule Collins Smith Museum of Fine Art.

Members of the Museum staff may be present at committee meetings at the invitation of the Director of the Museum.  Staff members will often be asked to deliver reports to committees associated with their professional duties in the Museum.

Members of the Advisory Board shall serve 3 year terms. At the end of the term, members may be asked by the Executive Committee to renew.

The following permanent committees of the Advisory Board have been established to aid in the governance of the Museum:

• Executive Committee
• Collections and Acquisitions
• Education and Programs
• Exhibitions
• Strategic Planning
• Finance and Development Committee

Membership to these committees will consist of a core group of at least 4 members of the Advisory Board. Committees often consist of 8-10 members. Additional members from outside the Advisory Board may be recruited and voted on to a committee by majority vote of that committee; the number of such members on a committee is limited to two. 

At all committee meetings, a quorum shall consist of nothing less than a majority of the total number of committee members.  A quorum is authorized to transact business by a majority vote, a quorum then being present, participating and voting.

The chairperson of each committee will be appointed by the Advisory Board President and Museum Director.

The chairperson’s term will be two years.  The chairperson represents the committee on the Advisory Board’s Executive Committee.  The chairperson will submit a report at each Advisory Board meeting, providing a summation of the committee’s actions, business and/or concerns.

Each committee of the Board will be in session at each meeting.

A President of the Advisory Board shall be elected by a majority vote of the Advisory Board then present and voting at a regular meeting of the Board.  The President is elected for a two-year term which can be renewed once.

The President should attend all meetings of the Advisory Board and minutes will be provided to the entire Board after every meeting of the Advisory Board. 

The Executive Committee of the Board consists of the Chairpersons of each committee, the past President of the Advisory Board, the President of the Advisory Board, the Director of the Museum and the Associate Provost of the University.

Any member of the Advisory Board is welcome to attend any committee meeting.

Conflict of Interest

Advisory Board Members who are experienced and knowledgeable in fields related to Museum activities can be of great assistance to the Museum, but conflicts of interest or the appearance of such conflicts may arise because of these interests and activities.  Each AB member must endeavor to conduct all of his or her activities, including those relating to persons closely associated with him or her and to business or other organizations, in such a way that no conflict will arise between the other interests and the policies, operations or interests of The Jule Collins Smith Museum of Fine Art.  The appearance of such conflicts also should be avoided.

Each Advisory Board member should file with the Advisory Board a statement disclosing their personal, business or organizational interests and affiliations and those of persons close to them that could be construed as being Museum related.  Disclosure statements should be updated whenever significant changes occur.

A visible area for charges of self interest at the expense of the institution, and of personal use of privileged information, arises whenever an AB member, a member of his or her family or a close associate personally collects objects of a type collected by the Museum.  The Advisory Board shall make every effort to be sure that no AB member competes with the Museum for objects or takes personal advantage of information available to him or her because of their Advisory Board membership.  Furthermore, should any conflict develop between the needs of the individual and the Museum, those of the Museum will prevail.

No AB member, person close to him or her, or individual who might act for him or her may acquire objects from the collections of the Museum, except when the object and its source have been advertised, its full history made available, and it is sold at public auction or otherwise clearly offered for sale in the public marketplace.

When AB members seek staff assistance for personal needs they should not expect that such help will be rendered to an extent greater than that available to a member of the general public in similar circumstances or with similar needs.

Whenever a matter arises for action by the Advisory Board or the Museum engages in an activity where there is a possible conflict or the appearance of conflict between the interests of the Museum and an outside or personal interest of an AB member or that of a person close to him or her, the outside interest of the member should be made a matter of record.  In those cases where the member is present when a vote is taken in connection with such a question, he or she should abstain.  In some circumstances the interested AB member should avoid discussing any planned actions, formally or informally, from which he or she might appear to benefit.  Sometimes neither disclosure nor abstention is sufficient, and the only appropriate solution is resignation.

An AB member should not take advantage of information he or she receives during his or her service to the institution if the member’s personal use of such information could be financially detrimental to the Museum.  Any such actions that might impair the reputation of the Museum also must be avoided.  When a member obtains information that could benefit him or her personally, he or she should refrain from acting upon it until all issues have been reviewed by an appropriate representative of the Advisory Board.

AB members serve the Museum and its public.  They shall not attempt to derive any personal material advantages from their connection with the institution.  AB members shall use Museum property only for official purposes, and make no personal use of the Museum’s collection, property or services in a manner not available to a comparable member of the general public.  While loans of objects by members can be of great benefit to the Museum, it should be recognized that exhibition can enhance the value of the exhibited object.  The display of objects owned or created by the AB members or staff or in which the members or any person close to them have any interests must receive prior approval of the Advisory Board.  

 Advisory Board Members-Director Relationship

Advisory Board Members have an obligation to work with the Administration of Auburn University to define the rights, powers and duties of the Museum’s Director.  They should work with the Director, who is their chief executive officer, in all administrative matters and deal with him or her openly and with candor.  They should avoid giving directions to, acting on behalf of, communicating directly with, or soliciting administrative information from staff personnel, unless such actions are in accord with established procedure or the Director is apprized.  Staff members should communicate with AB members through the Director or with his or her knowledge.

The Advisory Board must act as a full Board in advising the University to either appoint or dismiss the Director.  The relationship between the Director and the Board must reflect the primacy of institutional goals over all personal and interpersonal considerations.  The Director must attend all Advisory Board meetings and committee meetings.

The Director has an obligation to provide AB members with current and complete financial information in comprehensive form; to bring before the Board any matters involving policy questions not already determined; and to keep them informed on a timely basis about all other significant or substantial matters, or intended actions affecting the Museum.

The Director must carry out the policies established by Auburn University and the Advisory Board, and adhere to the budget approved by the University.  Whenever it is necessary to deviate from established policies or to alter or exceed budget guidelines, the Director should notify the Advisory Board and Provost in advance and request appropriate approval.

II.        Staff Responsibility

Professionalism

Employment by The Jule Collins Smith Museum of Fine Art is a public trust involving great responsibility.  This public trust is reflected in the government’s perception of the Museum as an educational resource worthy of tax exempt status; it is reflected in our donors’ belief that their financial support is wisely spent in the furtherance of our stated mission; and in our university administration, Advisory Board, staff and volunteers’ trust that their efforts on behalf of the Museum are well-spent.  The Museum itself holds the public trust of the community in its role as preserver of humankind’s culture and heritage and its presentation of materials with accuracy, honesty and sensitivity. 

In all activities, Museum staff (whether full-time,  part-time or volunteer) must act with integrity and in accordance with the most stringent ethical principles as well as the highest standards of objectivity.

Every Museum employee is entitled to a measure of personal independence equal to that granted comparable professionals in other disciplines, consistent with professional and staff responsibilities.  While loyalty to the Museum must be a paramount concern, the employee also has the right to a private life independent of the Museum.  Since Museums enjoy high public visibility and their employees a generous measure of public esteem, to the public the Museum employee is never wholly separate from the Museum.  He or she can never consider his/her activity totally independent of the Museum.  The Museum employee must be concerned not only with the true personal motivations of interest as he or she sees them, but also to the way in which such actions might be construed by the outside observer.

Museum employees should never abuse their official positions or their contacts with the Museum community, impair in any way the performance of their official duties, compete with the Museum or bring discredit or embarrassment to any Museum or to the profession in any activity, Museum-related or not.  Museum employees should be prepared to accept as conditions of employment the restrictions set forth in this Code of Ethics and the policies set forth for employment by Auburn University.

Conflict of Interest

A conflict of interest arises whenever an employee engages in an activity in which his or her personal gain or private interests compete with those of the established legitimate purpose of the Museum.  An employee should not use his or her position, status or privileged information to obtain a competitive advantage over others, or for personal gain, or in competition with the Museum itself.

An employee should in no way attempt to intercept a useful donation to the Museum in order to divert it into any other Collection for any other use.  Dealership or brokerage in objects which are collected by the Museum is prohibited.  Dealership in any object of interest to the Museum field by an employee is prohibited without the approval of the Director.

The Museum staff may not accept gratuities for performing any of the duties it is normally expected to exercise.  Employees may not accept tips, rebates, gifts or favors which are intended to influence a Museum purchase or decision or which may have the appearance of exerting such influence.  No employee may accept a rebate or gift from a vendor to the Museum.  An occasional lunch or dinner may be acceptable as a common social-business event but a gift or favor designated to influence a purchase, or any form of rebate, is prohibited.  Any gift valued in excess of $25 given by a vendor is considered to have been given to the “office” of the recipient.  Gifts are, therefore, assumed to have been given to the Museum and should be turned over, forthwith, to the Museum as Museum property.

No staff member should use, off Museum premises or for personal gain, any object or item that is a part of the Museum’s collection or under the guardianship of the Museum; or use any other property, supplies or resources of the Museum except for the official business of the Museum.  The name and reputation of this Museum are valuable assets and should not be exploited either for personal advantage or the advantage of any other person or entity.

Information about the administrative or non-scholarly activities of the Museum that staff may acquire in the course of their duties which is not generally known or available to the public must be treated as information proprietary to the Museum.  Such information should not be used for personal advantage or other purposes.

Staff members are responsible for maintaining the security of confidential records and information, and the privacy of individuals or groups who support the Museum.

Staff members should be circumspect in referring members of the public to outside
suppliers of the Museum.  Whenever possible, more than a single qualified source be named in order to avoid the appearance of personal favoritism in referrals.

No Museum employee shall perform appraisals.  The Museum shall maintain a list
of appraisers but shall not provide an endorsement.

Certain types of outside employment, including teaching, lecturing, writing, and
consulting can benefit both the Museum and the staff member by stimulating personal professional development.  Such activity should not interfere with the staff member’s regular duties, and the individual should not take advantage of his or her Museum position for personal gain or appear to compromise the integrity of the Museum. Staff should inform the Director prior to agreeing to accept any outside employment, if it is related to the function he or she performs for the Museum.

Staff members are encouraged to participate in voluntary outside activities with community groups or public service organizations. If a staff member volunteers for an organization or Museum and he or she could appear to be acting in an official capacity as a member of the Museum staff, disclosure is recommended to avoid possible misrepresentation. Museum professionals should conduct themselves so that their activities on behalf of community or public service organizations do not reflect adversely on the reputation or integrity of this Museum.

Fund-raising is a vital component of the financial health of the Museum. Staff and volunteers involved in raising moneys or soliciting other contributions or gifts-in-kind on behalf of the Museum must do so with honesty as to the need for such contributions and must use donations only for the donor’s intended purpose. Gifts should not be solicited without the promise of opportunities or advantages offered to all donors by previously defined guidelines. Staff and volunteers should  hold confidential and leave intact all lists, records and documents acquired in connection with their fund raising efforts on behalf of the Museum.

 III.     Collections

The distinctive character of Museum ethics derives from the ownership, care and use of objects representing the world’s aesthetic and cultural legacy and heritage.  This stewardship of collections entails the highest public trust and carries with it the presumption of rightful ownership, permanence, care, documentation, accessibility, and responsible disposal.

In the delicate area of acquisition and disposal of Museum objects, the Museum must watch carefully the interests of the public for which it holds the collection in trust, the donor’s intent in the broadest sense, the interests of the scholarly and the cultural community, and the Museum’s own financial well being.

The Jule Collins Smith Museum of Fine Art Collections Management Policy is the Museum policy regarding the acquisition and disposal of objects.  The Museum must continue to develop policies that allow it to conduct its collections activities recognizing the complexities of existing legislation and with the reasonable certainty that its approach is consistent with the spirit and intent of such legislation.  It is incumbent upon Museum staff, Advisory Board and the university administration to understand the Museum Collections Management Policy when carrying out their responsibilities.

Thus, the Museum ensures that:

• Collections in its custody support its mission and public trust responsibilities;
• Collections in its custody are protected, secure, unencumbered, cared for, and preserved; 
• Collections in its custody are accounted for and documented;         
• Access to the collections and related information is permitted and regulated;
• Acquisition, disposal, and loan activities are conducted in a manner that respects the protection and preservation of cultural resources and discourages illicit trade in such materials;
• Acquisition, disposal, and loan activities conform to its mission and public trust responsibilities;
• Disposal of collections through sale, trade, or research activities is solely for the advancement of the Museum’s mission; proceeds from the sale of objects are to be used consistent with the established standards of the Museum’s discipline, but in no event shall they be used for anything other than acquisition;
• The unique and special nature of human remains and funerary and sacred objects is recognized as the basis of all decisions concerning such collections;
• Collections-related activities promote the public good rather than individual financial gain.

Procedures must be maintained by the Museum for the periodic evaluation of the condition of the Collections and for their general and specific maintenance in keeping with professionally accepted standards.

The Museum must not allow objects from its collections to be acquired privately by any Museum staff member, Advisory Board member or university affiliate unless they are sold publicly and with the complete disclosure of their history.  Objects, materials, or supplies of trifling value which the Museum cannot sell and that must be discarded may be given to anyone associated with the Museum or to the public.

Donations are tax deductible to the extent of the law; however the Museum cannot appraise items for a private owner.  Donors, therefore, are expected to get independent appraisals for the objects they are donating.

Although the public must have reasonable access to the collections on a non-discriminatory basis, the Museum assumes as a primary responsibility the safeguarding of its materials and therefore may regulate access to them.  The judgment and recommendation of professional staff members regarding the use of the collections must be given utmost consideration.  In formulating their recommendations, staff must let their judgment be guided by two primary objectives: the continued physical integrity and safety of the object or collection, and high scholarly or educational purposes.

It is the responsibility of Museum professionals to use museum collections for the creation and dissemination of knowledge and to present the best current information about the works of art the Museum displays.  Intellectual honesty and objectivity in the presentation of objects is the duty of every professional.

The objects in the Museum’s collections, their documentation and all additional documentation developed subsequent to their acquisition are the property of the Museum.  Any and all materials or items developed, written, designed, drawn, painted, constructed or installed by staff while carrying out their responsibilities as employees of the Museum are considered to be the property of the Museum with the Museum having the rights to all said property.

In arranging for the manufacture and sale of replicas, reproductions, or other commercial items adapted from an object in the Museum’s collections, all aspects must be carried out in a manner that will neither discredit the integrity of the Museum nor trivialize or damage the original object.  With regard to the question of reproduction of works of art, awareness of the nature and relative importance of replicas and reproductions is a central issue.  Therefore, great care must be taken to identify such objects for what they are in a manner that will be permanent and to ensure the accuracy and high quality of their manufacture.   

IV.       Volunteers

Volunteer participation within the Museum is a strong and vital tradition, and the Museum’s programs could not continue without the contributions and personal involvement of devoted volunteers.  The staff should be supportive of volunteers, receive them as fellow workers, and willingly provide appropriate training and opportunity for their intellectual enrichment.  While volunteers participate in most Museum activities, those with access to the Museum’s collections and programs must be aware that information in these areas is often sensitive, privileged and to be held in confidence. 

Access to the Museum’s internal activities and information is an honor, and the lack of material compensation for effort expended on behalf of the Museum in no way frees the volunteer from adherence to standards that apply to paid staff.  The volunteer must work toward the betterment of the Museum and not for personal gain other than the gratification and knowledge to be derived from Museum participation.

Although the Museum may accord them stated special privileges, volunteers should not accept gifts, favors, discounts, loans or other dispensations of things of value that accrue to them from other parties in connection with carrying out duties for the Museum. The conflict of interest restriction placed upon the staff must be explained to volunteers and, where relevant, observed by them.

Volunteer organizations should understand clearly the policies and programs adopted by the Museum and must adhere to the administrative application of such policies and programs. Volunteers must hold confidential matters of program function and administration that are not generally known or available to the public.    

Collections Management Policy

I.          Statement of Purpose

The objective of The Jule Collins Smith Museum of Fine Art (henceforth known as the Museum) in operating the Museum is the advancement of learning through the collection, preservation, exhibition and elucidation of visual arts objects and to provide related educational services for the purpose of increasing and enriching public knowledge.  The acts of acquisition, accession and deaccession shall reflect these stated purposes.  The Director shall make all recommendations regarding acquisitions, deaccessions, loans from or to the Collections, Collections conservation needs and Collections Management Policy amendments to the Museum’s Collections and Acquisitions Committee.  The Collections Management Policy may be subject to periodic review by the Collections and Acquisitions Committee when that Committee deems it necessary for purposes of revision. Final decisions in all these matters are the duty and responsibility of the Director.

II.       Collections

A stated purpose of the Museum (see Collecting Mission below) is the strengthening of its permanent collection through the acquisition of art objects for the purpose of research, the preservation of part of our global cultural legacy, and the ongoing education of students and community.

III.       Collecting Mission

The Museum, with primary holdings in Audubon prints, 20th century American modernist art, and 19th- and 20th-century European art has been provided with “natural” directions in its collection.  While fine art of any genre and origin is of enormous value to the mission of the museum, the heart of its collections concerns the history, evolution and on-going progress of American and European art.  Thus, we anticipate that this area of 19th- through 21st-century American and European art will continue to grow with gifts and acquisitions of the highest quality.

IV.       Collection Ethics

The distinctive character of museum ethics is derived from the ownership, care and use of objects representing the world’s natural and cultural common wealth.  This stewardship of collections entails the highest public trust and carries with it the presumption of rightful ownership, permanence, care, documentation, accessibility, and responsible disposal.        

Thus, the Museum ensures that:
Collections in its custody support its mission and public trust responsibilities;
Collections in its custody are protected, secure, unencumbered, cared for, and preserved;

Collections in its custody are accounted for and documented;
Access to the collections and related information is permitted and regulated;
Acquisition, disposal, and loan activities are conducted in a manner that respect the protection and preservation of natural and cultural resources and discourages illicit trade in such materials;
Acquisition, disposal, and loan activities conform to the Museum’s mission and public trust responsibilities;
Disposal of collections through sale or trade is solely for the advancement of the Museum’s mission.  Proceeds from the sale of objects are to be used according to the established standards of the Museum’s discipline, but in no event shall they be used for anything other than new acquisitions.
The unique and special nature of human remains and funerary and sacred objects will be respected in decisions concerning such collections;
Collections-related activities promote the public good rather than individual financial gain.

V.        Acquisition and Accessions Policy

Definitions:
For the purpose of this policy, “Acquisition” is defined as the discovery, preliminary evaluation, taking physical and legal custody of, and acknowledging receipt of objects and materials for the Museum collections.  “Accessioning” is defined as the formal process of accepting objects into the collections of the Museum with appropriate documentation in the Museum’s collections catalogue and other records.

B.        Means of Acquisition:
Objects may be acquired by purchase, commission, bequest, gift, exchange, field collection and/or abandonment.  No objects shall be knowingly or willfully accepted or acquired which are suspected to have been illegally collected contrary to state law, federal law, regulation and/or convention.  The Museum subscribes to the provisions of the International Council of Museums (ICOM) Statement on “Ethics of Acquisitions” (1970).  In brief “there must be a full, clear and satisfactory documentation in relation to the origin of any object to be acquired.”The Museum shall refuse to acquire objects where there is cause to believe that the circumstances of their collection involved needless destruction of historic sites, structures, habitats, districts and objects.

C.        Museum Objects:

1.         Acquisitions Criteria: In establishing criteria for determining whether an object shall be acquired, the following questions should be considered by the Director in consultation with the Collections and Acquisitions Committee and all standards listed below met. If the object so unusual that it presents an exceptional opportunity for the museum and, thus, should be given preferential consideration?  If the object is offered for sale might it or a comparable object be obtained by gift or bequest?  Will the object be utilized in the foreseeable future?  Will the acquisition of the object cause the Museum major future expenses (i.e., conservation, insurance, new areas of collecting)?

Museum objects must meet all of the following standards of acquisition prior to being acquired by the Museum:
a.         The object must be relevant to and consistent with the purposes and activities of the Museum;
b.         The Museum can provide for the storage, protection and preservation of objects under conditions that insure their availability for Museum purposes and in keeping with professionally accepted standards;
c.         Items will have permanency in the collections as long as they retain their physical integrity, their identity and their authenticity, and/or as long as they remain viable for the purposes of the Museum;
d.         The object must, if possible, be documented as to provenance.  Provenance is defined as the history of ownership of object.  Provenance decisions shall be based upon:
i.          the dealer’s or donor’s reputation (if the transaction is discovered to be fraudulent in any manner, the Museum reserves the right to return the object, and in case of sale, receive a full refund of monies paid);
ii.         bill of sale;
iii.        deed of gift;
iv.        legal will of deceased donor;
v.         other legal documentation of provenance;
e.         All moral, legal and ethical implications of the acquisition must have been evaluated;
f.          All donations of objects are considered outright, unconditional gifts to be used at the discretion of the Museum.  Title to all objects shall be free and clear, without restriction to use or future disposition.
g.         All items with monetary values in excess of $5000 must be accompanied by an IRS appraisal, paid for by the donor.
h.         The Museum does not require a formal appraisal for in-kind gifts valued at under $5000.00. However, donors shall whenever possible try to provide documentation (copies of recent auction sales, catalogue listings, etc.) that will provide an estimated value for accounting purposes. University accounting requires that the Museum place estimated valuations on all items received.

2.         Methods of Acquisition:

A Collections and Acquisitions Committee is chaired by an appointed Advisory Board member.  This Committee shall recommend official action to the Advisory Board as described herein on works of art proposed for acquisition to, or disposal from, the collections of the Museum.  Like all committees of the Museum Advisory Board, when a quorum is present, a majority of votes cast shall govern the committee.  Anyone (including the general public, museum members, staff and Advisory Board members) may propose items for acquisition to the Director.  To allow for proper investigation, any such proposals are to be presented to the Director with sufficient time prior to the Collections and Acquisitions Committee meeting in which the object would be evaluated.  All further actions, including any arrangements with dealers, must await the Director’s clearance.  No Advisory Board member or staff member may obligate the Museum to the acceptance of any object.  No staff member shall offer appraisals of the monetary value of objects to donors, or reveal the Museum’s insurance value, for the purpose of establishing a fair market value of gifts offered to the Museum.  Donors must obtain an independent appraisal from an authorized appraiser.  Records of such appraisals will be kept by the Museum in perpetuity.  Staff members will not appraise or otherwise place a monetary value on objects casually brought to the Museum. 

Policies and procedures must be followed when an Advisory Board member is approached with an offer of works of art to the Museum.  The Advisory Board member is to:
a.         Thank the prospective donor for their interest/offer and inform the prospective donor that the museum has a specific collection direction in mind (19th- through 21th-century American and European fine arts) and is currently interested primarily in works on paper, paintings, or sculpture from within that framework.
b.         If the donor indicates his/her gift falls within that parameter, or is uncertain if it does, then the Advisory Board Member should suggest the donor contact the museum director or curator. 
c.         Always explain to the prospective donor that the acquisition process typically takes weeks for Museum staff to evaluate the offer and additional time for the Committee and Advisory Board to consider the offer if staff recommend accepting the gift.

The Advisory Board Member is then released of further obligation regarding that offer. Once the potential donor contacts museum staff, the following procedure occurs.
a.         The Director and Curator assess the offer according to the museum’s mission and collections needs. They determine if the museum is interested in pursuing the offer further.  Final determination regarding the offer is the responsibility and obligation of the Director.
b.         The Director then either politely declines the offer or brings the offer to the Collections Committee with his/her recommendations.

The Director with curatorial assistance shall be responsible for:
a.         Screening all proposed gifts for quality, authenticity, market value, suitability for the Collections;
b.         Investigating the art market for objects deemed desirable additions for the Collections by purchase, and performing necessary research;
c.         Presenting for consideration by the Collections and Acquisitions Committee any objects recommended for addition to the Collections.  At the Director’s discretion, gifts may be presented anonymously to the Collections and Acquisitions Committee to facilitate unbiased decisions.  The quality of the object, its condition, fair market value, relative merit in comparison with the best objects in the Collections and elsewhere shall be demonstrated by the Director and/or Curator to the Collections and Acquisitions Committee.
d.         Presenting for consideration by the Collections and Acquisitions Committee any proposals for disposal of objects whether it be by sale, gift or exchange.

The Collections and Acquisitions Committee shall take action by vote.  When a quorum is present, a majority of votes cast shall govern.

Museum Advisory Board approval is required for final Directorial action on all Collection objects, purchases and acquisition/deaccession decisions recommended by the Collections and Acquisitions Committee when possible that actual object itself should be reviewed.  One majority vote of the Board is required for acquisition.

Acquisition of objects by purchase shall require a Bill of Sale to be completed by the vendor.  Acquisitions of objects by donation/gift shall require a Deed of Gift to be signed by the donor.

For the enlightenment of the Museum’s Advisory Board, the Director shall periodically compile an analysis of the Collections and shall regularly consult with the Advisory Board regarding directions for future acquisitions.

3.         Accessioning and Records:
All Museum objects shall have accession numbers and Collection records completed as follows:
a.         Accession information to be entered upon receipt of objects into the Museum’s collection maintenance program which is able to cross reference for donor/vendor, artists, media, location and accession number

b.         A hard copy file with original documents referring to the object, pertinent information concerning provenance and other background information;
c.         Photographs to be taken and put into collection maintenance system;
d.         Artists’ files to contain all pertinent and available information about the artist, stored in library;
e.         Condition reports to contain current condition status of the object completed every five years and filed into collections management system.

Objects not accessioned shall be documented by auxiliary collections numbers. As in the case of permanent collection objects a record of location and donor/vendor shall be kept. Such objects shall be subject to collection insurance guidelines as well as proper storage and display procedures.

Objects on the premises for the purpose of possible acquisition shall be treated as a temporary loan while they are evaluated for recommendation to the Collections and Acquisitions Committee for review.  The Temporary Custody Form shall be completed as proof that an object is under consideration to be accepted into the collection.  A decision should be made within 90 days of presentation of object.

Collection records shall be the responsibility of the Curator and Registrar.  The records shall be current and housed in the office of the Registrar.  Collection records shall be made available to the public only upon the approval of the Director.  Duplicate copies of records will be kept in a safe place off-site.

A Deed of Gift shall be completed for all property accepted as donations to the collection.  Written acknowledgment to the donor with a copy of the Deed of Gift shall serve as the official receipt for the donor’s purposes.  The Deed of Gift will set forth an adequate description of the objects involved and the conditions of the transfer.

4.         Year End Acquisitions
The Director shall select a minimum of two members of the Advisory Board (one of which should be a member of the Collections and Acquisitions Committee) to represent the entire Advisory Board regarding acceptance of end of year proposed gifts of art. Working in cooperation with the Director, the ad hoc board members will facilitate end of year procedures for donors.  “End of year” is defined as proposals that arrive after the Fall Advisory Board meeting and before the end of the calendar year.

 VI.       Deaccessioning

A.        Definition: Deaccessioning is the process of removing permanently from the Museum’s collection accessioned museum objects.  The deaccession process shall be cautious, deliberate and scrupulous.
B.        Deaccession Criteria:
1.         The object is outside the scope of the purpose of the Museum and its collections policy.
2.         The object is irrelevant to the purpose of the Museum.
3.         The object lacks physical integrity.
4.         The object has failed to retain its identity or authenticity, or has been lost or stolen and remains lost for longer than five years.
5.         The object is a duplicate as in the case of more than one version of a print.
6.         The Museum is unable to properly preserve the object.
7.         The object has deteriorated beyond usefulness.
8.         The object has doubtful potential utilization in the foreseeable future.
9.         To improve or strengthen the Museum’s collections and further Museum goals.
10.       The object is deemed of “unsuitable” quality (documented by a written appraisal by an outside professional).
C.        Deaccession Procedure:
1.         Objects/materials shall be deaccessioned only upon the recommendation in writing of the Director to the Collections and Acquisitions Committee and upon the approval of a majority of the Advisory Board present at two consecutive board meetings.  The Advisory Board reserves the authority to waive the rule of two consecutive votes.  To waive this rule requires a majority vote of the Board.
2.         If the accessioned object/material was purchased by the Museum, it may only be disposed of through public auction or if valueless discarded.
3.         If the deaccessioned object/material was donated to the Museum, consideration will first be given to placing the object, through gift, exchange or sale, in another tax-exempt educational institution.  Deaccessioned objects not disposed of in this manner normally will be sold at advertised public markets and only in a manner that will protect the interests, objectives and legal status of the Museum.
4.         Deaccessioning for “hands on” use is not recommended.
5.         The Museum forbids the sale or gift of deaccessioned object/materials to its employees, officers or Advisory Board members, or to their representatives, family or partners.  Advisory Board members and staff shall adhere to the highest ethical standards and shall avoid any conflict of interest or the appearance of conflict of interest.
6.         Funds received from the sale of deaccessioned objects/materials from the collection will be used only for future acquisitions to the permanent collection. Proceeds may not be used for general operating expenses.

7.         When procedures for deaccessioning objects/materials have been executed, accession records shall be marked DEACCESSIONED with the date of authorization.  Information regarding the final disposition, the date, the destination of the item, and value or consideration received shall be recorded on the accession card which will then contain the entire history of the object while in Museum custody.  Accession records for deaccessioned objects/materials will be kept in perpetuity to preserve collections history.
8.         Donors or their heirs should be contacted whenever possible to let them know that an item that was given is being deaccessioned and will be available for sale at public auction.  The proceeds from the sale of the object will be credited to the original donors as such: Gift of Mr. And Mrs. Jones, by exchange, or similar wording.
D.        Disposition of Non-Accessioned Objects:
1.         Definition: Non-accessioned objects/materials are those items donated to the Museum which do not (1) fall within the collection policy guidelines, (2) are part of an acquired collection but have little or no value either monetarily or aesthetically, (3) are not worthy either by their physical state or nature to be accessioned as part of the permanent collection.
2.         Procedures:
a.         A list of non-accessioned objects will be kept in the permanent files (Registrar’s office) and are to be labeled Auxiliary Collection.
b.         Disposal of non-accessioned objects may be:
i.          given by gift or exchange to another tax-exempt educational institution,
ii.         sold with funds accruing to the benefit of the Museum’s permanent collection,
iii.        used as study pieces,
vi.        destroyed.

The museum does not sanction the sale or gift of non-accessioned items to its employees, officers or Advisory Board or to their representatives, family or partners.
E.         Procedures Regarding the Disposal of Accessioned Objects. (The following charter was formally approved by the Auburn University Board of Trustees on 2/2/07)

The collections of the Jule Collins Smith Museum of Fine Art at Auburn University are a unique asset of the University and ultimately, the State and people of Alabama.  However, the acquisition, accession, deaccession and preservation of Museum collections are singular in the following critical sense:  the Museum’s accessioning and deaccessioning process must be at the discretion of the professional staff and Director, with the advice of the Museum’s Advisory Board.  Proposed dispersal of accessioned holdings must be done with the approval of the President of Auburn University.  The art holdings of the Museum are distinct properties intended for the edification and appreciation of our students, faculty and community at large, and were given and /or purchased for the purpose of instruction and preservation of our cultural heritage. It is essential that the Museum follow established professional protocol if the Museum is to be recognized by its peers and establish a high level of trustworthiness among our constituency. The highly valued items of the Museum’s permanent collection must be understood within the context of their singular importance as educational and cultural resources, which differentiate them from other material assets or property of the University.

Any and all proceeds of the sale of accessioned art objects in the permanent collection of the Museum will be used solely for the future acquisition of other art objects for the Permanent Collection. The process by which the Museum will dispose of objects from the Museum’s collection will be through public auction to assure that fair market value is realized. By following this professional practice, which is the standard for the Association of Art Museum Directors and the Association of American Museums, these restricted funds from any sales would enable the Museum to perpetuate the original donor’s name. It will also enhance the quality of the collection and the reputation of the Museum and Auburn University. Such a respect for the past and a commitment to the present and future collections of the Museum is a matter of integrity and ensures the longevity and success of the Jule Collins Smith Museum of Fine Art at Auburn University.

VII.     Loans

A.        Loans from the Museum:
Because all works of art are at risk of damage or loss during transit and while being handled for the purpose of shipment to another location, the decision to loan objects from the collection shall be carefully and prudently considered and shall be permitted only when the loan is of demonstrable benefit to the Museum or to the advancement of scholarship.
1.         Works of art from the Museum’s collections may be loaned to other organizations under conditions specified by the Collections Management Policy.  Loan requests will be approved or declined by the Director, with the advice of the Curator of Collections.  The following matters will be considered: (a) Media and condition of the work, e.g. whether the work is too fragile to travel; whether it is subject to damage from atmospheric conditions; whether its size and weight might present shipping and installation problems or potential risk. (b)The security and other facility aspects of the borrowing institution insofar as they might affect the safety, preservation, condition, or adequate display of the work of art.  A report of the borrowing institutions’s facilities shall be requested and kept on file with the loan agreement.(c) The nature and purpose of the borrowing organization and display of the borrowed work, whether for educational, cultural, promotional, commercial or other purposes. (d) The value of the object to be loaned and any insurance issues which might be involved. (e) The ongoing exhibition and display needs of the Museum insofar as the requested work is concerned.
2.         A written agreement specifying the conditions under which a work is loaned will be signed by an authorized representative of the Museum and the borrowing institution.

3.         The Jule Collins Smith Museum of Fine Art lends materials from its collections only to museums, historical societies, libraries, and other organizations which, in the Museum’s judgment, can comply with the conditions stated above.  Loans will generally not be approved for extremely fragile materials.
4.         Objects shall be repacked in the lender’s crate for return to the Museum and shipped by the same means as that used by the lender unless otherwise agreed upon by lender and borrower.  Damages, whether in transit or on the borrower’s premises and regardless of responsibility, shall be reported immediately to the lender.
5.         Insurance in the amount of the value determined by The Jule Collins Smith Museum of Fine Art must be placed on all loans and carried in force from the time the objects are removed from the Museum until the objects are returned in satisfactory condition.
6.         Objects must be given special care to protect them against loss, breakage, or deterioration.  Small objects must be displayed in locked cases.  Loans must be displayed in public areas.
7.         No restoration, repair, or cleaning may be performed, without express consent of JCSM.
8.         Objects must be returned to The Jule Collins Smith Museum of Fine Art at the end of the loan period, unless otherwise arranged.
9.         Objects shall be identified as loaned by The Jule Collins Smith Museum of Fine Art, Auburn University, Auburn, Alabama, if used for exhibition or reproduction.
10.       The Jule Collins Smith Museum of Fine Art is to receive a copy of any publication or catalog of the exhibit for which Museum objects have been lent.
B.        Loans to the Museum:
1.         The Museum shall accept objects on loan only for exhibit purposes or as possible gifts or for purchase consideration. The Director shall approve all incoming loans on the basis of:
a.         Exhibit needs,
b.         Provenance of object,
c.         Ability of the Museum to properly care for the object (to secure, insure and preserve),
d.         If the object can withstand travel, climate changes and circumstances of exhibition.
2.         Lender must read and approve conditions on Incoming Loan Agreement.

VIII.    Inventory Procedures

A.        Comprehensive Inventory:
The Director and Curator shall periodically conduct comprehensive inventories of the collections to ascertain the presence and location of all objects in the Collections and to determine conservation needs.  Inventories will be conducted using the accession records as a checklist.  Comprehensive inventories will address specific areas (i.e., paintings, prints, drawings and be completed at five-year intervals).

B.        Spot-Check Inventory:
The Director and Curator shall frequently spot-check the collections to ascertain:
1.         conservation needs,
2.         proper location and storage,
3.         missing objects.

C.        Missing Objects:
Objects deemed to be missing from the Collections shall first be traced from the Location and Finding cards.  If not located in any previously assigned areas, a comprehensive search of the Museum facility will be conducted by museum staff.  If the object is not located, the proper authorities (police and insurance) will be notified.

IX.       Care of the Collections

At all times, Museum staff members shall be aware of their responsibilities to preserve and protect collections objects.  The Director, shall have oversight responsibilities to maintain adequate protection for the Collections.
A.        The Director and Curator shall monitor conservation needs and the movement of all Collections objects within and without the Museum.
B.        No Museum Collections object shall ever leave its assigned location without a written record of such movement being made on the Location and Finding cards.
C.        Objects/materials shall be stored and exhibited in a manner to provide optimum security, accessibility and preservation.
D.        Objects/materials in need of conservation shall be treated as soon as possible.
E.         Conservation shall be performed only by qualified professionals using approved techniques and substances.
F.         Objects on display or in storage shall be protected from detrimental forces such as excessive or fluctuating temperatures and humidity, dust, ultra-violet light, insects, vermin or improper handling.
G.        Accepted professional standards and rules for handling works of art shall be followed.

X.        Insurance

A.        Priority shall be given to in-house security for the Collections with insurance as an adjunct to the Museum security.
B.        As financially feasible for the Museum, all Collections objects/materials shall be insured at appraisal value.  If funds are limited, insurance may be limited to objects valued at $1,000.00 or more.
C.        The Registrar shall maintain up-to-date insurance records.  Regular reviews of insurance records shall occur with the insurance agent(s), and the Director shall make status reports to the Advisory Board.
D.        Outgoing Loans: each outgoing loan shall be insured at the appraisal value by the borrower.