Then, other staff and advisors must review the objects being considered for removal and decide whether or not they approve of these choices, considering the factors that motivate deaccessioning in the first place.
Prior to the deaccessioning in the 1940s, the SCMA's staff made detailed lists of artworks they consider removing from the collection.The director shared these lists with Smith faculty, who approved the sale of most artworks named. The list seen below shows the artworks the faculty wanted to retain.
This indicates one step in the museum's process of careful consideration before deaccessioning. Even though this moment is not a proud one in the museum's history, the curators who removed these artworks from the collection did so thoughtfully and carefully.
Deaccessioning also must consider how the objects came into the collection.Most museums prohibit removing donated artworks from their collections. If an artwork was donated to the museum, it is often done so with trust that the artwork will always stay in the museum's collection.
Sometimes, donors will allow for their gifted artworks to be sold, but may specify that all funds earned must be used to buy more art of a similar style. An example of this is Betye Saar, Ancestral Spirit Chair.
Purchased with the proceeds from the sale of a work donated by Mr. and Mrs. Alexander Rittmaster (Sylvian Goodkind, class of 1937) in 1958 and with funds realized from the sale of a work donated by Adeline Flint Wing, class of 1898, and Caroline Roberta Wing, class of 1896, in 1961, 1992:42a-c
To learn more about the Purposeful Use of Funds, check out that page.
To explore more works of art removed from the SCMA's collection, click on an artwork you see below.