Back to News

Leading Perspectives: Expert Panel Q&A

As institutions across the cultural sector navigate shrinking budgets alongside growing climate commitments, difficult questions are emerging. How do we protect collections while reducing carbon impact? Are sustainability goals reshaping conservation risk? And what practical changes are actually achievable?

Time constraints permitted us from answering these questions at a recent Leading Perspectives online event. We’re happy to answer them here. Thank you to those who submitted them.

What are the biggest challenges regarding sustainability facing the sector at the moment?

ROKBOX: Evolving established practices and mindsets is the biggest hurdle. Everyone knows and understands things need to change, but processes are complex and deeply etched into art sector practices. In a time of rising costs and shrinking budgets, short term decisions are made which don’t benefit communities in the long term. Saying this, brilliant things are already happening, but there needs to be sector-wide adoption of these key practices: 

  • Switch to renewable energy
  • Update climate control protocols (see advice from Ki Kulture)
  • Implement circular economy and sharing models; reusing exhibition materials and packaging
  • Travel smarter (lighter air freight, more sea freight, virtual couriers)
  • Reducing transport emissions by using lightweight, reusable crates

ANOXART: On a smaller scale, but from a conservation studio perspective, it can be challenging to source sustainable materials and solvents. We need very specific materials and there is often not a sustainable option on the market. Also, we only really need small quantities which limit us further. There are certainly wide issues in the sector, but these probably impact my clients rather than us directly. 

With the considerable climate impact of exhibition transport and storage, does this alter the balance of risk vs conservation? Will appetites for risk increase as organisations look to meet net zero targets? 

ANOXART: As budgets are strained and the focus (rightly so) is on sustainability, there is risk of this being the case. I hope that with time the right protocols, more alternative options and as people adjust, balance may be regained. 

ROKBOX: It’s an astute question. We think about it as redefining responsible stewardship, rather than increasing risk, but that does require a shift in planning. There are increasingly reliable, low-carbon approaches that meet conservation standards, including:

  • Low-carbon transport stipulated in tenders (road and sea over air, in protective yet lightweight, reusable crating)  
  • Risk assessments that integrate carbon cost as a formal criterion
  • Closer collaboration between curators, conservators, and sustainability teams.

The Exhibitions Group were in the audience and submitted this during the session: “We run training on reducing the environmental impact of exhibitions and touring, and collate information and resources relevant to exhibition making and touring. We’d love to collaborate more with other colleagues across the sector also trying to learn more and make change.”

Is marine transport too risky for fine art, despite being greener than air freight?

ROKBOX: A lot of work travels by road and air, but more art work is sent by sea than people realise. The best fine art shippers have temperature controlled containers and well-trained teams. We recommend using a ROKBOX Original for sea freight or ask your shipper for the most robust, waterproof crate they can provide. See the Gallery Climate Coalition’s insurance initiative.

We are currently running more internal climate testing using Conserv sensors. Early signs show that humidity remains stable despite large fluctuations in external conditions. 

How do you balance care for artworks in transit, with a very small budget?

ANOXART: Work with a trusted but more affordable shipper. Provide strict guidelines and communicate clearly. Smaller firms can sometimes offer more attentive handling.

ROKBOX: Reusable-by-design crates significantly reduce cost per use, though they require upfront investment. Can you collaborate with local organisations to share crates and costs? ROKBOX also has an annual packaging grant which will open in late Spring this year. 

How can we get better diversity in the industry?

ANOXART: Early education and outreach are critical. I recently did a panel talk for ICON, discussing career paths at a school forum. The group was really diverse and showed real interest. Apprenticeships are essential, a university degree isn’t the only pathway into the sector.

ROKBOX: Organisations and businesses in the sector can review and evolve recruitment processes and culture. Mentoring and apprenticeship programmes are key to broadening access and representation and programmes exist, like the Barbican’s Young Visual Arts Group or experiencework.org which operates for the film & television industry. 

Is there a less obvious characteristic or trait of artworks that makes them particularly difficult to ship, one that we wouldn’t ordinarily think of?

ANOXART:Artworks made of unusual materials, such as a chocolate sculpture, or a lip stick swing, which are at risk of melting. A sculpture that was made of clingfilm, which runs the risk of being unwrapped. A work with an intentionally sticky surface. (all real objects I have had experience with). 

ROKBOX: One of our shipper partners, Laura Goez at Gander & White Miami (part of the ROKBOX LOOP collaboration) always says ‘nothing is impossible in fine art shipping’. Contemporary art and contemporary materials, particularly 3D, often require highly customised solutions and each scenario will be unique. 

What are your professional thoughts on the Bayeux Tapestry loan? 

ANOXART: Good question.It appears to be as much a political decision as a cultural one. Sharing objects internationally is important for education and access.

I have not seen it for many years, so I can’t assess its current condition and comment definitely. Textiles can be very surprisingly robust and it’s unlikely it would have been loaned if it was too fragile. I imagine a number of conservation measures have been taken – it is likely displayed in a climate controlled case, the truck would have been set at the same levels and the BM will certainly have climate control. 

Thank you to Jessica Burgess from ANOXART.

To be first to hear about our events and other resources, sign up to The Circular, ROKBOX’s monthly newsletter.

 

Back to News