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.' & "(xthQyiou^Lel 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