Deaccessioning and Its Discontents
A Critical History
The first history of the deaccession of objects from museum collections that defends deaccession as an essential component of museum practice.
Museums often stir controversy when they deaccession works—formally remove objects from permanent collections—with some critics accusing them of betraying civic virtue and the public trust. In fact, Martin Gammon argues in Deaccessioning and Its Discontents, deaccession has been an essential component of the museum experiment for centuries. Gammon offers the first critical history of deaccessioning by museums from the seventeenth to the twenty-first century, and exposes the hyperbolic extremes of “deaccession denial”—the assumption that deaccession is always wrong—and “deaccession apology”—when museums justify deaccession by finding some fault in the object—as symptoms of the same misunderstanding of the role of deaccessions in proper museum practice. He chronicles a series of deaccession events in Britain and the United States that range from the disastrous to the beneficial, and proposes a typology of principles to guide future deaccessions.
Gammon describes the liquidation of the British Royal Collections after Charles I's execution—when masterworks were used as barter to pay the king's unpaid bills—as establishing a precedent for future deaccessions. He recounts, among other episodes, U.S. Civil War veterans who tried to reclaim their severed limbs from museum displays; the 1972 “Hoving affair,” when the Metropolitan Museum of Art sold a number of works to pay for a Velázquez portrait; and Brandeis University's decision (later reversed) to close its Rose Art Museum and sell its entire collection of contemporary art. An appendix provides the first extensive listing of notable deaccessions since the seventeenth century. Gammon ultimately argues that vibrant museums must evolve, embracing change, loss, and reinvention.
Hardcover$44.95 T | £35.00 ISBN: 9780262037587 448 pp. | 7 in x 10 in 56 color illus., 8 b&w illus.
With its echo of Freud in the title, Deaccessioning and Its Discontents is as much a fascinating, penetrating study of psychological unease as it is an indispensable art-historical account.
In his deeply researched study Martin Gammon squarely addresses a subject many art scholars and museum professionals shy away from. His nuanced interpretations and six very informative appendices make clear that the cultural benefits that may derive from institutional deaccessioning can be as subtle as the potential pitfalls are obvious.
Director, Center for the History of Collecting, The Frick Collection and Frick Art Reference Library
Museums are known for their role of preserving culture for the benefit of society. The fact that many of these institutions have taken objects from their collections and sold them or exchanged them is a surprise to many. Martin Gammon breaks new ground in this deeply researched and thoroughly original study of an important cultural phenomenon.
Bodley's Librarian, Bodleian Libraries, University of Oxford