Today, and over the month of May, museums across the world are offering something special for their visitors. Wherever you happen to be on International Museum Day – go out and support a museum near you!

Some of the highlights across Aotearoa include:

Waikato Museumis inviting visitors to join staff for a pecha kucha-style presentation on possible futures for the museum in their lunch hour.

Whanganui Regional Museum has organised a whole museum month of activities including the Museums in a Changing World public lecture series.

Otago Museumis inviting visitors to venture into the depths of the Otago Museum basement for a glimpse of the humanities objects and natural science specimens held within.

If you know of any other events or special exhibitions happening today please comment below.

The exhibition celebrates 100 years since the opening of Teschemakers school, and tells the story of the hundreds of girls and dozens of nuns who made school home.  Teschemakers was a rural boarding school for Catholic girls located near Oamaru.  The School opened in 1912.  In 1977 the decision was made to close Teschemakers, but the memories live on.

Museum curator Chloe Searle says visitors to the exhibition could find out about “midnight feasts, boarding school food, horse riding, the ball and “good Catholic boys” in this fascinating exhibition”.

The exhibition includes dozens of photographs, items from Teschemakers school and original uniforms. It also features audio clips from former teachers and pupils as they recall details of their time at Teschemakers.

Ms Searle said the exhibition would have something for everyone.  “Even if you didn’t go to Teschemakers, there are some things about the experience of school and childhood that I think a lot of people will relate to when they see this show.”

The exhibition is on every day and entry is free.

Up until 22 February 2011, Te Rūnanga o Ngāi Tahu was located in the Christchurch central business district, in a building that is eight levels high, and we were based on six of those levels.  Alongside our working and meeting areas, we displayed most of the items from our artwork and taonga collection.  The items that were not on display were in storage on site.  We also have a corporate library, and retained onsite (for easy access) our photograph collection, some inactive records and some archives.  The Ngāi Tahu Archive, however, is located at Macmillan Brown Library at the University of Canterbury.  So while we have all these repositories of mātauranga and information, we are not specifically in the business of being a museum or art gallery or library or archive.

Following the 6.3 earthquake in February 2011, our work building has been in the red zone.  It had the leaning Hotel Grand Chancellor right behind it. 

Our focus went immediately to the safety of our kaimahi and their whānau, and making contact with our iwi members, especially kaumātua, living in Canterbury to ascertain their safety and wellbeing.  We also met with Ngā Maatawaka, City Council, Regional Council and other national and regional-based welfare organisations to help organise and provide a co-ordinated approach to the earthquake response and recovery.  As tangata whenua, Ngāi Tahu also co-ordinated responses from other iwi from the North Island and Hawai’i.  Staff also worked on the earthquake response in a variety of ways including shoveling silt, receiving, sorting and delivering the truckloads of clothing, toiletries, bedding, furniture, homewares and kai gifted by communities throughout Aotearoa and Te Waipounamu.

Te Rūnanga o Ngāi Tahu relocated to Wigram (a suburb south-west of the city).  Initially we established a “port-a-com city” to house all our staff including our subsidiary companies.  Space was and still is at a premium, and so alternative options needed to be found for the safe and secure storage of our taonga, artworks, and documentation.  We have since transferred from “port-a-com city” to work spaces that have been built and renovated for us, onsite at Wigram.

Within a period of time following the earthquake, and without access to our network drive, I was asked to list all our artworks and taonga and their location, and then prioritise them for retrieval.  This was quite a task, but I walked through each of our floors in my mind, visualizing the location of our displayed and stored collections and plotted them on the floor plans for our building.  My priority list went alongside the other priority lists for the retrieval of working documents for the continuation of business etc.

Because electricity had been cut to our building, we had to carry our artworks (and other items and documentation that we retrieved) down the internal stairwell using torchlight.  The staff who volunteered to be part of the retrieval team needed to wear high-viz vests, hard hats, head lamps, sturdy shoes, large backpacks, gloves, masks, carry torches and be very fit. 

Some of our written records and photographs suffered damage from dampness and mould due to being close to where an overhead pipe had broken.  Because of our limited access to our building, it was a period of time before we knew of that damage to those items.  A few of our framed photographs and artworks and some of our display items were damaged due to coming off the wall or display area.  When our items were retrieved we were fortunate enough to be able to call upon our colleagues from the Air Force Museum located just up the road from us.  Therese Angelo, Simon Moody and Matthew O’Sullivan have been extremely generous and helpful in providing assistance by way of storage space, advice and guidance in dealing with our damp and mouldy files and damaged taonga. 

A drying space was hastily established to enable us to dry our wet documentation and photographs.  Lynn Campbell, conservator from Te Puna o Waiwhetu Christchurch Art Gallery and founding member of the Canterbury Disaster Salvage team, has also been generous in providing guidance and advice to us on how to remove mould from documentation once it is dry, and how to then re-file for storage to mitigate against any cross-contamination.

We decided to store some of our items in a container at our Wigram facility.  It is not the best, but it is the best that we have been able to do under the circumstances.  After every major aftershock I have checked on our taonga and so far, nothing has moved!

Our Library collection only came out of our inner-city building last month, and still needs sorting.  We still have decisions on make on how best to treat some taonga items that were damaged during the quake.

We are extremely grateful to our colleagues and friends from other repository facilities who have shared their expertise and time with us to help us to best look after our collections .  As well as the Air Force Museum staff and Lynn Campbell,  I am appreciative of the communication, guidance and offers of help from Victoria Esson, Kylie Ngaropo and Judith Taylor (National Services Te Paerangi), John Kelcher (Archivist, Radio New Zealand Archives), Michelle Hacker (News Video Research Manager, TVNZ), the CANTAGE (Canterbury Heritage) community, Te Rōpū Whakahau (Māori in Libraries and Information Management) and colleagues from Archives NZ, ARANZ and heritage/arts for bringing archives, heritage and arts groups together for training and post-earthquake debrief, help, advice and forward planning.  Ngā mihi nunui ki a koutou katoa.

Tania Nutira
Knowledge Document Management Advisor
Te Rūnanga o Ngāi Tahu

Image credits:
1. Damaged framed artwork. Photo courtesy of Te Rūnanga o Ngāi Tahu.
2. Damaged CD of images. Photo courtesy of Te Rūnanga o Ngāi Tahu.
3. Damaged wooden item. Photo courtesy of Te Rūnanga o Ngāi Tahu.

By Tim Jones, Librarian, Christchurch Art Gallery.

Between February and August 2011, Christchurch Art Gallery was occupied by other people, first Civil Defence, then Christchurch City Council (including the city planning team), then CERA. By about May we realised we were likely to remain closed for several more months and that our website, which kept promising re-opening exhibitions soon, needed some emergency management of its own.

Among with many projects that we devised to keep our visitors, supporters, sponsors and volunteers connected while our doors were closed was a blog. We had done something similar in 2009 when we closed our permanent collection spaces for three months for a major re-build and we knew from this experience this was a good way of maintaining the curiosity and engagement of our various communities. Of course back then we had a fixed schedule; we knew when we would re-open and what with: a spectacular new exhibition space and a re-thought curation of works from our own collection which we called Brought to Light.

But a post-earthquake blog was uncharted territory: we began by talking about our re-opening, but as the date for this receded (it is now scheduled for “mid-2013”), we found we had to use all our powers of imagination to produce daily copy.

An advantage was having a lot of talented writers on the staff and our management team supported these writers to spend their time in this way. For many of them, writing, short, informal, slightly quirky pieces, with copious use of illustrations, was new territory.

We set up a simple procedure for proof-reading each post before making it live and our site management system allows posts to be scheduled for specific days to co-incide with an event or anniversary we want to note.

On the other hand, we set no rules about what subjects were worth writing about. Predictably the earthquake and its effects on the city is a common theme, from the observations of odd signs, to grander speculations on ruins as an art historical theme.

A powerful photograph was invariably a good start and powerful photographs of buildings being demolished or archival images of lost buildings fondly remembered always did the trick.

Another purpose of the blog was to show the public, who, after all pay our salaries, that we were still doing some useful work even though our doors were closed. So we blogged about our front of house staff making fabric corners for paintings and about tagging the collection with terms from the Getty Art and Architecture thesaurus.

We noted major events in the news such as elections and rugby matches and we offered our condolences on the deaths of various artists, friends and supporters. We mined our archives for stories from the past, and we kept our eyes and ears open for current events. We were usually pretty serious, for example when we documented post-quake conservation work. But sometimes we were very silly, for example when we marked International Beer Day.

Pestering staff for new posts became standard practice for the handful of staff running the blog and we take some pride in educating our colleagues to ‘think blog’ while going about their daily routines. Any visit to another gallery, anything seen round town, any curious juxtaposition of creation and destruction, anything seen or done while on holiday, any news item read, any website visited, all of these can be the raw material for a post and, without much difficulty, our writers imaginatively make links between these and an observation on the power and relevance of the visual arts.

Reviewing posts for this article makes me realise we already have some patterns and a real narrative in our short blogging history. When we began we were earnest and rather verbose, now we seem to be more cynical and our style has sharpened considerably. The blog has its own style: neither press release nor academic article, neither wall label nor news item.

The posts which confidently predicted our re-opening, in July 2011, in October 2011, before the end of 2011, early in 2012 and now sadly in mid-2013 certainly make gloomy reading but they very much reinforce how important this type of instant communication is with our readers.

We hope you’ll visit us often – and regularly – on www.christchurchartgallery.org.nz/blog.

We like comments and we will always respond to questions.

Tim Jones
Librarian

Photo credits:
1. Rescue teams assemble.  Photo courtesy of Christchurch Art Gallery.
2. Helping Out. Photo courtesy of Christchurch Art Gallery.
3. International Beer Day. Photo courtesy of Christchurch Art Gallery.

A year on from February 22nd and working in Christchurch still feels slightly surreal. There is much that is business as usual and much that isn’t. We seem to have created our own new sort of normality living in damaged houses, managing without many of the usual urban amenities and choices, and coping with congested and damaged streets. But it now serves as our routine. With significant aftershocks in June and December, and every day still more buildings being condemned, we continue to live with uncertainty and the knowledge that more large quakes could occur at any time. 

Most important for us at the Air Force Museum, our people are fine. Some are still living in homes badly impacted from the September quakes, and at the other end of the spectrum some have now had their homes repaired. All of us to some degree are suffering from a kind of mental and physical fatigue; the cumulative effect of more than a year of broken sleep. Some have the additional impact of quake stress and anxiety – their own or their family’s – to deal with. But generally, we are coping well, supporting each other, and looking forward with some optimism.

Our facilities have not come through completely unscathed but luckily our land is very stable and building damage has been relatively minor. However, it takes time and resources to fix broken ceilings and windows, replace light fittings, check hanging wires, and to get structural surveys done to allow us to open again. Two heavy snow-falls have also brought challenges.

After a year of supporting other institutions and helping salvage collections we still have artefacts, art, and archives from at least 14 organisations on site squeezed into our stores, archives or hangars. For some collections there is no choice but to be housed in containers out on the tarmac. The Museum’s theatre is still in use by the Family Court; we still host an IRD team in our classroom, and in November we were even a polling place due to a shortage of suitable venues. Visitor numbers are good but income is mostly tourist driven and that is down quite a bit. Still, we are holding our own and remain relatively well off compared to so many others. The Museum team has been amazing in giving up their own work spaces to others in greater need and compromising storage areas to take in displaced collections. We have learned a great deal indeed about pragmatism and how far compromise can go before there is any real threat to what we do. 

The most significant and positive outcome from the last 12 months is that we clearly see how museums can be a real community asset and in ways no one would have thought of before the quakes. Perhaps now museum disaster plans should look outwards at what the community might need as well as inwards to what the museum will need.

While so much infrastructure is being demolished in Christchurch, we are reversing the trend. In November 2011, the Museum started construction of a large extension to the existing facilities. The plans for the extension had been underway since 2004 and while a good percentage of funds had already been raised the recession had slowed progress. However, the potential rebuild following the earthquakes and consequent demand for contractors with forecast significant price increases forced us to make a decision on the future of the project; build now or shelve it. We decided to take the risk and start building. That in itself is not straightforward in Christchurch. While the plans had been finalised in 2009 and documentation for a building consent completed ready to lodge when funds came to hand, everything had changed in a quake-ravaged city. New seismic codes were being introduced and no structural engineers would risk re-designing a building until they knew exactly what was going to be prescribed. As virtually everyone probably knows getting insurance has been exceptionally difficult and when after several months brokers were able to find someone willing to insure for contract works, it was at twice the price expected and something in the order of quadruple the price pre-quake. Anticipating valuable major re-build contracts, some contractors were not willing to provide fixed price contracts, which had the potential to increase the risk of price escalation. But all of that has been worked through and in November the first heavy machinery rolled onto the site to start preparing the foundations. Of course there is the small matter of raising the rest of the funds.

This huge, 6,200 square metre, $14.3 million extension is designed to display aircraft currently in storage and to provide proper workshop space for large object conservation and restoration projects. In turn, this will free up existing space to be retrofitted as stores to enable us to bring in some of our technology and vehicle collections from a dilapidated off-site building.

But despite our need, we won’t be doing that just yet. What we will be doing is making this new space available to other heritage and cultural organisations for three years. We are collaborating with a range of agencies to create a Canterbury Cultural Collections Recovery Centre (CCCRC) where collections can be stored and accessed. Many of the smaller museums, archives and heritage groups have lost their premises and have no resources to fund storage. Even when they can find storage, they can’t access their collections, records and files. Some don’t yet even know what has in fact been salvaged. The CCCRC will provide a venue where they can bring their collections and people together with space and facilities for cataloguing and documentation, cleaning, conservation, boxing and display preparation. There will be no charge to use the space. We hope that we can attract grants and sponsorship to assist with the necessities such as IT, tables, shelving, boxes and archival materials, cleaning and conservation products. We also hope that those in the wider museum community that offered help in those initial few weeks, will still be willing to come and assist those that need specialist advice. We look forward to talking to anyone that is going to need the CCCRC and to anyone that wants to help.

After the year that has been, it feels really good to be actively working towards a positive and collaborative future project. We know just how lucky we are to be in that position.

Photo credits:
1. First salvage sortie from Lyttelton Museum, March 2011. Photo courtesy of Air Force Museum of New Zealand.
2. The Mayor and Chief of Air Force launching the new building plans, November 2011. Photo courtesy of Air Force Museum of New Zealand.
3. Earthquake Award for Service, presented 22 February 2012. Phot courtesy of Air Force Museum of New Zealand.

One year after the February earthquake, and 17 months into the series of shakes that began on 4 September 2010, the Christchurch Office of Archives New Zealand is still unable to offer its normal levels of service. Coupled with this the fate of the Peterborough Street building as an archive repository remains in doubt.

In spite of this, like many institutions (and people) in the city, we are looking past the current uncertainties to plan for the future.

In some ways the job seemed much simpler and the future more certain a year ago in the immediate aftermath of the February quake. Then our focus was simply on gaining access to the building and securing the archives, and merely getting in to work was a victory in itself. This absorbed all of our energy for some months. 

The archive was initially deep within the cordoned city Red Zone and access was difficult – but we managed to secure the building, begin salvage work by the middle of March and reoccupy the building permanently in April. The cordon eventually withdrew behind the building in June and we were able to open to the public in early July. The months we spent working within the cordoned zone had a surreal quality. Ours was one of the few occupied buildings in the area, and the subsequent months spent on the very edge of the CBD red zone surrounded by unoccupied and demolished buildings and the sound of further demolition have had the flavour of life in a war zone.

Whereas the earthquake of September 2010 had barely affected services, the February shake damaged most mobile shelving units, rendering much of our archival holdings inaccessible. The force of the quake struck across the axis of the mobile shelving units, snapping off bolts and moving the rails sideways, pushing associated static units up to a metre out of alignment. Blocks of map cabinets that had not moved a millimetre during the September event were catapulted across aisles. Subsequent major aftershocks have only exacerbated the damage.

To date, four and a half blocks of mobile units (out of a total of nine) have been deconstructed to free-up access to the material contained in them and to adjacent units. The contents from these units have been palletised and stored on site or in commercial storage. Some of the blocks freed-up briefly by this process were made inaccessible again by the December shakes. Eventually all the mobile units will need to be dismantled.

If damage had just been confined to the shelving the office would have been fully operational again by last December, but damage to the building itself has prevented this. Although only a small amount of liquefaction has been discovered, the floor itself was badly damaged and there is hardly a level floor surface in the repository. This is particularly true on the southwest side of the building, where the wall has dropped and dragged the floor down with it, leaving shelving hanging in the air.

Observing and experiencing the unfolding consequences of the quakes has been like watching a train wreck in slow motion. It is only now that the full consequences of a few minutes of extreme violence are becoming apparent. Seconds of frenetic activity have been translated into months, possibly years of recovery work.

The building has been repeatedly checked since the February event and considered safe for occupation, but its long-term future as an archive repository is uncertain because of the damage it has sustained and the work required to fix this. At the time of writing, teams of engineers have put forward their proposals to repair the damage and discussions are under way between loss adjusters and property managers in the Department of Internal Affairs. It seems almost certain that we will have to evacuate the building at some point, and the results of these discussions will determine whether this is a temporary or permanent move.

Normal service will be resumed as soon as possible, as the saying goes… The office was in a position to open to the public once the cordon withdrew to behind the building in June. Fortunately the bulk of the most used archives were accessible and the remote reference service was already back to its usual levels by April. When the public reading room opened in early July, however, service was limited to mornings only and at the time of writing a return to a full service needs to await the protracted demolition of the adjacent convention centre as well as having some certainty about the fate of our own building.

One of the many frustrating things about the immediate aftermath of February was our inability to do anything except look after our own building and its contents. We were not in a position to offer anything but the briefest advice to other documentary heritage institutions or the many government offices badly affected by the quake, and certainly not in a position to emulate the heroic efforts made by the Air Force Museum and others.  This ‘pastoral care’ work was immediately picked-up by the Government Recordkeeping and Community Archives sections in Archives’ National Office, freeing us up to concentrate on our own pressing needs. 

By July we were finally able, at least occasionally, to lift our gaze out to our wider community and our archiving commitments.

In September 2011 a project to digitise the many thousands of genealogically important probate files held in the Christchurch Office was launched by Mayor Bob Parker. This project was a direct response to the earthquake and is a result of the continued collaboration between Archives New Zealand and Family Search; both institutions recognise that digitisation of the region’s documentary heritage is a valid recovery strategy and a sensible way of using the resources available in the office while other constraints limit our ability to provide a full research service.

While damage to the current building and its contents dominates our working lives, for some months we have been in the exciting process of planning a new repository and are in discussions with local institutions and central government agencies to establish a documentary heritage hub in Christchurch at some point in the not too distant future.. Whatever havoc the earthquakes have wrought on our accommodation plans in the short or medium term, this may be compensated for in the future by an archives facility capable of serving the region for the next 30 years and beyond.

Photo credits:
1. Downstairs stacks, Archives NZ Christchurch Office, March 2011.  Photo courtesy of Archives NZ.
2. Downstairs stacks, Archives NZ Christchurch Office, March 2011.  Photo courtesy of Archives NZ.
3. Regional Archivist’s office,  Archives NZ Christchurch Office, February 2011.  Photo courtesy of Archives NZ.
4. Archives staff dismantling shelving, Archives NZ Christchurch Office, March 2011.  Photo courtesy of Archives NZ.

By Sue Sutherland, an independent consultant assisting with the recovery of Kaiapoi Museum.

Moving back to Christchurch from Wellington in July 2011 raised a few eyebrows amongst friends and colleagues.  Why, when so many people were leaving, were we going in the opposite direction – returning to my home city of Christchurch?   Apart from the personal reasons of family and friends, it was a chance to help with the rebuild and to be part of the energy and hard work needed for the recovery.

So I was delighted to be asked by Craig Sargison of the Waimakariri District Council if I could assist with the recovery of the Kaiapoi Museum, whose building had been demolished following the September 2010 earthquake.  Kaiapoi has suffered considerable damage to commercial and residential properties with nearly 1000 homes being designated as being in the “red zone”.  This means the land is not considered suitable for housing.  The town will lose the majority of its historical buildings, with the old Court House which housed the Museum being one of the first to be demolished.

In addition to the Museum, the Kaiapoi Library and Service centre building had also been seriously damaged. Parts of the building have moved in different directions as a result of lateral spread of the land.  This building was scheduled for repair and initially was not part of the plan to re-house the Museum.

The Kaiapoi Museum has had an interesting history.  Like many smaller provincial museums it is run by the local Kaiapoi Historical Society which held its first meeting in 1960. The aims of the society were to collect and preserve early records. Over the years the Museum has gathered together objects, costumes, archives, photographs, newspapers, microfiche and microfilm.  The collection now numbers somewhere between 7000- 8000 items.   Initially housed in the old Fire Station, the Museum moved to the Court House in 1982 where it remained until 2010.   The collection is currently in storage. 

Over the 50 years of its life dedicated volunteers have given time, ideas and energy to making sure the history of Kaiapoi is kept for future generations.  Many of the volunteers have themselves been personally affected by the earthquake, being required to move out of their homes which are in the red zone.  One of the pleasures of this assignment is working with the building sub-committee of the Kaiapoi Historical Society to understand their aspirations and the challenges to be faced in getting the Museum operational again.

It has meant getting to know them as people, finding out how the Museum operates, and working with them to create a vision for the future of the Museum.  A museum is more than just a collection of objects and displays.  The Museum must tell a story – a story that links the visitor with the people and situations of the past.  Today’s events become tomorrow’s history.  One of the challenges for the Museum is gathering the record of the earthquake in their town in order to tell the unique Kaiapoi story of these tumultuous and life changing events.

So where are we up to?   Over several months we have looked at different options for re-housing the museum and library:  repairing an old building for the museum and repairing the library; a new build for the library and a new build for the Museum; or a new purpose built facility which would accommodate them both, the Council’s Service Centre and an art space for Kaiapoi.

I am really pleased to say that the Waimakariri District Council has chosen the last option and planning is underway to build a new 1700 square metre facility on the site of the former library and service centre.  The community will have an opportunity to provide feedback through the annual plan process before a final decision is made.  This option will maximise access to all of the activities for visitors and ensure the people of Kaiapoi and the whole district get value for the money to be spent.

There are still challenges ahead – not the least of which is a thorough review of the collection of the Museum to determine what items will form part of the new exhibitions and displays.  There is additional funding to be sought to get expert assistance with the curation of the exhibitions which will tell the story of Kaiapoi.  However a start has been made and it will be great over the coming year to see the new facility become a reality. 

The people of Kaiapoi, like many in other parts of Canterbury have had a difficult 18 months.  I am confident that this new museum, library, service centre and art space will provide a real boost to the town and become a much visited place by locals and visitors alike.

Image credits:
1: Kaiapoi Museum being demolished – Saturday 11 September, 9.30am.  Photo courtesy of Kaiapoi Museum.
2: Site of the Kaiapoi Museum.  Copyright BeckerFraserPhotos.

Sue Sutherland is an independent consultant supporting libraries, local government and public and private sector organisations to achieve their goals.  Experienced both in big operational roles and in the development of strategy and policy, Sue offers a wealth of knowledge and skill to her clients.  She is passionate about the difference that libraries and museums can make in people’s lives and values the importance of story in helping make sense of our world.

Reread Judith Taylor’s post about Kaiapoi Museum in the aftermath of the September 2010 earthquake.

News in brief!  Powerhouse Museum in Sydney has developed an extensive object name thesaurus, and has agreed to share it with museums and galleries in New Zealand.  The Powerhouse Museum Object Name Thesaurus provides a controlled vocabulary for searching for object names.  This is a great tool for establishing standardised terms for cataloguing collections, and also makes searching your database a lot easier.

More information about the thesaurus is available on the Powerhouse Museum website.

How easy it is to become blasé. After a couple of days among the works of some of the world’s great art masters I realized I had stopped noticing. Caravaggio, Canaletto, Van der Weyden, Bosch, Rubens, Velázquez, Murillo, Goya, Holbein, Gainsborough, Turner, Delacroix, Manet, Renoir, Rembrandt and Degas… all were in danger of becoming wallpaper, the result of information and sensory overload. Six intensive days of good-quality conference in a large European art museum housed in a neo-renaissance palace in a magical city can do that to me.   

Thanks to the support of National Services Te Paerangi, UNESCO New Zealand and Hamilton City Council, in September I was lucky enough to be in Zagreb, Croatia, participating in the ICOM CECA 2011 conference where I presented:  Getting out from under the e-word, the way in which language may programme our thinking patterns and in particular how the word ‘education’ may trigger traditional expectations and assumptions around learning.   

The artistic and cultural centre of Zagreb is focused in the “old” town, a dignified setting of many cobbled streets and nineteenth century buildings. While the earliest record of the city dates to 1094, much of the older built heritage was destroyed by an earthquake in 1880.   

The conference was held in the impressive Mimara Museum, a large institution with nearly 4000 works and a strong art library.