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Security Bulls eye . Those against theft fall into two categories: those in operation while the building is open to the public and those while it is closed. disfigurement and fire. like every other valuable objects should be protected from loss or accidental destruction.Museum collections should. This means devising security arrangements in terms of theft.


vibration sensors placed behind a painting can detect the lightest fingertap. another to detect if someone tries to access the painting through the wall. A tripped alarm signals the control room (or a cell phone or pager). and can provide a map of the site and an electronic photo of the piece of art. describes the problem.Security plan for keeping artwork safe 1 Small and wireless. Multiple sensors can be customized—one as a backup. .

highly magnified photographs of a painting's details and other proof of authenticity.2 Many priceless works have inventory numbers written on the canvas back and recorded in a registrar's catalog. The catalogs keep data about a canvas's thread count. .

eye hooks on the back of the frame attach to "L" hooks on the museum wall. You'd have to work pretty hard to wrench the painting away. . a metal boiler plate screws into both the frame and the wall. At the bottom center of the painting.3 To hang a piece of art. In places where earthquakes can torque paintings affixed in such a way. museums use interlocking connections that offer some give.

but these can't be used on some works (the ones with pastels. [ For example :non-glare glazing with static-free polycarbons can be used. for instance) because it tends to suck the chalk off the surface of the artwork.4 Glazing protects some paintings and is commonly used with objets d'art shown on pedestals. But it is used judiciously since artists and scholars prefer as little interference as possible when viewing the art.] .

.5 Environmental sensors for fire. These devices are even more common for items on pedestals. temperature changes and other hazards can be used to complement theft-deterrent sensors. but are used for paintings as well.

6 Around the edge of the room. they're not welcomed in." . implicitly. a low rail or change in floor texture or height creates a border to keep people from getting too close to the artwork. Purely psychological -It forces a person to enter a different space that.

7 Motion-detection devices beamed directly over the painting sound a chirping alarm (like a smoke detector) to startle the too-close observer and alert security. .

It is better to "overdesign": when any given person is touched by at least two motion detectors at one time. it's most practical to simply flood the room with motion detection.] . That creates very few "dead spots" for potential thieves to avoid sensors and helps deter "stay behinds": skulkers who come into the room with a group but remain when others leave. such as doors and air ducts. Instead of focusing motion detection only on entrances and egresses.8 Saturation motion detection is the most important technology used in any given exhibit space.[For example: Mixing infrared and microwave motion detection—since infrared can cause false alarms from heat. and microwave sometimes is triggered or disabled by the works of art themselves. such as metallic sculptures.

Anti-integration makes things difficult for thieves. the more likely the better it is to go in for anti-integration. However. if funds are limited.9 Closed-circuit TV cameras add another security layer beyond motion detection. it means they will have to break two systems instead of one. cameras should go first at entry points. The more precious the art. It is preferable to put in a digitally enhanced closed-circuit TV system that triggers automatically. . then in the galleries.

sectors of the building will have their security systems turned off. especially lower-level windows. As with CCTV. . Break sensors can be placed on the glass. "not because it tells us a window was broken but because it's independent of the security system during 'gray hours’ : those after-close periods when a large staff is hanging a new exhibit.11 It is prudent to alarm windows and fasten them closed whenever possible. At such times. glass-break sensors are secondary to motion detection but still play a critical role.

. which dispatches staff to suspicious situations.12 Security guards should be on alert during gray hours and also be a constant presence in the museum at all other hours. Along with uniformed guards. a plainclothes supervisor would be appointed to see that the security staff is managing the crisis properly. They also communicate with the security control center. They must patrol briskly and pay as much attention to fire exits as they do the art itself.

. the diaphragm reacts and the alarm is setoff.• In storage rooms :One method works by having a fan blow air into or out of the area to be protected at a pre-determined pressure .A diaphragm elsewhere monitors the difference between the inside and outside pressures. As soon as an entry is made the pressure alters.