From Storage Room to Cloud

How Digital Tools Are Transforming Art Collection Management  

Every worker in an art museum or gallery space has heard these words: “Go into the storage room to find X object.” Simple enough, right? Wrong. Initially, you’re just looking for X – but every industry insider knows you come out with problems Y and Z. Y being lost information. Z being non-updated information. Both lead to the overall issue of not caring for the object. Ethically, legally, and financially. You’d think it’s the negligence of these spaces. Simple enough? Wrong again. On the contrary, it’s the outdated system of physical processing that’s the issue. But luckily, there are digital solutions available to combat this once and for all. 

When outdated systems create modern problems.

Before I inform you of the digital solutions, one needs to understand the overall harm these outdated systems cause to the objects. Starting with ethical harm. According to the Indeed Editorial Team (2025), ethical harm occurs when the following are missing: honesty and integrity, conflict of interest, privacy, and protection against theft and fraud. In regard to objects, the ethics of honesty and integrity are mismanaged when written records are either missing or not regularly updated.

The ethics of conflict of interest are mishandled when the object’s value is not upheld to its highest degree. The ethics of privacy are botched when object information remains unprotected and can be easily altered by others. Especially since many institutions do not have the time to monitor who, when, or how. Often, information just has or hasn’t been updated factually. Lastly, the ethics of theft and fraud are misruled, as the pressure to produce factual information can lead employees to fabricate data in order to cover gaps in documentation. 

Next on the agenda to inform you of are the legal issues that could arise. Most legal concerns boil down to copyright infringement. According to Pantalony (2013), copyright is a collection, or aggregate, of certain intangible property rights as defined by statute, and includes (but is not limited to) the following economic rights in a work: reproduction, translation, and the public performance and/or display of certain works.

In regard to objects, it is the institution’s responsibility to ensure that their staff care for and are in clear agreement with the owners of the objects (i.e. artists, makers) on how to handle, exhibit, advertise, and credit them. Ideally in a formal written agreement. Without this, institutions risk breaching copyright, and the owners could easily pursue legal action, which would harm the institution’s reputation and trust.  

The final problem to inform you about is the financial issue. According to the International Research Alliance on Public Funding for Museums (IRAPFM) (2025), due to decreased government funding, museums on the African continent are advised to diversify their income and maintain public engagement.

In regard to objects, this highlights how outdated systems of physical documentation are actually costing us more financially in the long term. Think about how frantic we get when a label, tag, or date goes missing from an object. How we have to replicate all that information from scratch. That costs us time, effort, and money. Over time, these small inefficiencies build into larger financial burdens that are entirely preventable.   

When digital systems become the future of preservation

Now, let’s move into the digital solutions that can finally put an end to the chaos of physical copies and handwritten notes. These solutions come in the form of digital inventory systems and security software that can be installed right on your laptop. One such platform offering this exact solution is Artfundi, which is gaining increasing traction in the industry. 

According to Artfundi (2025), their software helps institutions manage collections, improve provenance, and protect critical data. The best part? The control is in your hands. Users can create an organised workflow with ISO 27001 compliance, while tracking every artwork and related documentation. No more storeroom stress. No more missing files. It’s a solution designed for both efficiency and peace of mind. I encourage you to explore Artfundi today and see how it can support your institution: artfundi-enterprise.com. You won’t regret it.

As discussed earlier, the continued reliance on outdated physical and handwritten systems in the museum and art world leads to serious stress around lost or outdated information. This stress, if unchecked, can result in ethical, legal, and financial harm.

• Ethical harm arises from breaches in honesty and integrity, conflicts of interest, and a lack of proper privacy or protection against theft and fraud.

• Legal harm is often linked to copyright violations and the failure to honour formal agreements.

• Financial harm emerges when institutions struggle to diversify income streams or maintain public engagement. An increasingly urgent challenge in the face of shrinking public funding.

All of these risks point to one clear need: the implementation of digital systems. Fortunately, platforms like Artfundi offer practical and protective software designed specifically for the cultural and creative sector. I strongly encourage those ready to be part of this digital shift to explore Artfundi by visiting the link shared above. Thank you for joining the conversation. It is the solution towards building a more secure, ethical, and sustainable future for the arts. 

References

• Artfundi. (2025). Art inventory management software. https://www.artfundi-enterprise.com/
• Indeed Editorial Team. (2023). 12 ethical issues in business and how to address them. Indeed. https://uk.indeed.com/career-advice/career-development/ethical-issues-in-business
• Pantalony, R. E. (2013). Managing intellectual property for museums. World Intellectual Property Organization.
• International Research Alliance on Public Funding for Museums (IRAPFM). (2025). Decrease in public funding? A worldwide answer from museums.

About the Author 

Britney Burns is a 26-year-old Cape Town-based researcher and writer working within the arts and culture sector. She holds an Honours degree in Anthropology from the University of the Western Cape and was an HSRC/Iziko Museums of South Africa Research and Exhibitions Intern from 2023 to 2025. Her work was recently published by Between 10and5, and she is passionate about collaborative projects, digital innovation, and highlighting emerging South African female artists.

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