The Asheville Arts Scene
May 2007
By Karen O. Lane
May 15, 2007
What about framing art works?
The story of Steve Wynn putting his elbow through a Picasso recently, titled Le Reve (the Dream) painted in 1932, which Wynn paid over 40 million dollars for was such a catastrophe. It sounds like a canvas that was not in very good shape and should have been better protected or hung in a different location at least. What a nightmare to put a hole through a Picasso! Displaying an art work is a topic that seems terribly ordinary and yet is so important because an art work almost doesn’t have a life unless it is seen by a viewer.
The most complicated art works to frame are works on paper which would be drawings, pastels and watercolors. Photographs fall under the same framing guidelines. Personally I love to look at drawings. For a long time I wondered why aren’t there more shows of accomplished artist’s drawings in museums? Drawings tell us so much. They are the beginning of new thoughts and ideas, the place where problems are worked out, an intimacy with ideas. They are so exciting yet so fragile. Only a few world class museums regularly have shows of drawings due to the cost of displaying works on paper under archivally correct conditions. One of the most interesting shows I saw once was of some of Leonardo DaVinci’s notebooks. The notebooks were in specially constructed shadow boxes. He wrote his notes in the most beautiful cursive script upside down and backwards. He was undoubtedly trying to avoid intellectual theft in this way and yet the drawn images told so much.
But on to the practical…Framing has is two purposes, first to properly display an artwork and second to protect the condition of the piece so that it remains the same as it was when it was created for as long as possible.
To be fair I would like to preface this with a little editorial on the topic because we were taught and indeed it was taken for granted that archival was our basis for all material handling, but if you are an artist there are other points to take into consideration. Anything technically involved with producing an artwork is so important for us to have a good working knowledge, but there can be contradictions to theories. We must first know the rules and then if it is necessary to consciously, deliberately with a reason, break the rules or disregard the rules in accordance with our aesthetic goals as Jackson Pollack did. Archival theory and the practice of making art can be at odds. Jackson Pollock for example is one of the most important painters of the Twentieth century and his work is an archival nightmare to conservators. But where would we be today without Number 1A, 1948 or Lavender Mist? He was classically educated and a student of Thomas Hart Benton when he was young. His decision as a mature artist was to break with tradition and make physically visible his in-depth Jungian understanding of self. His choice of materials was a necessity in his manifestation of process.
There are five elements that are injurious to any work on paper. They are ultra violet light, temperature changes, moisture, dust, and off gassing.
Ultra violet light
To keep out ultra violet light the best glass to use is conservation UV blocking glass. It is wonderfully clear and true to color and should block at least 95% of the ultra violet light. It is pricey but ultra violet light after acidity is the most damaging to art works done on paper.
Temperature changes
Art works do best in a temperature of 70 degrees average. Never hang paintings or works on paper over a fire place if you want them to last for the next generation.
Moisture
Most artworks should be kept in an environment that has an average temperature of 70 degrees farenheight and humidity of 50% average. Properly following these guidelines will prevent most moisture damage. Also moving from a dryer temperate climate to a southern costal area may cause condensation to build up in a framed art work. Always take matted items to a reputable frame shop for an evaluation after moving.
Dust
To keep dust out, the back of the frame should be covered with a quality paper and should be acid free as well. It should be sealed all the way around and be porous to certify air circulation and avoid the build up of either moisture or gasses.
Off gassing
To prevent off gassing from the framing materials mat board, supports, and any adhesives should be acid free. The mat should be rag, the support should be acid free foam core and the adhesive should be rice or wheat paste.
The art work should never be touching anything including the glass which is why we use a mat If a mat is not used then there should be a spacer to keep a gap between the piece and the glass.
As far as style or design of frames, it is of course a personal choice. Preferring the art work to speak for itself, I believe framing is an unfortunate necessity therefore I tend to like the frame to be made of simple honest high quality materials with a quality finish. I like the design to be more subtle than the art work and most importantly complimentary of the piece.
In the Asheville area we have many frame shops, maybe twenty.
An added plus to these frame shops is that they often times have some gallery space to show and they are often staffed by artists from the area.
A local frame shop popular amongst artist friends is The Frame Shoppe & Gallery located in South Asheville in the Biltmore Parkway Shopping Center. I ran into Richard Oversmith at the Frame Shop and Gallery. He is both an excellent painter and an employee at the shop. He and his wife and a child or two were on their way to France for six months to paint the last time I saw him at an opening, but now they’re back in town. Richard is a very reliable consultant if you are in need of a framer who understands, as is the manager Lynn Seibel. Their phone number is 828-274-3635 and they are located at 1378 Hendersonville Road in the same shopping center as Harris Teeter’s.
There is a Starbucks next door which can be a good respite while making decisions.
Happy framing!
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