- Joined
- Oct 9, 2010
- Messages
- 7,488
- Format
- 35mm RF
Tell that to Eugene Atget.
IMO, that's pretty much how WeeGee's work should be shown. I have been to shows with prints attached to metal walls with magnets. Or matted prints pinned to the wall with T-pins. Neither looks as goods a plain black or white gallery frame on a flat-colored wall, with no or minimal reflections.
On the other hand, presentation communicates a lot to a prospective gallery or curator how much you value your work. Prints in a shopping bag makes a statement. Is that the one you want to make? Why not leave the prints unspotted, maybe a few developer stains and dog-eared corners while we're at it.
I've tried. But he doesn't seem to care. Plus, he never considered his work art, rather reference documentation to be used by painters. I don't think he ever exhibited.Tell that to Eugene Atget.
No, no, no. The photo is either hinged to the backing board with archival tape or dry-mounted to the backing board. In either case, the window mat is hinged to the backing board.
For any exhibiting artist a Matt Cutter is a very good thing to have
Ouch! Have you ever been cut by one?Point of privilege:
While you will sometimes see it with two "t"s, I think the better usage is to refer to the framing material as a "mat", the cutter referred to as a "mat cutter" and the Photrio member or other person by the diminutive form of my name, i.e. "Matt".
Ouch! Have you ever been cut by one?
View attachment 373131they must be distant cousins
I typically use mounting corners to attach my fiber-based prints to a backing board. That works well when the mat is in a frame because the whole art package is pressed flat once installed in the frame. However, if presented using a mat/backing board only, the print needs to be extremely flat to avoid any gaps between the print and the mat. Any gaps/waviness looks unsightly. I've been considering dry mounting to avoid this issue, but I hate to permanently affix the print to the backing board - I'd prefer the flexibility offered by mounting corners. Gallerists/curators also seem to hate dry mounting since it is not considered archival. I've got a dry mount press that I use to flatten my prints and I also put the prints under heavy books for a while once they come out of the press. But the prints still aren't as flat as I'd like. Maybe I simply need to leave the prints under books for additional time, but I'm a little impatient
I guess it depends who you're dealing with. I haven't see shows anywhere including Paris, Tokyo & Santa Fe, that weren't dry mounted....
Even with all the prints perfectly set up in their hinged window mats there is an extra move I do. Each window mat also includes a sheet of archival interleaving paper that covers the print. When the matted print comes out of the nice black clam-shell portfolio case there is no picture to be seen.
Then in front of the viewer the window mat is opened very slightly and the interleaving paper is removed quickly. The sudden reveal of the picture adds a little bit of surprise and impact to the presentation.
Some gallerists are impressed by the ritual, others not so much, but I reckon it's more interesting than just shuffling through a pile of prints.
Just off the top of my head, the Michael Kenna show I saw recently, almost all the photos were dry-mounted. Same for the American Silence Robert Adams show at the National Gallery in D.C.
That certainly doesn't apply to museum shows. As I have never seen that designation before in a gallery, I will be on the lookout. Curious how this works with an edtioned set.One of the reasons you see mounted silver prints is they are designated as DP. or Display Prints only, If one buys the can have an unmounted version if they prefer
Curious how this works with an edtioned set.
There are a great variety of ways to attach an object into a window mat. Our current practice favors non-adhesive means of attachment for many items. Edge strips or channels, corners, polyester half-moons, or polyester sheeting with ultrasonic dot or line welds offer a means of securing art without introducing adhesives directly onto the object and readily allow the object to be removed from the mat
That certainly doesn't apply to museum shows. As I have never seen that designation before in a gallery, I will be on the lookout. Curious how this works with an edtioned set.
FWIW, from the Library of Congress Research Guide on 'Matting and Hinging Works of Art on Paper":
I prefer this method for all my prints , we use corner mounts attached to 2ply backing board which allows the print to be removed.
That's what I generally do as well, but started to consider dry mounting due to flatness issues with fiber prints when matted and stored in a portfolio box. But I think I've decided to continue with corner mounts and just flatten the heck out of the prints before I mat them.
Once matted, are the mat window and backing board attached / hinged in any way besides the top hinge? Im imagining the mat window swinging open from the bottom when handeling with prints in a portfolio box.
Once matted, are the mat window and backing board attached / hinged in any way besides the top hinge? Im imagining the mat window swinging open from the bottom when handeling with prints in a portfolio box.
We use cookies and similar technologies for the following purposes:
Do you accept cookies and these technologies?
We use cookies and similar technologies for the following purposes:
Do you accept cookies and these technologies?