I'm coming out of the haze that was our (super)natural show week, and am so pleased to have worked with such wonderful people. Our little curatorial collective now has a real-ish website--
check it out.I'm going to continue to crow about the awesome folks who helped made things possible for another post or so, and then I will hold my peace and go back to posting non-me things. Though "me" is such a fun subject, ya know?
Anyway. This post shall be about me
and Anne Gibbs, framer extraordinaire, and owner of
White Mule Picture Frames.
Anne framed pieces for me and co-curator Willy Somma for the show. She taught us a lot about framing production values, and happily answered my panicky phone calls. Below is a Q&A I whipped up; Anne really has a lot of knowledge to impart, so pay attention!
Anne at her craftHow did you get into framing? Why did it first appeal to
you, and what has been satisfying about it as your business has
progressed?
I started framing while in high school. When I moved to NYC 20
years ago to pursue being a painter after graduating from art school,
it was what I fell back on to pay the rent. As it turned out, the more
I learned, the more I liked it, and it was definitely more suited to me
than the business of selling my own art. It draws on a lot of my
interests: the understanding of various materials, preservation, art
& antiques, woodworking, creativity and innovation, and involvement
with creative ideas and people. I started White Mule Picture Frames in
2004, and it opened up even more creative possibilities and avenues for
exploration at just the right time in my career.
workshoppy shot
Do you work with many photographers? What is different
about framing photography than other mediums, and what should
photographers look for/watch out for when choosing a framer?
I have developed a good reputation among photographers as a framer
who understands the difference not only between photographs and other
works on paper, but also the difference between photographers and
artists of other disciplines. No one notices minute detail like
photographers! Because I am very detail-oriented myself, I am somewhat
naturally adapted to their particular demands.
I want a roll of bubble wrap like that in my house There are so many different processes and papers used in
photography, and each has its own set of needs in terms of handling,
storage, and framing. The important thing in choosing a good framer
should be the level of confidence you have in their ability to handle
your photograph appropriately.You should be able to ask questions and
get clear answers. As a general rule, the old adage applies as aptly
here as it does everywhere: you get what you pay for. If you want your
frame to last and you want your photograph to outlive you, you're going
to have to invest a little more. That said, any creative framer should
be able to work with you to maintain a reasonable budget.
me! gold sponge!
the revealWhat have some of your biggest framing challenges been? (The biggest piece you've done, the most surprising outcome?)
The largest piece has been about 6'x5': large pieces are the most
challenging by far. They always seem to defy the best preparations and
leave you sore for days. The biggest but most rewarding challenges,
however, are the projects that I've learned from - where I am doing
something for the first time and have to research and think the
project through, or develop an approach entirely new to me.
Have you formed lasting relationships with artists? Do you continue to collaborate with any artists in particular?
Yes, there are many artists who I have been working with for about
two decades now. As with any specialized service, once you find someone
who you can communicate with, and whose understanding of you is
comfortably intuitive and sympathetic to your needs, you tend to return
to them. I keep records of everything I've done for every client so
that there is as much continuity as possible, and so we don't have to
start from square one.
co-curator meagan ziegler-haynes checking out willy's picture
There seem to be trends in photography/art world
framing... for a few years everyone was mounting to sintra and not
framing, then came plexi... very few people use mats these days. Have
you noticed these trends, and what do you think about them? (To mat or
not to mat?)
This is tricky - a good framer (and, in fact, a conscientious
artist) has a responsibility to the collector to balance archival
considerations with aesthetic desires. In the strictest sense, mounting
is not archival because it is generally not reversible (or can be, but
at great expense). For this reason, matting is always a better choice
as it is more or less acting as an envelope. The current trend of
framing a photograph with no mat often necessitates mounting
because RC-type paper has no body and never looks as smooth and flat as
most photographers like when hinged; larger matted pieces require
mounting to keep them flat.
As far as the various substrates go, there are valid reasons for
all the choices. Aluminum is the best and most stable but is also the
heaviest; plexi is stable though not as stable as aluminum, but it
weighs far less and allows signatures/edition info on the back of the
photo to be revealed. Matboard is the least favorable option unless
you are revealing it in the frame. I have seen photographs
seperate from the matboard due to the different rates of expansion and
contraction between the photo paper and the matboard. Foamcore and
Gatorboard are suitable for replacable posters but never for fine art.
Another trend, face mounting, where the plexi is laminated to the
face of the photo, is also risky. If the plexi is damaged, the
photograph has in effect become damaged as well. However, the look is
very distinct and minimal and that same look is not really possible
with traditional framing.
It's worth mentioning here that not all mounters are equal in
terms of capability, and there are many things that can go wrong during
the mounting process (dimpling, creasing, damage to the surface of
print). Given the risks, it is wise to choose a mounter that has a good
reputation.
choices! What's the best way to ensure a framed image stays archival?
It should be protected from direct sunlight, UV light and chemical
damage, as well as extreme humidity and dryness, and old framing should
be inspected for damage. Choosing a responsible, committed framer who
is using the best possible materials and methods inside the frame makes
a big difference; budget framers often use the fastest and least costly
methods of framing, which can damage artwork. Archival framing
requires that the piece can be returned to its original state when it
is taken out of the frame with little to no restoration.
anne enjoys framed animals as well (so do i!)
How do you see White Mule evolving as a business?
I would like to see artists and collectors better understand the
importance and role of framing. To this end, I am working on
developing workshops specifically for artists of various disciplines,
as well as for collectors.
Thanks, Anne! Check out
White Mule if you're in the market for a thoughtful and pleasant framing experience!
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