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A Horse to Water...

Craig Sterling

Participant
Messages
10
Location
Washington, DC 20520
Company
Art Bank Program
Hi everyone!
A quick background. Many years ago, I was a full-time framer and manager of a small frame shop/gallery in Germantown, MD. During my time there, I was assigned by the owners to check out PPFA and how they could benefit the business. Well, little the owners know that PPFA would become invaluable to me for many, many years. When the business closed in 1998, I moved to a position with the Federal Government working with a collection of works on paper. Although my title has changed a few times, I still work for the same program and love working with art on paper.

Today we received three relief prints from a local gallery. The show had recently been taken down and, as always, we ask for any art we hope to purchase to be unframed. When it is unframed, I can better assess the condition of the art and substrate. The pieces we received today had been floated and looked quite nice in their frame. However, the mount method would make most anyone on this forum cringe. The monotypes were printed on BFK Rives…which is a soft and supple paper and takes ink well. The float was accomplished by using A-26 1" white artist's tape rolled into balls on the back of the art. The tape circles/smashed ovals were at least 2 1/2" long. There were five tape balls per artwork…including one in the very center of the print.

I called the gallery where they were purchased and spoke to the owner who assured me his framer only frames to the art using the highest conservation methods. I gently told him otherwise and asked for the framer's contact info. At the time, I didn't know it was A-26 tape, just a plasticized carrier tape with non-water soluble adhesive. The framer called and we had a pleasant conversation. He used the tape to "hinge" the art because he was instructed it was "archival" by the local frame supplier. He promised to send me the catalog page to prove it is an "archival" product. I chatted with him for quite some time about "archival" and learned that he had only used paper and paste hinges once and had to buy the art after destroying it while trying to remove a hinge he had applied.

During our conversation, I asked him if he had heard of PPFA. He said, "yes". I thought this was good. I then told him that PPFA offers a number of classes at the convention and that he should be placed on the local mailing list for events and training near him. I told him about the wonderful resources we have in the DC area to help him learn how to better frame…Hugh Phibbs, Ellen Collins, etc. He thanked me for the information, but I sensed that he had no interest in following through with our local chapter or education. I plan to stop by his shop sometime soon to say, "hello". I'll give him contact info for our chapter. I'll also pass his info to our chapter leaders.

The reason why I titled this thread as "a horse to water" is because I truly think this framer knows where the water is, has now been invited, but will not drink. The evidence of this was how we ended our conversation. After speaking about the better mounting methods and the resources available to him, he asked that I print the catalog page of tapes he was going to email to me and circle the ones he can use to mount fine art on paper.
 
Craig, thanks for posting this.

I think that sometimes suppliers are as uneducated as the framers who haven't learned much about methods and materials. They aren't intentionally trying to deceive customers when they print things like that in their catalogs.

Over time, "conservation" has become as meaningless as "acid free." PPFA has gradually been introducing the concept of preservation framing to their members, which sort of solves the problem of "conservation" material descriptions...at least for a while.

Frankly, it is the efforts of members like you who will ultimately make this difference with framers who don't know what they don't know. Let me be the first to thank you for taking the time and effort to do it.
 
Thanks for sharing your story, Craig. It is unfortunate that so many framers still don't understand the value of preservation framing, let alone the methods and materials involved. Framing education is better than ever and our industry's general body of knowledge is improving all the time. But until all framers know the basic principles, and when to apply them, the destructive framing will continue.

While it is certainly true that not everything requires preservation framing, discussions among knowledgeable framers often focus on those features, because that's the 'high ground' in framing, and there's always more to learn. Preservation framing may be considered a useful skill-set, but it is also an endless quest for better information. In terms of the learning process, it is a journey, not a destination.
 
Thanks for the replies.

There are a few issues that confound me about the interaction today. First, when speaking to the gallery director, he assumed that his framer was competent because he was told by the framer that he only used "conservation-grade" materials. I'll let it go that neither the framer nor the gallery director understood the difference between conservation and preservation. He probably thought that the cheapest bid meant the highest quality of preservation framing!

A second issue which bothers me greatly is that the framer told me that he discussed how to mount the art with a sales rep from a local framing supply distributer. I've known this man since about 1992. I can't imagine that he would give any advice on how to mount an artwork of any kind. If he is doing so, he needs to stop and study for the cpf exam.

A third issue is that the framer sounded as if English was not his native language. I can imagine that understanding preservation/conservation and framing terms would be difficult for him. If the catalog says it's "archival" then it must be ok to use. Multiple definitions and shades of definitions or deceptive terms I assume would be difficult to discern.

As for his unwillingness to learn better techniques, I would guess it is a matter of perception of cost, time, and uncomfortableness.

When I stop in to say "hello" I plan to bring him PPFA's Glossary and Guidelines for Framing Works on Paper. These are just a start, but perhaps a little nudge would encourage him to further his education.

Oh, I also plan to chat with the sales rep. I'd like to hear if he is now giving framing advice or if he was simply misunderstood.
 
Craig you are a wonderful assest to PPFA and all Framers. Thank your for contacting this framer and advising him.

I have a feeling he may be or his boss may be someone that feels others are out to "steal" his secrets or "steal" his customers. I really wish framers would realize that is not the way to look at things. PPFA is here to help educate and provide a network of caring framers so we do not have to go it alone. You have done your part in giving him and his boss the resources. Now it is up to them to take advantage of what is offered. Hopefully some of your board members will reach out to them and encourage them to check out PPFA. That is all we can do, be friendly and provide the resources. It is up to the framer to become active and attend.

THANK YOU!
 
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