Help with a museum display

[durr3]

I have been asked to do a show at our local Museum of Art in Jackson, Mississippi..........

I am planning on displaying 20 +/- platinum prints. (my mentor set this up so I better do what she says.)

My question is, should all prints be matted and framed the same way? And, do they all need to be the same size? I shoot 5x7 and 4x5.

Any suggestions about matting and framing?

thanks,
J Durr

[chuckcars]

Using the same size over and over gets boring to me. Size according to what your vision was at the time you captured the photograph. Standard frame sizes and materials. Pay more attention to the composition. Make the mat accordingly. I like matt black wood frames and tru vue standard picture glass.

Best,

[Richard Wasserman]

I suggest doing all the frames the same size for continuity. Aren't you glad you asked? I also like small prints (Mixing 4x5 and 5x7 is fine) in large frames—11x14 or even 16x20 if budget allows. The large frames add a preciousness to the print as an object which I think works well with platinum prints.

Best of luck with your show!

[Thom Bennett]

J. Durr, when will the show open? Love the MS Museum of Art and would like to meet a fellow platinum printer. I'm in New Orleans.

And I agree with Richard; bigger frames with small prints looks great.

Thom

[Ken Lee]

It's certainly easier to prepare and transport frames when they are all the same size. It's easier for the gallery to hang them too. It can often be cheaper to purchase the materials, due to economy of scale.

[ROL]

There isn't much significant difference in size between prints that small. Not that size matters! It will be easier for the curator of the work, which may be you, to hang fully presented and framed work if they are all the same frame size. In any case, uniform sizes will certainly make your life easier, and possibly less expensive, in presenting them yourself. The key is that the display wall will likely look cleaner and more professional with same sized frames than it will with differing frame sizes for specific sized prints. You haven't said whether they are mixed portrait or landscape orientations. That will also make quite a difference in a final wall presentation. Frankly, unless you have a well defined sense of aesthetics, and I have found few do, I would recommend asking the museum what they prefer and getting professional help (not quite the same as opinions here). If this is meant to be an exercise in curating for you, again unspecified, then you should probably try variants of sizes and orientations on your own in order to develop or understand the sense of aesthetics that curating requires. It's a bit of a parlor trick, literally in this case, in which the wall obviates the stage of each individually framed print.

Be that as it may, I frame all prints (much bigger than yours) of any single largest linear dimension in the same size frame. That will also be a consideration for you as your 45s and 57s are of differing aspect ratios. You may want to read Print Presentation (http://www.rangeoflightphotography.com/pages/Fine%20Art%20Print%20Presentation) for a fuller explanation of dry mounting method and presentation design goals.

[Darin Boville]

Talk with your mentor. Take his or her advice. The one "rule" that I like is that the frame, the way the frames are hung, etc should all work to make the photographs look great, not call attention to themselves. I've just visited six art museums, all across the country, in the past two weeks. I remember many of the artworks. I remember none of the frames.

--Darin

[jhogan]

I work in a museum, so, if I may offer some advice:

First, make sure to find out what the institution is expecting. It *may* have a stock of frames for just such an occasion, like we do. We often get "loose" prints which will be matted and framed in our own shop. Sometimes we'll send things out to a high-end framer when circumstances require it. It's not always the case, but it's worth asking about, just in case there is some $$$ for framing in the budget for your show.

Assuming you are responsible for the matting and framing, I highly recommend using Neilsen Aluminum frames. http://www.nielsenbainbridge.com/eng/products/frame-mouldings/aluminium/d4caa74/aluminium.html

They are inexpensive, they are a breeze to put together, and go up on the wall with two screws in the top channel and one below for security. Installers love them.

What's great is you can easily use them over an over again, and they don't take up much room when disassembled.

While they aren't the most elegant solution, if you use a simple profile in black, they are quiet and don't distract from the work. For anything up to 20 x 24", a one inch depth will suffice; if you're going larger, 1 1/2" will usually work.

Once the work is matted, it takes about ten minutes to assemble the frame- the plexi, mat/print, and backing (usually Coroplast)-simply slide the "sandwich" into three assembled sides, attach the fourth, put some spring clips behind the channels in the back, and you're done. Only tool needed is a flat-headed screwdriver.

As far as size goes, a *general* rule of thumb: double the window size for your frame dimensions; IE, if your print is 8x10" your frame is 16x20".

It's worth asking about overall sizes and numbers, since the museum's exhibitions designer likely has a certain amount of space set aside for your work...

Here are some pictures to illustrate:117613117614117615

[ROL]

As far as size goes, a *general* rule of thumb: double the window size for your frame dimensions; IE, if your print is 8x10" your frame is 16x20".

Here are some pictures to illustrate:117613

That general rule would seem excessive to me. I know people mat postage stamp size prints in oversize mats ala your upper right, but I don't think that is customary, and it will also increase costs dramatically. Also, although a good illustration of prints of differing sizes in same size frames, I've not generally seen the salon style of hanging in any major museums in my area, except where the curator specifically wishes to group works together for comparison. What museum do you work at it?

[h2oman]

If you get Nielsen frames, don't make the mistake I once made - don't get "anode black!" They are too shiny. Matte black is what you want, in my opinion.

[jhogan]

Replying to Ken, who asks:


When you get matt board and glass, how can you be sure that the combined thickness will be right ? I got a frame and some matt board but the whole thing slips around.

That's where the spring clips come in- they hold the "sandwich" tightly in the frame. I've attached a couple of snaps to show close ups, and a video (not mine) I found with general assembly instructions.



117709117710
http://www.youtube.com/watch?v=L6viPYrWjBo#t=445




Hope this helps.

[jhogan]

That general rule would seem excessive to me. I know people mat postage stamp size prints in oversize mats ala your upper right, but I don't think that is customary, and it will also increase costs dramatically.

Please understand the pictures attached are for metal frame illustration purposes only. It so happens that the framed images in the picture are part of a "youth exhibition" where we have specific frame sizes set aside solely for that exhibition, so we fit the mat sizes to the frame in some cases, (rather than the print) resulting in a varied look. Believe it or not, it saves money, because having uniform frame sizes saves design and installation time, which is far more expensive than mat board. I can promise you we got no aesthetic complaints from the kids.


Also, although a good illustration of prints of differing sizes in same size frames, I've not generally seen the salon style of hanging in any major museums in my area, except where the curator specifically wishes to group works together for comparison.

As far as hanging strategies go, different individuals have different ideas of the appropriate way to display work, and I can say from experience in multiple museums that there are usually at least three people involved (assuming the institution has all three): exhibition designer, curator, and executive director. Guess who has the final say?


What museum do you work at it?

Let's just say it's a modestly-sized but rather well-respected institution located in a large southern California city. BTW, I'm not an exhibition designer, curator, nor am I, sadly, an executive director...

[Ginette]

For a small 20 prints exhibition, I think that same size frames will be more appropriate. For 4x5 and 5x7, I suggest a 16x20 frame size.
If the frames will be yours after the show, you can ask the museum standard way to do but don't forget to chose the way you will like your actual work and future work be exposed. A standard size will be also easier for later, you will only to have new mats done, and 16x20 is exactly 4 pieces in a standard 32x40" matboard.
Wood frame are classic: it can be mat black as suggested by others members but also natural wood or white or bleach one. Have some demo corners for a framer and compare with your prints. Mat boards came also in a lot of various white. Depending of your prints, mats and frames tints must be choose carefully.
Good framing is like good mount making for objects, it is well done when you don't see it in the exhibition.

[Ken Lee]

Replying to Ken, who asks:
That's where the spring clips come in- they hold the "sandwich" tightly in the frame. I've attached a couple of snaps to show close ups, and a video (not mine) I found with general assembly instructions.


Thanks for that. I have used the clips, but in my case there wasn't enough room for the clips. The matt + photo + backing was too thick for the clips to be inserted, but not so thick that the whole thing didn't slip around.

I had no problem when I purchased ready-made kits, since someone had already figured out a workable combination, but when I tried on my own (20x24 frame) it didn't work. I guess you just have to try and try until you find something that works ?

[Jim Jones]

Rather than use spring clips, I pad the space with archival foamcore. This provides more protection and eliminates occasional buckling of the mat and mounting boards.

[durr3]

Thanks

[durr3]

Hi Richard.....The show will be for the month of September.


J. Durr, when will the show open? Love the MS Museum of Art and would like to meet a fellow platinum printer. I'm in New Orleans.

And I agree with Richard; bigger frames with small prints looks great.

Thom

[durr3]

Thanks for the comments and advice to ALL of YOU. Very helpful and encouraging. I will let you know how it turns out, if I don't have a duck before the show!!! LOL

[jp]

Thanks for that. I have used the clips, but in my case there wasn't enough room for the clips. The matt + photo + backing was too thick for the clips to be inserted, but not so thick that the whole thing didn't slip around.

I had no problem when I purchased ready-made kits, since someone had already figured out a workable combination, but when I tried on my own (20x24 frame) it didn't work. I guess you just have to try and try until you find something that works ?

I have had that problem too. I have hammered spring clips to be flatter, or padded it with a strip of mat board, or taped it, or not worried about it. Your ready made kits were probably perfectly cut so there was not room for it to slide around if it could. If we cut it 1/16" short on one edge, there is room for things to move around left/right/up/down

[ROL]

jhogan, thanks for the response.



For 4x5 and 5x7, I suggest a 16x20 frame size...

So, I'm going to beat a dead horse here in the interests of stimulating reasoned discussion. That suggestion, clearly your right and sense of aesthetic, of double plus frame size resulting in a relatively small work presented in a relatively large frame can be seen at least two ways.

1) The large amount of framed space around the work separates the diminutive work from the wall environs, and so focuses attention clearly on the work.
2) The large amount of framed space around the work suggests a general insecurity about the work, by the presenter, by padding the periphery with mat board, attempting to make the work larger and/or more important, possibly in relation to other works hung.

A lot has been said about the framing, or more generally, the presentation disappearing beneath the work. It seems to me that overly large presentation forms draw attention to presentation – and not positively.

[ROL]

Thanks for that. I have used the clips, but in my case there wasn't enough room for the clips. The matt + photo + backing was too thick for the clips to be inserted, but not so thick that the whole thing didn't slip around.

I warn my buyers to get frames deep enough to accommodate the ½" plus total thickness of my 4-ply mount, 8-ply window, and ¼" acid free foam core backing board "print sandwich". Cheaper frames may not be adequate, or at best a very tight fit, but many models of Nielsen, which I use, will work with plenty of room for the clips, or may be padded out with more backing board as JJ suggests. A ~1 inch deep frame looks very professional (classy :p) on the wall (to my eye ;)).

[Ginette]

For 4x5 and 5x7, I suggest a 16x20 frame size.

So, I'm going to beat a dead horse here in the interests of stimulating reasoned discussion. That suggestion, clearly your right and sense of aesthetic, of double plus frame size resulting in a relatively small work presented in a relatively large frame can be seen at least two ways.

1) The large amount of framed space around the work separates the diminutive work from the wall environs, and so focuses attention clearly on the work.
2) The large amount of framed space around the work suggests a general insecurity about the work, by the presenter, by padding the periphery with mat board, attempting to make the work larger and/or more important, possibly in relation to other works hung.

A lot has been said about the framing, or more generally, the presentation disappearing beneath the work. It seems to me that overly large presentation forms draw attention to presentation – and not positively.

My English is not enough good for long explanations. Maybe I should had said "Even with your small contact prints (4x5 and 5x7) I suggest you a 16x20 frame"
- Mostly for a pratical standardisation and maximum use of matboards.
- And how easy will be to put vertical and horizontal prints in the horizontal 16x20.
If you use mostly the camera horizontally, another size can be 13x16" (6 mats in 32x40") but frames will have to be custom cut.
In my view, the mat is the wall so you can hang your 16x20" anywhere even if walls are green, blue or whatever. And my preference for the frames is natural wood or bleach so it disappear more than a black one.
But try differents options with your prints. If the museum don't have their own framing facilities, they certaintly have a favorite framer.