Aluminum/Photograph/Plexiglass Sandwich

[r.e.]

I realize that this is not a new idea for mounting photographs, but I am seeing it more and more. On a recent trip to Europe, I saw it used widely at public galleries, such as the Royal Academy in London in a show that included recent works by people like Burtynsky and Chris Jordan, and at private galleries in both London and Paris.

Can someone explain what the rationale is for this system of framing? The plexiglass is invariably quite thick, about 3/8". Why is that?

[Drew Wiley]

Don't know the exact mounting method you're referring to, but the advantage of thick
acrylic is that it wouldn't be as likely to bow outwards toward the lighted (heated) side. The disadvantage would be considerably more weight and expense.

[r.e.]

Thanks, the mounting method consists of a sheet of aluminum not more than 1/4" thick and probably thinner, then the photograph, then a sheet of thick acrylic. The aluminum and the photograph and the acrylic are all the same dimensions. They are fused, there is no frame. I've read - whether it is true or not I don't know - that this is an expensive way to mount photographs.

[Drew Wiley]

Expensive indeed. The problem with this kind of system unless it's hermetically sealed is that the aluminum conducts temperature changes easily, unless you have
an additional insulating backer like fomeboard, or have it mounted on a well-insulated wall. Acrylic is a better insulator from the front, but the heat of lighting
from that direction during the day, and the potential cooling from the back at night
increases the risk of condensation and mildew. This doesn't have to be particularly
visible to get a foothold. Microbes love gelatin. That is why traditional framing you have a window mat to provide air space between the print and the glazing. But plastic is much better than real glass when it comes to insulation, not to mention breakability.

[Jeremy Moore]

Don't scratch that front plexi either....

[bob carnie]

This is a mount that is requested all the time.

Print is face mounted to plexi with very high quality clear adhesive, Then the diabond is then mounted to the back of the print (plexi) , cleats are applied to the back, In some cases the plexi is slightly oversized and then with blowtorch the edges are melted to a smooth edge.

this is then hung by the cleats of holes are drilled for hanging from wire.

I did this exact mount for the a Smithsonian show 14years ago and this method of exhibiting has been around for a very long time. Instead of Diabond we used two pieces of plexi, and sometimes used clear silicone for the face mounting.

This has been used for commercial purposes as far back as I have been printing murals, 1980 and now seems to be the New Thing in the art world.

It is a very expensive way to mount and most labs will not accept prints made from others and add a AGRO factor in their pricing as dust can get in quite easily between the print and plexi and the whole thing is toast.

We do , We hate it, We charge big for it.

[Drew Wiley]

I developed a somewhat updated tweak on it, but really don't consider this a good
option for many because of the expense. If you really want the ultimate, get optically coated plexi - that will only add about an EXTRA $500 for a 30X40! I no longer use wires but thin continuous interlocking cleats - much,much easier. You just align the back cleat to the wall with your laser, zip it in, and there the top of the prints sits. And sorry, I don't take other people's work to frame in this manner -
too much liability for such a tricky process, although I haven't wrecked any of my
own prints ever. The bigger problem is where and how things are going to be displayed, since this is something I have little control over, and this is a nonreversible process.

[bob carnie]

I meant to say w use cleats OR wire to hang from holes drilled through the plexi. I agree the cleats are much easier just need space to lay out overnight so the cleats adheare to the back of the diabond.
A laser level , couple of screws you are in business.

I wish some Manufacturer would supply plexi with adhesive as part of the package. There is a plexi laser cutting shop a stones throw from our shop which polishes the edges as well, but the biggest problem is the face mount, everything else is just time and good handling.

Drew , I was very interested in the thread a couple of days ago about liquid spray on glass..
It seems to me that depending on the process or method of spraying it would be a winning method of protecting art on display at a reasonable price.
What are your thoughts about this.

[Frank Petronio]

I mounted a 30x40 on Aluminum once... and prompted shut the tailgate of the Volvo on it and now it lives as a permanent art display... in my garage.

[Drew Wiley]

Bob - I don't know anything about the "liquid glass" idea. Not enough information is
available yet. But I'm very skeptical unless it turns out otherwise.