Re: SPE and alt update
Yes, there was considerable wailing and gnashing of teeth on the part
of the gallery director because the prints were not covered by a piece
of plexiglass or glass. We ended up outlining a 'no-go' area with tape
on the floor. This seemed to give people the subtle suggestion that
sneezing on the prints would be considered tacky.
Thanks. For my large works I do something similar - using brass acorn
nuts to fasten works to steel strips which are, in turn, fastened to
the wall. Two problems with these kinds of "unique solutions": 1)
over time, gravity does its thing and something invariably sags, and
2), the conventional sales-dependent gallery just doesn't not like to
deal with the unconventional.
On Wed, Apr 2, 2008 at 10:11 PM, Clay Harmon <email@example.com> wrote:
I'm not really sure how she is exhibiting the ultra large versions. I
curated a show for the Houston Center for Photography about two
and we used 4 of her prints in the show. But they were just 'small'
at the time, and we just used a backer board, plexi and L-hooks to
them. Since they were being shipped internationally, the cost for
fully framed work was outrageous. So we improvised.
We also exhibited some fairly large 22x30 platinum prints from Stan
in the same show, and I rigged up this armature affair made from
and strapping and suspended the prints in the armature using very
thread. I thought it looked pretty cool and we got a lot of favorable
feedback. I'll send you a jpeg of this offlist so you can see it.
solution ended up being very economical and had that ad-hoc feel
worked with the imagery.
On Apr 2, 2008, at 10:57 PM, Keith Gerling wrote:
So how are these works presented? I've had some success in printing
very large works, but I'm still at a loss as to to how to hang them.
Does she matte and frame them? I've tried all kinds of approaches
I've found that large work on paper is very difficult to present in
any kind of cost effective fashion.
On 4/2/08, Clay Harmon <firstname.lastname@example.org> wrote:
I dunno. I have seen some papers available in that size, but
just buying rolls and cutting it herself. It is daunting to think
trying to register a negative on a print that large. And I can
her layers are definitely registered. Just flat out gorgeous work.
On Apr 2, 2008, at 7:56 PM, Don Bryant wrote:
Another tidbit I picked up from talking shop with her was that
making her negatives for her 'small' prints (22x30!!!) using
film enlarged negatives. Only for her elephant sized prints (I
said these were 44x30) does she use digital negatives.
Wow! Where does one find paper large enough to print gum @ 44x30