From: Joachim Oppenheimer (joachim@microdsi.net)
Date: 04/01/02-07:39:10 PM Z
I have done the same with Iris prints at a museum exhibition. The openness
added so much - I agree about the tactile sensation, how the tonality could
be experienced by the viewer. Yes, there is always the risk of degradation
by natural forces and human damage, but I had no problem and will do it
again this summer at another museum - no worry or regrets. We take chances
in life all the time, but most venues where we show our work are really
quite risk free. Go for it, it's well worth the extra ahh's of admiration!
Joachim
> -----Original Message-----
> From: Keith Taylor [mailto:keithmtaylor@mac.com]
> Sent: Monday, April 01, 2002 7:07 PM
> To: alt-photo-process-l@sask.usask.ca
> Subject: Re: Gum without glass
>
>
> Keith,
> I printed an exhibition of platinum prints for Cy DeCosse that was shown
> both in Florence, Italy and at John Stevenson's gallery in NYC. Both
> venues exhibited them without glass. I'm not sure if John exhibits much
> work that way, but for the platinum (and gum) prints, it shows the
> tactile quality these prints possess.
>
> Keith Taylor
> Minneapolis MN
> (612) 721 2286
>
> Keith Gerling wrote: [on February 14, 2002]
> >>
> >> Say, Katherine, speaking of framing gum prints and gallery shows, I
> >> have an
> >> off-the-wall (no pun intended - on second thought, that's pretty good!)
> >> question for you: I love gum prints. That goes without saying. Love
> >> everything about them, including the surface of the paper and how the
> >> gum
> >> glimmers in areas where its thicker. Recently, I took the glass out
> >> of a
> >> couple of prints and hung them up, framed, matted, and no glass. I
> >> kind of
> >> like them that way. Is this a totally ridiculous concept for showing
> >> and
> >> selling prints in a gallery setting?
> >>
> >>
>
>
This archive was generated by hypermail 2b30 : 05/01/02-11:43:28 AM Z CST