Frame finish policies

Alex Moomey <amoomey<-at->arkansasartscenter<.>org> writes

>I am on a search for any standards or policies conservators or
>museums may have regarding the specifics of the finishes used on
>frames

Much has been written on the appropriateness of frames and framing
treatments in general and it all seems to boil down to WHAT you
consider the frame's function to be beyond protecting its contents.

Curators have struggled with this question for generations.  At more
than one institution they removed and discarded fine period frames
contemporary to the art they contained and replaced them with plain
moldings--all in the name of " artistic purity".  They felt that the
ornate period frames distracted from the artworks.  Of course it
didn't take long for the pendulum to swing back the other way, but
regrettably for many period treasures it was too late.

In some way, I can understand their reasoning as faulty and
misguided as it was and I believe that in their zeal, they were
misinterpreting basic tenets of visual perception and aesthetics.
Regrettably some of this is still going on, mostly in commercial
galleries, but also in institutions that ought to know better.  So
what you're reading here is simply my opinion; and you know what the
say about opinions.  They are like noses, everybody's got one.

IMHO frames, including mats, etc., should provide artwork with a
safe refuge from the elements and protect from deterioration.
Beyond that, framing treatments should provide an ideal portable
background for the art, isolating it from the surroundings and
direct the viewers' eye to the art.  Thirdly, if possible, frames
should provide some context to the art contained within, be it
historic, stylistic, aesthetic, including appropriate visual weight
both by being the right size, tone and color.  Most of this is
subject to interpretation and personal taste, but you will notice
that in fine museums and photographs of traditional interiors, the
framing treatment is never jarring and always enhances the art.  It
just all looks natural to the point, that you don't even notice it.
It just feels right.

Now to the dilemma at hand.  You didn't mention if you were looking
for the same finish to apply to works on paper and also for
paintings, whether you have milled one molding shape or several, if
you are going to rotate new works into existing frames, or the
frames are made specifically for each work, if the art is from the
same geographic and temporal region, or varied.  Is cost an
important factor, or only the availability of over 10 foot lengths
of molding?

Some years ago, I devised a Museum Exhibit Framing System conceived
for rotating exhibits.  Frames were destined to be reused on new and
unspecified art, so they had to be ultimately neutral and generic
but still had to be classical in style and finishes, so as not to be
jarring or inappropriate.  And ultimately the finish had to be
durable to withstand years of service and many rotations.  I decided
on a historic finish that was popular in the early part of the 20th
Century in France.  It can be described as a contemporary version of
shabby chic, an opaque, combed wash applied over artificially
tarnished metal leaf base.  You can see examples on my webpage at

    <URL:http://goo.gl/UJ3a2>

and still in use after 15 years

    <URL:http://goo.gl/0kFUwh>

I know the above is a poor excuse for specific advice, but I hope
I'm helping you to think this through and come closer to determining
what the solution should be for you.  You should avoid having your
exhibits look like they were made in a factory, framing treatments
should enhance and compliment the art.  Don't be afraid to go
against accepted conventions if you feel instinctively that they are
wrong.  Contact me off list if you want to talk.

George Schwartz, Professional Associate AIC
ConservArt, Inc.
561-482-7292
561-912-0030
Mobile: 561-206-4406
Fax: 609-594-1199


                                  ***
                  Conservation DistList Instance 29:7
                   Distributed: Friday, July 3, 2015
                        Message Id: cdl-29-7-002
                                  ***