Have you ever wondered why custom frames cost so much? New York Times contributor Ralph Jones recently looked into it.
Cost depends on materials. For example, anti-reflection protection plexiglass, or “optimum museum acrylic,” protects against UV rays and can add significant cost. Materials such as these are typically only used in museum settings.
What else do museums do differently from custom framers? Part of their mission is to preserve works of art, so staff members pay careful attention to what materials they use, avoiding any that could damage or stain the artwork. Robert Russell, an art handler at the Georgia Museum of Art who specializes in framing and matting works on paper, has to focus on these details. “Whether it be for storage or exhibition,” he said, “we’re using pH-neutral materials. Non-acidic.”
Unlike custom framers, the museum uses several standard frame sizes, which adds cohesiveness to storage and exhibition, said Russell. “We have three main sizes of frames: small, medium, and large. We try to mat the artwork to these sizes,” he said. Standard mats mean different-sized works of art can easily be stored in the same box. Doing so also minimizes measuring, handling, matting and reframing, meaning a work is handled less often and better preserved.
Standardized frames make exhibition development more efficient. But what about exhibitions that showcase a diverse range of art, each with a different type of frame?
The museum’s H. Randolph Holder Gallery features 18th-century portraits in gilded frames alongside modern, white, sleek frames for Tokie Rome-Taylor’s contemporary photographs.
Russell explains that when hanging a work on paper next to an ornately framed oil painting, the question is: “What is the appropriate frame that will match the exhibition, but also the artwork itself?”
Many works arrive at the museum already framed. In these cases, Russell says, “The curators and registrars will look over the frame to see whether it is nicely framed and if it belongs in the gallery.”
If a frame shows significant damage and is not archival safe, Russell will take the painting out, send the piece to a conservationist and begin the discussion about options for a new frame or conservation of the original.
When it comes to custom framers, the conversation is typically between the framer and the customer. Often, the customer wants the frame to reflect a meaning they associate with the artwork. Consequently, the framer might prioritize creativity and artistry over preservation or exhibition processes.
The key takeaway from both kinds of framing processes is that the frame’s purpose is to enhance the artwork without drawing attention to itself. “If someone looks at [the frame] and an hour later someone asks, ‘What did the frame look like?’ and they can’t remember, in a way, that achieves the goal, as the art is the focal point of the exhibition,” said Russell.
Authored by:
Isabel Davis
