Question about Mounting Finished work - please help!
Yourname
I have a showing I need to mount and I hope you have some
ideas for me:
Perhaps you have solved this already.
I'm looking to devise a system to display artwork.
The criteria are these:
1.It needs to display the _entire_ 8.5" x 11" area,
covering nothing.
2.It cannot physically alter the original in any
way, shape or form. (No glue, tacky, etc.)
3.It must leave the surface open, i.e. no glass
or plastic cover.
Note there will be fans in the room to keep it
comfortable for humans. (Otherwise there will
be no reason to mount it ;>)
Has anyone done something like this before?
Thanks for any help,
Pedro
Ken Beyer
Ken Beyer
UK based artist/painter
http://www.telinco.co.uk/beyer/splash.htm
Marilyn
M.
Yourname
That's 8.5 inches by 11 inches.
Glad to hear it's easy
The point is no glue or tacky can touch the original.
No tacks can pierce the original.
Nothing can cover any part of the original, not even glass.
What holds it to the display board that it's attached to.
I appreciate any help you can give me.
your pal,
Pedro
On Mon, 26 Jul 1999 18:45:04 +0100, Ken Beyer
<ken....@telinco.co.uk> wrote:
>Not sure about what you want to do. Are you wanting to show a very big
>painting/paintings? Is this an installation, 3 dimensional work? (should
>those dimension be 8.5x11 feet?. I ask because you shouldn't really have
>any problems displaying work that is 8.5x11 inches, unless of course
>your asking for a way to hang/display work without knocking holes into
>the wall!!).
>
>Ken Beyer
>UK based artist/painter
>http://www.telinco.co.uk/beyer/splash.htm
>
>
> ------------------------------------------------------------------------
Yourname
Thanks for your help,
Pedro
Marilyn
Haven't seen it, only heard about it. I imagine that
there are two pieces, one goes on the wall, and one on the
back of your art work.
good luck.
Marilyn
Ken Beyer
Pedro
If you want minimum 'damage' to a painting then generally speaking 'oil
mounting'
a painting is a good way of hanging work. This is where the canvas
or board (or
what ever you've painted onto) is 'tacked' into the wooden frame surround
(you
probably knew all of this). The tacks never actually pierce the painting
as they are
knocked in flat against the back of the picture, once a backboard is
put in place. Glass can be left out (as is usually the case with oil mounting).
If you choose a small profile frame it'll keep costs down and still look
professional (you might be able to find some cheep frames in a 'pile um
high sell um cheep' shop which have little metal tongues round the back
of the frame which you just press down onto the picture to hold it in place).
An advantage of framing work is that you can attach the work to walls/board
by the
frame. String is usually strung across the back of the painting and
held in place by
two small 'hooks' (in the frame). Again it looks more professional,
and people are
more inclined to buy a framed painting finished in this way. The velcro
Marilyn
suggested would be attached to the frame.
If the works going up in a gallery it's probably best you have
a word with the
owner/curator and see if they have more specific suggestions appropriate
to the
space, some of them, again like Marilyn suggested, use velcro
which I've herd is
quite good for small paintings. I have seen peg board used (board with
loads of
holes in it!) along with some little hooks, the painting is just 'sat'
onto these hooks.
Seems to work OK though!.
Ken Beyer
UK based artist/painter
http://www.telinco.co.uk/beyer/splash.htm
Yourname wrote:
Sorry for lack of clarity.
That's 8.5 inches by 11 inches.
Glad to hear it's easy
The point is no glue or tacky can touch the original.
No tacks can pierce the original.
Nothing can cover any part of the original, not even glass.
What holds it to the display board that it's attached to.
I appreciate any help you can give me.
your pal,
PedroOn Mon, 26 Jul 1999 18:45:04 +0100, Ken Beyer
Bob C
>
> Sorry for lack of clarity.
> That's 8.5 inches by 11 inches.
> Glad to hear it's easy
> The point is no glue or tacky can touch the original.
> No tacks can pierce the original.
> Nothing can cover any part of the original, not even glass.
> What holds it to the display board that it's attached to.
> I appreciate any help you can give me.
> your pal,
> Pedro
>
Let's see if we've got this straight - nothing can touch the front, no
adhesive of any kind can touch the back, and nothing can penetrate the
surface anywhere. Does it need to be displayed vertically? Is this work
basically a thin, flat object we are talking about - like a drawing? Is
it rigid? Lightweight or heavy? Just how firmly does it need to be held
in place? Could it simply lay against a slightly tilted surface with a
small shelf at the bottom?
It seems like you've eliminated all options except gravity for holding
it in place. If it's thin enough, I suppose you could rig up something
really elaborate using suction. Maybe if you rubbed it against your hair
you could generate enough static electricity to hang it that way? Sorry,
just kidding. Good luck.
- Bob C.
Jewel
>
>Yourname wrote:
>>
>> How is the velcro attached to the original?
>> Thanks for your help,
>>
>>
>> >Removeable velcro is now being used in galleries.
>> >
>> >M.
>
>Haven't seen it, only heard about it. I imagine that
>there are two pieces, one goes on the wall, and one on the
>back of your art work.
For those who haven't discovered it, it is an 'all purpose'
product that can work magic. It comes in various sized
small patches (at least in USA fabric stores) and has a
self-adhesive backing. You mount one piece on one surface
and the other on whatever you wish to attach to that surface.
The adhesive is quite strong but not entirely permanent so
that the Velcro 'usually' can be easily removed without
damaging the surface it was stuck to.
It would certainly work for attaching art work to a wall
assuming the self-adhesive adheres to the surfaces okay.
The heavier the work the more pieces of Velcro you use.
I would hesitate to stick it onto the back of the actual
work though -- would use some sort of backing for that
purpose -- or a frame.
Yourname
Bob,
I think you may have hit it. I realize I failed (twice) to
make myself clear. These are prints, on fairly thin paper. That is,
you could count on no rigidity of the original. I never thought of
tilting them and using gravity. Nor had I thought of suction. (not so
outrageous in this particular situation). I had thought of static
electricity, but hadn't come up with a way to generate it in a way
that didn't jepordize the original. A thin sheet of paper is really
rather fragile.
I really appreciate your thoughtful comments, aand please keep
that sense of humor ever ready.
Thanks again,
Pedro
Yourname
>In article <379CFD...@bc.ca>, n...@bc.ca says...
>>
>>Yourname wrote:
>>>
>>> How is the velcro attached to the original?
>>> Thanks for your help,
>>> Pedro
>>>
>>> On Mon, 26 Jul 1999 13:11:18 -0700, Marilyn <n...@bc.ca> wrote:
>>>
>>> >Removeable velcro is now being used in galleries.
>>> >
>>> >M.
>>
>>Haven't seen it, only heard about it. I imagine that
>>there are two pieces, one goes on the wall, and one on the
>>back of your art work.
Hi Jewel,
Thanks for your reply. I appreciate your taking
the time to answer me. These are prints, and as such if you
glue something to the back of them, the glue could
adversely affect the longevity of the work. So it's my
objective to avoid this kind of risk to the original.
However it's good to know about this system
that you describe for other projects.
your friend,
Pedro
Jewel
wq...@victoria.tc.ca says...
>Even the method of hanging a work can be integrated as part
>of the work itself. This is seen more and more. In our gallery
>an artist will come in and paint a section of the wall orange
>for example before putting the work up in that spot. Maybe
>it could be termed "postmodern integral hanging method"
>or something...
Some galleries take into consideration that they
will need to patch and repaint and rearrange interior
partitions when installing one-person shows. And
then there is the need to readjust lighting and other
elements.I've been recruited to help a time or two in
such efforts. Museums do this regularly of course.
Marilyn
Not speaking of patch and repaint. The actual place
where the work is hung is made part of the work itself.
Jewel
>Not speaking of patch and repaint. The actual place
>where the work is hung is made part of the work itself.
10-4! I was simply expanding on your comment.
Sorry if I stepped on toes while doing so.
Marilyn
No problem when you wear steel-toed shoes.