I’m coming out of the haze that was our (super)natural show week, and am so pleased to have worked with such wonderful people. Our little curatorial collective now has a real-ish website– check it out. I’m going to continue to crow about the awesome folks who helped made things possible for another post or so, and then I will hold my peace and go back to posting non-me things. Though “me” is such a fun subject, ya know?

Anyway. This post shall be about me and Anne Gibbs, framer extraordinaire, and owner of White Mule Picture Frames.

Anne framed pieces for me and co-curator Willy Somma for the show. She taught us a lot about framing production values, and happily answered my panicky phone calls. Below is a Q&A I whipped up; Anne really has a lot of knowledge to impart, so pay attention!

Anne at her craft

How did you get into framing? Why did it first appeal to you, and what has been satisfying about it as your business has progressed?

workshoppy shot

I started framing while in high school. When I moved to NYC 20 years ago to pursue being a painter after graduating from art school, it was what I fell back on to pay the rent. As it turned out, the more I learned, the more I liked it, and it was definitely more suited to methan the business of selling my own art.  It draws on a lot of my interests: the understanding of various materials, preservation, art& antiques, woodworking, creativity and innovation, and involvement with creative ideas and people. I started White Mule Picture Frames in2004, and it opened up even more creative possibilities and avenues for exploration at just the right time in my career.

Do you work with many photographers? What is differentabout framing photography than other mediums, and what should photographers look for/watch out for when choosing a framer?

I have developed a good reputation among photographers as a framer who understands the difference not only between photographs and other works on paper, but also the difference between photographers and artists of other disciplines.  No one notices minute detail like photographers!  Because I am very detail-oriented myself, I am somewhat naturally adapted to their particular demands.

I want a roll of bubble wrap like that in my house

There are so many different processes and papers used in photography, and each has its own set of needs in terms of handling,storage, and framing. The important thing in choosing a good framer should be the level of confidence you have in their ability to handle your photograph appropriately.You should be able to ask questions andget clear answers. As a general rule, the old adage applies as apply here as it does everywhere: you get what you pay for. If you want your frame to last and you want your photograph to outlive you, you’re goingto have to invest a little more. That said, any creative framer should be able to work with you to maintain a reasonable budget.

me! gold sponge!

the reveal

What have some of your biggest framing challenges been? (The biggest piece you’ve done, the most surprising outcome?)

The largest piece has been about 6′x5′: large pieces are the most challenging by far.  They always seem to defy the best preparations and leave you sore for days. The biggest but most rewarding challenges, however, are the projects that I’ve learned from – where I am doing something for the first time and have to research and think the project through, or develop an approach entirely new to me.

Have you formed lasting relationships with artists? Do you continue to collaborate with any artists in particular?

Yes, there are many artists who I have been working with for about two decades now. As with any specialized service, once you find someone who you can communicate with, and whose understanding of you is comfortably intuitive and sympathetic to your needs, you tend to return to them. I keep records of everything I’ve done for every client so that there is as much continuity as possible, and so we don’t have to start from square one.

co-curator meagan ziegler-haynes checking out willy's picture

There seem to be trends in photography/art world framing… for a few years everyone was mounting to sintra and not framing, then came plexi… very few people use mats these days. Have you noticed these trends, and what do you think about them? (To mat ornot to mat?)

This is tricky – a good framer (and, in fact, a conscientious artist) has a responsibility to the collector to balance archival considerations with aesthetic desires. In the strictest sense, mounting is not archival because it is generally not reversible (or can be, bu tat great expense). For this reason, matting is always a better choice as it is more or less acting as an envelope.  The current trend of framing a photograph with no mat often necessitates mounting because RC-type paper has no body and never looks as smooth and flat as most photographers like when hinged; larger matted pieces require mounting to keep them flat.
As far as the various substrates go, there are valid reasons for all the choices. Aluminum is the best and most stable but is also the heaviest; plexi is stable though not as stable as aluminum, but it weighs far less and allows signatures/edition info on the back of the photo to be revealed.  Matboard is the least favorable option unless you are revealing it in the frame. I have seen photographs seperate from the matboard due to the different rates of expansion and contraction between the photo paper and the matboard.  Foamcore and Gatorboard are suitable for replacable posters but never for fine art.
Another trend, face mounting, where the plexi is laminated to the face of the photo, is also risky.  If the plexi is damaged, the photograph has in effect become damaged as well.   However, the look is very distinct and minimal and that same look is not really possible with traditional framing.
It’s worth mentioning here that not all mounters are equal in terms of capability, and there are many things that can go wrong during the mounting process (dimpling, creasing, damage to the surface of print). Given the risks, it is wise to choose a mounter that has a good reputation.

choices!

What’s the best way to ensure a framed image stays archival?
It should be protected from direct sunlight, UV light and chemical damage, as well as extreme humidity and dryness, and old framing should be inspected for damage. Choosing a responsible, committed framer who is using the best possible materials and methods inside the frame makes a big difference; budget framers often use the fastest and least costly methods of framing, which can damage artwork. Archival framing requires that the piece can be returned to its original state when it is taken out of the frame with little to no restoration.

anne enjoys framed animals as well (so do i!)

How do you see White Mule evolving as a business?

I would like to see artists and collectors better understand the importance and role of framing. To this end, I am working on developing workshops specifically for artists of various disciplines, as well as for collectors.

extra fun photo moments….

Thanks, Anne! Check out White Mule if you’re in the market for a thoughtful and pleasant framing experience!