Preparing for an Exhibition and Final Thoughts
Okay preparing work for an exhibition let's kind of will jump through this but I use a framer I don't like how I hate frame me I hate it hate it hate it I'll do it but it is the worst so especially new mexico where there's dust everywhere so I use a framer if you don't know a framer ask a gallery who they use or fellow artists who they use a lot of framers will give you a great discount to frame an entire exhibition so I do that I framed my whole show the whole thing at once for an exhibition then usually I could just create that whole thing and ship it off so I don't have to frame it you know more than once or anything and it's not one off for one of the time so it's cheaper that way so ask for estimates from your framer mat versus no mat matt density so how thick is it the frame moulding itself with that going to cost how thick is it what's it made out of metal is cheaper than would that kind of thing and then the type of glass or plexi plex is a lot more expensive than glass you can...
pay two hundred dollars for a piece of non reflective glass or you could pay twenty dollars for a piece of regular glass so you have to make that call you know how how fancy want the framing to be archival matting if somebody brings over that that framed piece real quick, I'll show you the matting. We'll do this quickly, but I want you to see this is another way that I awesomely embarrassed myself. That's okay? In the beginning, I didn't know what I was doing, so I didn't know what archival matting waas. So when I submitted my first prince to verve, this amazing gallery, I tape them to the map because I didn't know you better, and they're like, no, you can't do this ever again. So now I know, I know you will know if I could get this so frame I should show you that first that's why it's put together this is a metal frame. The least expensive thing you could get really from nielsen frames. I order these on my own. They'll send you a whole kit for a matte framing hinge tape everything so you can just frame them yourself. And when I was starting out, I did because I couldn't afford to have a framer do it for me. But it sucks. Ok, so if I pull this guy apart, make a mass that on the floor. Okay, you've got your glass top, I regular glass because I could not afford to dio fancy glass. Okay so then you've got your mat okay um I like the bevel I like to think mass but again no more expensive this is a four ply matt this is what I could afford at the time it still looks nice and then inside the top has hinged tape it's called what archival linen hinge tape okay and that's what you want to use there's no gluing there's no pasting there's no taping just the head shape so it opens like a clamshell and you just do the top there's no gluing down here either you can use one little strip of archival pinch tape also on the bottom if you want teo don't have tio okay most importantly the inside you've got framed corners yeah corners toe hold the print in place there's no glue there's no nothing okay the print comes right out it's signed in addition so there's no damage to the print if it needs to come out of the map ok because if they sell the print it has to come out of the map which I didn't know okay now I d'oh but you just stick him in the little our kabul frame corners or from the frame shop and there you go it's easy to do really I'm just lazy let's keep it real okay so that's archival matting so don't embarrass yourself okay this is the place I said neilson neilson is the brand from jason's friend frame destination. And he just loaned out eyes where I get them from. So they sell bulk frame, and that combinations for exhibitions. You can buy all you know, all twelve, all twenty whatever at a time. And it saves you a lot of money to buy the whole exhibition, rather than buying one frame at a time. Also, they'll send you the frame. The mat, the tape, the hinge tape in the corners for a brew piece. So it's, like a kit and that's been really good for me.
Conceptual portraiture is where art and photography meet. In this class, Jennifer Thoreson will explore the intersection of fine art and photography and discuss the practice, process, and business of bringing conceptual portraits to life.
Jennifer is a visual artist, speaker, and lecturer whose photographic work has been widely published internationally in print and online journals. In this class she’ll reveal the process for developing commissioned and exhibition work.
You’ll learn how to:
- Create unique, imaginative props
- Secure the right type of model
- Price your work
- Approach galleries, museums, and publications
Jennifer will help you define your personal style and show you how to put together a conceptual series. You’ll get the inside scoop on what it takes to make a living through fine art photography and also get Jennifer’s tips on managing the business side.
If you want to expand into the expressive and exciting genre of conceptual photography, The Art and Business of Conceptual Portraiture with Jennifer Thoreson
is the perfect place to begin your journey.