This portrait of John Lennon is from an assignment at the UW School of Art - circa 1980. The assignment was to incorporate a complex pattern (his shirt) into an otherwise plain line drawing. It has been for years in the collection of my lawyer.
Portrait of John Lennon by F. Lennox Campello - circa 1980
A 1975 sketch from observing a USMC Gunny conducting counseling on some drunk Navy sailors from USS Saratoga.
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| The Gunny conducting squid training outside the Texas bar in Naples 1975 sketch by F. Lennox Campello |
By 1959 he owned a large estate and provided milk for most of the region around Guantanamo. By 1961 the Socialists of the Castro Revolution had shown their true cards and declared themselves Communists and confiscated all of his assets. Within two years there were milk shortages all over the island and they remain to this day.
This is what we Americans of Cuban ancestry mean when we say that "we've seen that movie and know how it ends..."
All Howard County artists are invited to participate in HoCo Open 2021, HCAC’s annual, non-juried exhibit showcasing local artists. In lieu of a one-day drop-off, entries will be accepted online beginning November 5th on a first-come basis, one entry per artist, until 100 submissions have been received. The drop-off dates for the exhibit are December 17 & 18. Accepted artists will be provided with instructions for scheduling a specific time to drop off their artwork at the Center for the Arts.
HoCo Open will be on display from January 9 – February 20, 2021. For the full prospectus and to apply, visit their website.Let's go back to normal in 2021! Apply for the annual Northern Virginia Fine Arts Festival.
Now in its 30th year, the Northern Virginia Fine Arts Festival has a long-standing reputation for showcasing high quality, hand-crafted, one-of-a-kind artwork in a dynamic outdoor setting. The Festival provides an opportunity to engage directly with exceptional artists, as juried in by leading art practitioners and artists in the visual arts field, that meet a high level of artistic standards. This unique open-air event is presented in Reston Town Center and attracts affluent patrons and knowledgeable collectors from the Washington, DC metropolitan region and beyond.
This year, the 2021 Festival will implement new health and safety adaptations for the care and consideration of all.
Artist applications are accepted through ZAPPlication through December 27, 2020
Art Jewelry Forum (AJF) is pleased to announce the 2021 Susan Beech Mid-Career Artist Grant opportunity for mid-career artists. The purpose of this grant, established by San Francisco-based jewelry collector Susan Beech, is to recognize a mid-career artist who has made a substantial contribution to the field and to provide resources to develop and implement a significant jewelry-related project that the artist would not otherwise have the ability to undertake.
The 2021 Susan Beech Mid-Career Artist Grant is open to makers between the ages of 35 and 55 at the time of the proposal deadline, and must have an active and ongoing record of activity in the field.
The proposed project should be about jewelry, loosely defined. There must be a specific outcome to the project, and it must be completed within a two-year time frame. Examples could include (but are not limited to) creation of a new body of work; a book, catalog, or other publication; research and development (including travel study); performance art involving jewelry; or an educational/social initiative involving jewelry. A proposed budget must be included as part of the proposal.
A proposal that was previously submitted may be submitted again.
The grant recipient will receive a cash grant of $20,000, to be paid over the two years in which the project will be implemented.
Grant proposals must include:
The jury of distinguished professionals for this grant cycle will be: grant founder and collector Susan Beech (United States); internationally recognized maker and educator, Daniel Kruger (Germany); and curator of jewelry at the Museum of Fine Arts, Boston, Emily Stoehrer (United States).
The deadline to apply is midnight, MST (Denver, CO, USA), on January 10, 2021. More information and complete guidelines can be found at www.artjewelryforum.org.
Colton’s Time Machine - Book 4: Betsy Ross, Mount Rushmore, and the Statue of Liberty
by Rebecca Massey
Colton is a young boy who has a bunch of dragons as friends – read Colton’s Pocket Dragon books for that series. In this time travel series, a spin-off the original series – he wants to expose the dragons to a little American history, so he builds a machine to time travel and off we go.
Concurrently with my reading the books, I also had my son Anderson – who was 10 at the time – read them and give me his impressions. He liked them, and because Anderson is already a history buff, he enjoyed learning the somewhat deep in the weeds facts that Massey likes to communicate in the stories.
Anderson and I agreed on that aspect – if one enters the make believe reality of the fact that these are aimed at children to start with, and if one sets aside the pedantic tendencies of the Virgo that I am (I was bothered by the facts that the historical people that Colton visits seem to immediately accept time travel and the existence of dragons with little resistance… but we overlooked that and did enjoy the learning parts cleverly woven into the narrative.
One thing that did bother us was the static quality of the illustrations. While no credit is given to the illustrator, it appears to me that they are computer generated illustrations, which while the serve the basic goal of an illustration – to “illustrate” a passage in the story – they felt and looked computer-generated and lacked the individuality of a human-made illustration. My apologies in advance if these were indeed hand-made by a human… I would check the DNA for Vulcan blood.
We learned a lot and that’s all that counts… really. We learned what the 12 folds in the proper way to fold an American flag mean – something that after serving almost 23 years in the US Navy I actually never knew; we learned the history of the Pledge of Allegiance, and we learned that Betsy Ross eventually made six more flags after the first one.
We also learned the spectacularly cool name of the Mount Rushmore sculptor, and the “secret room” that he started to carve into the mount. Colton’s liking of sculptors then leads the reader to Bertholdi’s Lady Liberty (we did know his name) and the story behind what is perhaps the most famous statue in the modern world.
In summary, this book is both immensely readable and superbly informational to get your little tyke ahead of his peers when it comes to cool aspects of American history and how easy it is to believe in dragons.
This may be of interest (or not!) to some collectors who like unusual art - a very early 1976 (pre-art school) and very weird painting of mine based on the Hotel California song! - super low starting bid!
The link for the work may be found:
https://www.weschlers.com/auction-lot/f-lennox-campello-cuban-american-b-1956-hotel-cal_F18442BBEC
If anyone is interested in bidding, they will need to register in advance.
CALL FOR ENTRY!
When I was a kid in Brooklyn, my dad and I used to be great New York Mets fans, and we'd go to Shea Stadium several times a year to watch the amazing Mets!
I also saw several of the 1969 playoff games and 3 World Series games that year!
While I was a student at the University of Washington School of Art, I often used the Mets' superstars of my youth as inspiration for class assignments... here's a couple below...
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| Nolan Ryan Pen and ink on paper, circa 1979 by F. Lennox Campello |
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| Tom Seaver Limited Edition etching circa 1980 by F. Lennox Campello |
This is "The Last Unicorn", I did it as a commission for a private printing of the book by the same name... around 1978 when I was a student at the University of Washington School of Art.
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| The Last Unicorn Watercolor on paper 16x24 inches, c. 1978 by F. Lennox Campello |
Portico Gallery is hosting a mini artist reception for Adrienne Moumin only allowing 12 guests plus 4 staff/volunteers not to exceed 16 people total. At check-in, the gallery staff will take temperatures with a non-contact thermometer and everyone will need to have a mask or face covering and maintain social distancing. You MUST have a ticket to attend. Masks/face coverings are mandatory while inside the actual gallery. We will serve drinks outside on the portico and maintain social distancing while socializing.
Portico Gallery is unique in that we have three sets of double doors that open onto a portico (covered porch) that runs the length of the gallery. This will enable guests to access the outdoors, have fresh airflow throughout the gallery, and enable safe distances from one another.
We have already hosted one mini-reception and it was very successful and everyone had a good time.
As we will be socializing outdoors please dress for a lovely October evening.
Portico Gallery
3807 Rhode Island Avenue
Brentwood, MD 20722
Zoe Schlacter
Darn
September 26 – November 14, 2020
Transformer
1404 P Street NW
Visible like a diorama through Transformer's storefront window, Zoe Schlacter invites us into an exuberant, stylized, textured world. In this site-specific installation, the Brooklyn-based, Nashville-raised artist embraces everyday craft materials, reimagines traditional textile mechanisms, and celebrates the queer, creative impulse. Yarns extend from hand-made, wall-mounted, loom sculptures as paper mâché sculptures and fabric paintings dart across the floor.
Referencing the playfulness of Memphis design and plasticity of objects of art and pleasure, Schlacter employs the sharpness of graphic design to wink at the perception of sexually graphic content. Through negative and positive space, they explore ideas of (w)holeness, visibility, and mending. Trans/forming the gallery by deconstructing the language of weaving, Schlacter embraces the potentiality of queer identity, style, and connection through fiber, form, and space.
ABOUT THE ARTIST
Zoe Schlacter is an interdisciplinary artist and designer living and working in Brooklyn, New York. Schlacter earned their BFA in textiles from the Rhode Island School of Design, where they learned both traditional crafts and contemporary design skills. Read full artist bio at transformerdc.org.
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| Cuba: Isla Acribillada (Island Decimated by Stabs) 1980 Handcolored Monoprint with embedded broken blade pieces |
Paint-Out in Historic Ellicott City: October 15-18
Be a part of the Paint It! Ellicott City Open Paint-Out! Grab your painting gear and head to Historic Ellicott City to paint alongside our juried artists during our annual plein air event. In lieu of our temporary community exhibit, this year we will be hosting an online exhibit of Open Paint artwork as well as promoting photos of the event/artwork on social media. Artists will have the opportunity to submit their photos to be shared. For more details and to register for free, click here.
I first proposed a version of this model about a decade ago, when there was (even then) a sense of art fatigue brewing in the art world.
In a post Covidian world, I suspect that a lot of people will still be a little leery of large group gatherings, and art fairs based on pre-Covidian standards may be a bit antiquated in the Brave Chickenized New World.
Herewith a revised Campello Art Fair Model
This is an etching of Rodin (after Rodin) that I did in the late 1970s at the University of Washington School of Art.
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| Rodin (after Rodin) by F. Lennox Campello, c. 1978 |
As mentioned here, the McLean Center for the Arts sponsors a very good painting competition every couple of years called "Strictly Painting."
A few years ago, around 1999 or 2000, the juror for that year's version of "Strictly Painting" was Terrie Sultan, who back then was the Curator for Contemporary Art at the Corcoran.
I thought that this choice was a little odd, as Ms. Sultan, in my opinion then, was not "painting-friendly."
In fact, with all due respect, back then I even blamed her for diminishing the great Corcoran Biennials, which used to be known at one point as the Corcoran Biennial of Painting. As such, they were essentially the only well-known Biennial left in the nation that was strictly designed to get a look at the state of contemporary painting, which was somehow surviving its so called "death."
It was Ms. Sultan who decided to "expand" the Biennial and make it just like all other Biennials: Jack of all trades (genres) Biennials. In the process, depending on what side of this argument you're on, she (a) did a great service to the Corcoran by moving it into the center of the "genre of the moment" scene - like all other Biennials, or (b) gave away the uniqueness of the nation's top painting Biennial title.
Even decades later, and with the Corcoran all but a memory, I'm aligned with the minority who supports camp (b) but understand those who defend her decision to become just another player in camp (a).
Most people think that her decision and drive were the right thing to do in order to bring the Corcoran to a world stage, but clearly it didn't work, since the Corcoran has since folded.
But I digress.
When she was announced as the juror, I decided to see if I could predict her painting selectivity, sensitivity, process, and agenda. It was my thesis that I could predict what Ms. Sultan would pick. So I made a bet, and decided to enter the exhibition with work created specifically to fit what I deduced would be agreeable to Ms. Sultan's tastes.
I felt that I could guarantee that I would get into the show because of the transparency of the juror's personal artistic agenda. It is her right to have one; I have them, in fact, we all have them.
I was trained as a painter at the University of Washington School of Art, but around 1992 or so, I stopped painting and decided to devote myself strictly to my love for drawing.
So I had not picked up a brush in several years when I decided to enter this 1999 competition, designed to survey the state of painting in our region. It was my theory that Ms. Sultan would not be in the representational side of painting. It was also clear that she (like many curators) was seduced by technology in the form of videos, digital stuff, and such trendy things in the then novel Internet era.
And so I decided to see if I could marry digital stuff with painting.
And what I did was the following: I took some of my old Navy ribbons, and scanned them in to get a digital file. I then blew them up so that the final image was quite pixilated. I then printed about five of them and took slides of the printed sheets of paper. I then submitted these slides to the competition, but identified them as oil on canvas paintings. My plan was that if accepted, how hard could it be to whip up a couple of paintings after the fact?
I titled them with such titles as Digitalism: National Defense and Digitalism: Expeditionary Medal and so on.
From what I was later told, several hundred painters submitted work.
And Ms. Sultan selected about only about seven or eight painters in total. And not only was I one of them, but she picked two of my entries.
I was elated! I had hit the nail right on the head!
I felt so superior in having such an insight into this intelligent woman's intellect that I (a painter no more) could create competition-specific work to get accepted into this highly regarded show. And then I began the task of creating the two paintings, using the pixilated images as the guide.
And it turned out to be a lot harder than I thought. For one thing, I had submitted the "paintings" in quite a large size; each painting was supposed to be six feet long. And it didn't take me long to discover that there are a lot of color nuances and hues in an average pixilated image. And I went through dozens and dozens of rolls of tape as I pulled off the old Washington Color School trick of taping stripes (in my case small one inch square boxes of individual colors - hundreds upon hundreds of them) in a precise sequence to prevent smudging and color peeling, etc.
I painted for at least six hours every day, switching off between paintings to allow the previous day's work to dry off enough to allow a new layer of tape to be applied. I did all the varnishing outside, which usually attracted all the small neighborhood ruffians. It was incredibly hard work, and I was ever so sorry that I had even gotten this crazy idea. All my nights were consumed.
But eventually they were finished and delivered to MPA and Ms. Sultan even wrote some very nice things about them in the exhibition's catalog. An artist has a show and someone steals a piece of art. What happens next? With a signed contract, the artist would know ahead of time that either (a) the gallery has no insurance, in which case the theft is a full loss, or (b), the gallery has art insurance, in which case (a) the gallery puts a claim in with the insurance company, or (c) the artist deals directly with the insurance company. And, by the way, in the event that there’s insurance, don’t expect to get the full value of the stolen work, but in most cases (and policies) only the 50% commission that you’d have received in the event that the work had sold instead of being stolen.
Talking about commissions; how do you know, other than a handshake, what the gallery’s commission is? Let’s say that you are told that the commission is 50% (the general standard for independent commercial fine arts galleries around here). Is that 50% of the price of the piece or 50% of the final sales price? I know of at least one (now closed) major DC area art gallery that has a record of really screwing artists by giving them 50% of an agreed price for a piece; however, the gallery also often sells the piece for a lot more money to its out of town collectors and keeps the difference. Here’s how it works. The artist agrees to sell the photographs for $500 each and thus expects a commission of $250. The unethical gallerist sells some for $500, and some to its out-of-town clientele for $1000, but gives the artist the same $250 commission on those sales.
But let’s say that you have approached a gallery, and show them the works, and discuss representation, and the gallerist agrees to hang some of your work in his next group show. You are not sure if you are “represented” in the sense of the word as you understand it, but shake on it and prepare for your first appearance in a well-known gallery and invite all of your family and friends. At the packed opening, your second cousin-once-removed is admiring one of your huge watercolors, which are tacked onto the wall in a really cool post-post-post-modernist style. He leans forward to admire your brushwork and accidentally spills his white wine onto your watercolor, immediately making your representational work of art into a messy abstraction. What happens next? Does insurance cover damage? Is there insurance? Is that the guy who spilled the wine making a dash for the door?
Having learned your lesson, at your next opening you resign yourself to getting your new work framed and spend a ton of money getting them framed at the most affordable (in other words cheapest) possible way, but still spend a considerable amount of shekels -- because as everyone knows, framing is very expensive (unless you attend the Campello Boot Camp for Artists Seminar and learn how to cut framing expenses by 80%). When you deliver the works to the gallery, the gallerist goes into fits about your gold leaf rococo frames from Target and silver acidic mats and refuses to hang the work. A good contract would have specified ahead of time all issues dealing with framing and presentation standards.
Having calmed down, the gallerist then offers to re-frame all the work for you. You accept with a sigh of relief, and at the opening your 20 newly framed watercolors look great in the 8-ply pH-balanced, acid free mat board, under UV glass and Nielsen mouldings and backed by half-inch, acid free, pH-balanced foam core. You sell four pieces and are happy that things worked out in the end. A few weeks later you get a huge bill in the mail from the gallery; it is what remains of the framing bill after the gallery applied all of your commission to the total framing bill. A good contract should also specify the economic who’s and what’s of any framing done by the gallery.
Your relationship with the gallery is now seriously on the rocks, but then you are told that a review in DC Art News will come out soon. Three months after your show has closed the review finally comes out in DC Art News and it’s a good one. A young computer geek in Bala Cynwood, Pennsylvania, who is waiting to see his doctor for his annual physical reads that DC Art News review in his phone while waiting in the doc’s office, sees the nice reproduction of your work and after he goes home, looks you up on the Internet and contacts you directly and tells you that he read the review of your gallery show in DC Art News and wants to buy the painting reproduced in the magazine. You sell him the painting and put all your money in the bank. Sixteen minutes after the painting is delivered to Bala Cynwood, the gallery gets a call from a collector in Spokane, Washington who has also read the DC Art News review and wants to buy that painting. The gallerist calls you and tells you the good news. You are ecstatic that two people want your painting, but then you tell the gallerist that someone else in Bala Cynwood read the review and that you sold the painting to that person. The gallerist congratulates you on the sale and then asks you to make sure that you send him the gallery’s commission. You are confused because you had no idea that you owed the gallery a commission.
Your review in DC Art News has opened a few doors for your artwork and you are invited by a non-profit art venue to have a solo show at their space in a year. You are pleased and tell everyone, including the gallerist, who informs you that because his gallery represents your work, you are not allowed to exhibit anywhere else in the city, or maybe the area, or maybe the state, or maybe the US, or maybe the world.
Then your alma matter, impressed with your artistic prowess, invites you to a group show of alumni artwork in the school’s gallery. Since you attended art school in another state, you are pretty sure that it will be OK to show there, because after the last confusion, you discovered that the gallery had exclusive representation for your work only in DC, MD and VA (known to locals as the DMV - an acronym that I invented decades ago), and your art school is in Brownsville, Texas. You tell your gallerist, and because he has never heard of Brownsville, Texas, he looks it up in the Internet and then he informs you that if you exhibit your artwork in “certain places” it will bring the reputation of the gallery down and thus the gallerist doesn’t want you to exhibit in Brownsville, Texas – or anywhere in Texas, Arkansas, and Nebraska for that matter... or any state that voted for Trump!
You beg and plead because you really want to impress your ex-girlfriend in Texas, and the gallerist allows you to include one piece in that alumni show, but makes it clear that he needs to be consulted on any and all exhibitions of your work. And so you exhibit your best piece in Brownsville and a New York gallerist, who happens to be a Robert Ervin Howard admirer, visits Brownsville to pay homage to REH's birthplace and decides to check the local yokels show at the art school. Because your immense watercolors are the largest works in the show, they catch his attention and he jots down your name. Weeks later his intern calls you and tells you that they want to show some of your work in their next group show. This is really hitting the big time, and you announce to your gallerist that a big shot New York gallerist is including you in his next group show. He congratulates you and reminds you that you owe him 10% of any sales made in New York, or in Brownsville, Texas, or anywhere for that matter. You rant and rave and ask why, and he tells you that the reasons for your recent success all lead back to the exposure that he has given you. You demand to know why none of this stuff was made clear from the beginning. The gallerist answers that “everyone knows this,” and that he “likes to operate on a handshake and without a contract.” You then realize that you have him by the balls, since you have no signed contract with him or his gallery, and tell him that you are leaving. He says some threatening stuff about verbal contracts, but you walk away anyway, wondering how you are going to get back the six paintings of yours that your soon-to-be-former gallerist still has in storage.
Nonetheless, New York is New York, and you go visit the big shot New York gallerist and meet with him, and over a handshake he agrees to put you in a group show and tells you that his commission is 60% - You are not sure if you are “represented” in the sense of the word as you understand it, but shake on it and prepare for your first appearance in a New York City gallery and invite all of your family and friends...
Goback to the top of this post...
For those with minimalist attention span, yesterday I posted the quickie version of the below.
According to some stats I read a few years ago in a framing trade magazine, the average cost of framing in the Greater DC region was $67 an hour. It’s probably more than that now.
Other than time, framing two-dimensional work is often the most expensive step in organizing an exhibition (to the artist), and it’s astounding how little most art schools prepare students (and faculty) for avoiding the trap of spending a lot of money on framing.
There are some steps that artists can take to significantly reduce the cost of framing. Here I will try to list the most common mistakes, how to avoid them, and more importantly, how to get your artwork framed for a lot less than taking it to a framing shop to get it framed.
First and foremost: Prepare! Do not leave your framing to the very last minute. Having said that, I know that most of you will leave the framing to the last minute and then panic – go to your neighborhood framing shop, and drop way too much money to get custom frames made for your artwork. If you can afford it, and the price history of you artwork can sustain it – then skip this posting. But if you want to save a lot of money on framing, then prepare!
Do not, under any circumstances let the gallery or a second party take care of your framing unless you have the full costs ahead of time and in writing. Otherwise you will get stuck at the end of your exhibition with a framing bill rather than a commission check.
First of all: If (and only if) you can, work in standard sizes. Most photographers and painters already do. But unless your compositional demands call for it (like mine do), avoid working in one of a kind sizes. American and European standard sizes are different, but US sizes cover a huge range of sizes, such as 5x7, 8x10, 11x14, 12x16, 20x24, etc. If you can work within one of those sizes – i.e. do your watercolor on a sheet in one of those sizes, or print your photo on paper that size, etc. then half the battle is won, as then you should be able to buy ready-made frames that will automatically accommodate your matted work. This is important, as a good frame from any craft store, or from any art catalog, is usually a lot less than having one built from scratch! For example, a 16x20 metal molding frame, back metal brace/clips, wire, glass, pH-balanced acid free mat, hanging wire and acid free foam core backing is anywhere from $20 - $30 in any art catalog or locally from Apex in Alexandria. Having the exact same frame hand-made in a frame shop is around $100.
If your work, because of composition or whatever, doesn’t fit into a standard size mat or frame, then another tactic is to go and shop for a ready-made frame that is larger than your artwork – at least three inches all around the diameter of the artwork. Then take that frame and your artwork to a frame shop and have them cut the mat for you. Now you are only paying for the labor and materials to cut a mat – not to build everything from scratch.
If you can’t find a frame in a shop that fits your unique sizes, then shop through art supply catalogs and have them make you one. The savings over storefront framers is still significant. I personally buy a lot of frames from this place. Once you sign up, you get their catalogs as well, and then I hit them when they have a sale going on! From any supplier you can order moldings in one inch increments, so if your work is 18x30 inches, then you'd order a set of 18 inch molding, a set of 30 inch molding and it will be delivered with the hardware needed to assemble it - all you'll need is a screwdriver. Then visit your local glass shop for a piece of glass.
Because most solo shows involve a larger number of works, you should start thinking way ahead of time as to the number of frames that you will need. If you can decide that you will need twenty frames for your show, and you know what size they will all be, then go shopping for ready-made frames in any of our local area arts and crafts stores, or other stores that stock frames, such as IKEA or Bed, Bath and Beyond. Once you find a frame that you like, turn it over and see who makes them. Write the manufacturer’s information down, and when you get home, call the manufacturer of the frame and place an order for the number of frames that you will need. You are now buying the frames wholesale and saving yourself the entire store mark-up!
Don’t let the process of establishing an account with the frame manufacturer scare you. They may require an Employee Identification Number (EIN) – you can give them your social security number-- and they will have a minimum purchase (usually $250) – but by the time that you purchase 20-25 frames, that will be easy to meet. All you are doing is ordering the frame directly from the manufacturer rather than buying them through a store – it’s perfectly legal and saves you a considerable amount of money.
If you work on canvas, you may not even need to frame them. Ask the gallery owner – a lot of galleries will be happy to hang canvasses that are “gallery dressed.” That means that the edge of the canvas wraps to the back and that’s where it is stapled – rather than the side. We actually prefer to show canvas paintings that way.
Do not cheapen your artwork by choosing cheap materials. At all costs avoid using acidic mats (use only pH-balanced, acid free mats) and do not use cardboard to back the work – use acid free foam core. Using cheap materials not only damages the work eventually (as the acid migrates to the artwork) but also tells a potential collector that you are not serious as an artist to properly display your work. I am shocked at the number of badly hand-cut mats in acidic mats that I see in galleries all over the country – a lot of time is just plain ignorance of the business side of the fine arts – and the importance of presentation of artwork in a professional environment – such as a reputable fine arts gallery should be.
If you are an artist that moves a lot of work a year, then you should seriously consider learning how to cut your own mats. A sheet of museum quality archival 32x40 inches mat board is around $6-8 and you can get four 16x20 inches mats from it. To have one 16x20 archival mat cut in a frame shop will be around $20. You can buy a decent mat cutter for around $150, and it comes with a video to teach you how to cut mats.
The bottom line is that minimizing framing costs not only reduces the amount of money that an artist has to invest in offering a show, but also reduces the price point of the artwork – a very important issue, especially for young, emerging artists without a sales history track.
Me: Custom framing is expensive!
You: Everybody knows that Lenster!
