A strategy for saving money on framing costs...

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.

OK, OK no more emails about my posting on how artists can save money on framing their artwork.

Rather than answer each one individually, I will post the suggestions here later. By the way, I teach that as part of the Success as an Artist seminars. There's one coming soon (date will be announced soon) - they book up almost immediately and there's already a waiting list.

Check later and I'll post a series of steps that will reduce your framing costs by 80%.

I've received a deluge of emails (in addition to the usual ones trying to sell me Viagra, Cialis and dates with bored housewives) from people who want me to post more on Bad Things Galleries/Artists do to each other.

OK.... here's some more:

Bad Things Galleries Do to Artists: A young emerging artist approaches a "gallery" that is also a framing business. The "gallery" agrees to give the artist a show and has the artist deliver the work to the place. The gallery tells the artist that they will do the framing. At the end of the show, the artist expects a check from the gallery for his 50% commission on all sales, but instead gets a bill for the framing. This is because the "gallery" has framed all of the artist's works - but maybe only 2-3 pieces have sold - and yet the artist is stuck with the framing bill for all of the work. This is another reason why artists must have a written contract prior to exhibiting work, specifying who and to what standards the work must be framed to. And, whenever possible avoid galleries that "offer" to frame your work as part of the exhibition. The average cost of framing artwork in the DC area is $67 an hour just for labor! If are an artist that has a show coming, you can plan your framing ahead of time and save about 80% of what a framing shop or store would charge you by following a simple set of steps... if you want to know what those steps are, email me.

Bad Things Artists Do To Galleries: A gallery offers an artist a show, and trusting the artist, operates on a handshake, rather than a written agreement. As most galleries plan their shows months in advance, the gallery plans the year several shows in advance and expects the artist to deliver the artworks for the show at the specified date. The gallery keeps in touch with the artist, who assures the gallery that everything is on track. A few months before the show, the gallery requests some images for publicity purposes, which the artist dutifully provides. However, a week before the show, the panicked artist calls and says that "he doesn't have enough work for the show" and, by the way, that he has also already sold some of the works that he had provided images to the gallery earlier (and which the gallery has used to advertise the show). On the night before the show opening, the artist shows up with a lot less work than expected, and the gallery discovers that the work is presented in less-than-professional standards: badly-cut acidic mats backed by brown cardboard, scratched framed and scratched plexiglass, and canvasses with nailed on pine boards. An hour before the opening, the artist is still finishing up painting touches on some of his oil paintings. As a result, some of his pieces are still wet at the opening, and someone accidentally brushes up against one of the wet paintings and smears it. The scandalized artist makes a scene, and later sues the gallery for "failing to protect his painting." It all goes to court, to great expense to the gallery and the artist, until the judge throws the case out as ridiculous. The artist is blacklisted by art dealers and never shows in town again.

By the way.... the above is a true story and happened to one of our Canal Square neighbors.

Gallery jurying for artists...

Touchstone Gallery will be jurying for new members on April 28th.The gallery is located at 406 7th Street, NW, 2nd floor, Washington, DC 20004. (202) 347-2787 - fax 202-347-3339. Please call the gallery for details or send an e-mail to info@touchstonegallery.com

Open Studios...

The artists of NoMA (for North of Massachusetts Ave.) open their studios to the public only twice a year. During this Open Studios Weekend on Saturday and Sunday May 1-2 from noon-5pm, artists meet with the public, discuss their work and offer art for sale directly to their visitors. The Open Studios, which include live music and refreshments, take place in four buildings - 57 N Street NW, 443 I Street NW, 52 O Street NW and 411 New York Avenue NE.

Senior Exhibit at the Corcoran...

The Corcoran School of Art All Senior Show features work by Rahshia Linendoll, Djkarta, and Katie Donegan. Reception for the artists on May 6, 6-8 pm at the Corcoran. The work is on exhibit May 5 - 17, 2004.

Georgetown Third Friday Openings...
The four Canal Square Galleries (MOCA, Fraser, Alla Rogers and Parish) will be having their joint openings/extended hours this coming Friday, April 16 from 6-9 PM. The openings are catered by the Sea Catch Restaurant and are free and open to the public. The Canal Square is at 1054 31st Street, corner of M Street, NW in Georgetown.

Alastair Bolton at St. Elmo's

British ex-pat Alastair Bolton has an exhibition of his work currently in the back gallery of St. Elmo's Fire Gallery in Bethesda.

Emergency Grants to Visual Artists...

Change, Inc. provides one-time $1,000 emergency grants to visual artists of any discipline who are facing possible eviction, unpaid bills, fire damage or any other emergency the Change board deems worthy. Applicants must be professional artists who can demonstrate need. Send a letter of need, proof of inability to pay bills or rent, a resume, any reviews or press releases of past exhibitions, photos or slides of work and two reference letters from others in the field. Grant applications should be sent to Change, Inc, PO Box 54, Captiva, FL 33924 (212) 473-3742.

Trawick Prize for Area Artists...

The Trawick Prize: Bethesda Contemporary Art Awards. Deadline for slide submission is Friday, May 21, 2004. The 2nd annual juried art competition awards $14,000 in prize monies to four selected artists. Up to fifteen artists will be invited to display their work from September 7, 2004 - October 2, 2004 in downtown Bethesda at Creative Partners Gallery. The 2004 competition will be juried by Jeffrey W. Allison, The Paul Mellon Collection Educator at the Virginia Museum of Fine Arts; Peter Dubeau, Associate Dean of Continuing Studies at the Maryland Institute College of Art and Kristen Hileman, Assistant Curator at the Hirshhorn Museum and Sculpture Garden. The first place winner will be awarded $10,000; second place will be honored with $2,000 and third place will be awarded $1,000. A "young" artist whose birth date is after May 21, 1974 will also be awarded $1,000 (donated by Fraser Gallery). Artists must be 18 years of age or older and residents of Maryland, Virginia or Washington, D.C. Original painting, drawing, photography, sculpture, fiber art, digital, mixed media and video (VHS tapes only) are accepted. For more information, please contact Stephanie Coppula at scoppula@bethesda.org or call 301.215.6660 ext. 20. Website: www.bethesda.org.

Need to make slides from your digital files? Visit Slides.com

I'm rushing around today - trying to tie some loose knots in closing a house for me. Check later...

I've been asked to serve as a juror for the 2004 Ida F. Haimovicz Visual Arts Award. It is always an honor in being asked to jury artists, and jurying artwork is one of the best ways to learn not only about the diversity of art, but also about the interesting manner in which art selection committees work.

Museum Exhibition Opportunity for Artists...

Deadline May 1, 2004

The Contemporary Crafts Museum and Gallery in Oregon is accepting applications for its 2005 exhibition schedule. In order to be considered for a solo exhibition, please submit: Cover letter stating your interest in a solo exhibition; Current Resume; Artist Statement; 10-20 slides; SASE for return of slides.

The Exhibition Planning Committee meets twice a year to review portfolios and schedules are usually completed one to two years in advance. Please forward applications to:

Lisa Conte
Exhibition Coordinator
Contemporary Crafts Museum & Gallery
3934 SW Corbett Avenue
Portland, OR 97239