Posted on July 12th, 2016
“When life gets serious…..suddenly poems get very important.” – Jen Bervin
How do you frame the invisible?
Brooklyn-based artist and writer Jen Bervin explores philosophical and poetic thought via minimalist works made using text and textiles. A 2013 recipient of a Creative Capital grant, Bervin recently completed a three-year project exploring the artistic, scientific ... Read More
Posted on January 14th, 2016
After moving to our large shop on Grand Street in SoHo in 1978, we developed a specialty in framing very large works. When we acquired our building in Long Island City 16 years ago, we made sure to have all the space we would need to frame works of the largest size. Recently Garth Greenan Gallery asked us to frame a painting by Paul Feeley that was about 8’ x 1... Read More
Posted on October 1st, 2015
We recently designed and fabricated a frame for the oil painting "Washer Women" (1925) by Irma Stern.
The frame that "Washer Women" arrived in.
The back of the previous frame. Note the canvas and stretcher protrude from the back of the frame, exposing the painting to damage and thrusting the frame from the wall. This was once a common framing practice.
The painting after it was rem... Read More
Posted on March 19th, 2015
We were recently asked to re-frame a watercolor whose subject was the Hudson River town of Haverstraw, NY. The picture was painted in 1944, and was most recently framed in the 1960s.
Here is the watercolor in its previous mat and frame, from the 1960s. From a distance it looks fine, but when examined closely, it was clear that the matboard was made from
highly acidic wood pulp, as were most mats from that time. We could see that
the window mat had burned the edge of the ar... Read More
Posted on September 17th, 2014
We generally frame paintings and works on paper at
Bark Frameworks—drawings, prints and photographs. However, we have the design
capability and specialized craftspeople to frame almost anything. During our 45
year history, we’ve framed boxing gloves signed by Muhammad Ali, skateboards,
Oreo cookies, an entire leg cast, and a wrought iron elevator door designed by
Louis Sullivan. In this case, we were framing a much smal... Read More
Posted on July 21st, 2014
frames are generally associated with traditional frame styles—with period
frames or their reproductions. At Bark Frameworks, however, since we focus on
framing works of art from Impressionism to the present, the range of gilding we
practice is eclectic and varied -- rarely intended to mimic an antique. Fittingly,
our gilders have a wide range of experience and backgrounds. Their unique
qualities and talents shine forth in the work they produce here.
... Read More
Posted on June 30th, 2014
Recently, three images in
which frames played an interesting role appeared in the Sunday New York Times. The first picture was this one--above the fold on the front page.
The picture shows a banner for
the Egyptian candidate for president, Abdel Fattah el-Sisi. The banner is
huge. And the frame itself, which is part of the banner, must be over six feet
wide. In our last Frames + Media posting, we wrote “a frame... Read More
Posted on June 4th, 2014
Bark Frameworks Marketing Specialist Jennifer
Clark interviewed Amy Hinten, who has designed frames for Bark for 13 years,
about creating designs to present photographer Sally Mann’s ambrotypes, which were shown at Edwynn
Houk Gallery in the fall of 2012.
Jennifer Clark: To start off, tell us about this show. What are ambrotypes?Read More
Posted on March 27th, 2014
Frames carry multiple messages. Around a work of art a frame
can establish an emphatic border—the artwork is inside the frame/the world is
outside; or it may act as an almost invisible bridge from the artwork to the
wall and the room. The frame may have more to do with the décor surrounding it
than the work of art within it; or a frame may serve as an ornate halo, bestowing
honor or status on the work framed.
Frames appear in many forms in the media, especially in
... Read More
Posted on February 26th, 2014
Here is a framing
project that we were asked to undertake by Elizabeth Easton when she was Chair
of the Department of European Painting and Sculpture at The Brooklyn
Museum. The painting is by Jozsef Rippl-Ronai (Hungarian, 1861-1927), a
member of the Nabi group, which included Vuillard and Bonnard, among others.
They shared an interest in the decorative arts, and a number of them designed
ceramics, tiles, screens and other decorative objects.
The picture had been
exh... Read More