For the second interview in our on-going series highlighting our employee-owners, we talked with hinger Mark Minevich.
Employee owner name: Mark Minevich
Department/Position at Bark Frameworks: Art Preservation / Hinging
Hails from: St. Petersburg, Russia. I came to America at age 23, with my parents and brother.
How long have you worked at Bark? For 31 years, with a brief break around 1998.
What did you do before you worked at Bark Frameworks?
I was studying cl... Read More
Now that Bark Frameworks is 100% employee owned, we thought we'd re-introduce ourselves -- one employee owner at a time -- through this new Blog series. Every month or two, we'll interview a different Bark staff member, and get their thoughts on the challenges and rewards of working at an ESOP. We hope you enjoy getting to know us!
Employee owner name: Peter Suzuki
Department/Position at Bark Frameworks: Special Milling / Woodshop
Hails from: Kailua, Hawaii
How long hav... Read More
Recently, Bark Frameworks collaborated with Timothy Taylor Gallery in Chelsea to frame a number of works on paper for "Alex Katz: Subway Drawings” (the exhibition was presented in collaboration with Gavin Brown's enterprise), Apr. 27 - June 30, 2017.
Alex Katz in his studio, 1964. Source: Getty Images
Alex Katz, who attended The Cooper Union in the 1940s, chose to develop his style by sketching subway riders and strangers in parks -- as opposed to the stud... Read More
Seventeenth century Dutch frame design is a subject we return to again and again. Framing art from this period offers our designers the opportunity to utilize our research into historic frames and presents some complex issues in the arena of art preservation.
Rachel Danzing, a paper conservator in private practice who was previously Paper Conservator at the Brooklyn Museum -- and with experience at The Metropolitan Museum of Art and the National Gallery -- recently approached with s... Read More
At times, we frame oversized artworks that require a large, seamless panel to accommodate pass-through hinges, where the hinge material is literally passed through slots on a backmat, so that the work can be secured. In making the backing panel for these works, we use our 79" wide Bark White Paper, a special ultra-smooth white paper we had made just for us.
First, 100% cotton rag board is mounted to Dibond. Rag board isn't made in sizes large enough for some of the art we f... Read More
Bark Frameworks is now entirely owned by its employees through an ESOP trust. For the past two years we have been discussing the prospect of creating an ESOP—an Employee Stock Ownership Plan, and now we have taken this big step.
I will continue working at the company on a number of projects and will chair the board of directors. Karl Thorndike, who has served as vice president for operations for the past six years, will become president and CEO of Bark Frameworks.
Jed Bark,... Read More
“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 and historical facets of silk, a material with ties to virtually every culture i... Read More
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 12’. The process is illustrated below.
1. Oversized frames take up a lot of floor space being built and... Read More
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 removed from the frame.
After reviewing a number of p... Read More