In fitting the artwork into the double-sided frame designed by Jordan, the hinging process – or attaching of the artworks to the mats – was very precise. “We wanted to keep the hinging minimal, and cover the least amount of area on the verso of the drawing as possible,” explained Jordan. “Following our standard practice, our technicians employed archival and reversible methods — Japanese paper hinges and rice starch paste were used in the hinging process. We allowed for about 1/16” float space all around the artwork.” Two 8-ply mats were also used — one on each side of the artwork.
Jordan used beveled maple strainers, which were finished with the same white and ivory rub finish to match the frames, which served to keep consistency and to ease viewing.
The framed works were displayed in the gallery space following a semi-chronological order, tracing “the process of an artist finding his hand” (Vogue).
While the Katz frames have a defined front (drawing) and a back (text), we often design and build frames for works that are truly double-sided, i.e. that serve to display two distinct works of art on each side of the paper. Usually this requires a free-standing frame that is — like the artworks — double-sided. An example below (frame has no art in it, just mat board), a double-sided frame where both sides are designed exactly alike, and each side of an artwork can be presented exactly the same.
As shown here, our designers can create myriad ways to display almost any type of artwork.
Text, frame photos: Jennifer M. Clark
Installation photos: All artwork by Alex Katz; photos courtesy of Timothy Taylor Gallery.