FrameStore_Logo_01Framestore Loacations 2011

 

 

 

Flower Watercolour by Karen Pappert

 

 

Summer Art in SoCal

June Newsletter

 

 

 

Dear Framing Fanatic,   

 

 

The kids are finally out of school, the new graduates are leaving now-empty university dorms to compete for corner offices instead, and summer in Southern California is ramping up quickly. It's a busy time of year, full of endings and new beginnings, family and friends old and newly made, and many, many new experiences waiting to be had.Shawn Baker mural

 

So, as the temperatures rise, make sure these new memories are preserved for all time through the best quality custom framing designs your photos, art, and memorabilia can possibly have. Celebrate all the art in your life this summer time, and all the time, and do it right the first time and forever!

 

If your graduate still hasn't decided what to do about that diploma, Masters or Doctorate they spent so much time and money to get, you might consider a FrameStore gift certificate towards custom-framing and proper preservation to last their career. Stop in to any of our 9 SoCal locations to discuss the options with one of our expert designers.

 

In other news, we once more shine our Monthly Spotlight on a local Los Angeles area artist, as well as bring you information on new art exhibits and gallery openings around the Southland.  And our In The Studio section sees the latest installment of an Art Education series which will showcase information on various topics from Art Mediums to styles and history. So check out what is new below, and in the months ahead.

 

Summer is here with all the fun that brings, and FrameStore wants to help you make those memories last!

 

***    ***    ***

 
FrameStore has been helping southern Californians take care of their photos, artwork, and mementos correctly for over 35 years.

 

Stop by one of our stores this week to have one of our Art and Design experts help you to turn those precious memories that will only come once into lasting and lovely art that will bring joy for decades.

 

Visit our website at www.customframestore.com for locations and contact information!

 

 

 

Local Artist Spotlight:

 

Otaku # 30 by Nicole Horton

 

Nicole Horton 

 

 

"When you are manic, you create. When depressed, you edit. "

            - Leo Kottke

 

Nicole Porreco Horton was born in Thousand Oaks California in 1973, and raised in and around the Washington D.C. area. She was diagnosed with bipolar disorder in 2005, but had struggled for years with depression and anxiety. She cannot remember a time when she was not drawing, preferring it in fact to standard writing. She graduated from Virginia Tech in 1996 having double majored in fine art and theater arts. She at times laughingly referred to her classes as Grant Writing,Panhandling & You and Rococo and Ramen, an Artist's Guide. Needless to say, aspects of both disciplines can be seen in her artwork, which lends it self to a more story telling perspective. When looking at Nicole's body of work as a whole, one would believe it was actually the work of many different artists, but are in fact examples of the many states of her mind. Nicole's bipolar disorder is considered rapid cycling, meaning, she can transition between depressive and manic states within a single day. This is evident not only in a single painting, but also in her choice of themes and colors. Her approach to color is at times almost synesthetic, creating an unusual kaleidoscopic palette that mirrors the emotions of the moment. Thematically her work is something of a self-imposed catharsis, encompassing everything from childhood memories, cultural influences, to the struggle of processing how her brain handles and expands on stimuli and information both visual and auditory.

 

"Creating art is not what I do, but what I am, as long as it is understood that we are talking about art in a very subjective way. Yes, I paint, I draw, I fuss about with my computer, I also used to be pretty heavy into photography at one point. I do many things, I also eat, sleep, and play far too many video games than a grown woman should. Art is,( for myself at any rate.) an approach, an insight or the struggle to come to some kind of an understanding. If I accomplish this through a painting, or a design, or even a sweet head-shot on Halo, then I feel as if I've gotten just a little bit closer to that state of discovery of who I truly am and where I truly fit. Then again, sometimes I do things just because. There is no larger meaning behind any of it other than possibly, on a particular day, I may think to myself 'I bet blue tastes really good and thick squiggly lines are fun to draw.'"

 

Sprite by Nicole Horton

 

See more of her work:

 

http://www.artistsites.org/NicoleHorton/

 

http://www.breweryartwalk.com/gallery/nicole-horton

 

 

 

 

 

SoCal Art Happenings -

 

 

 

MOCA:

 Urs Fischer  

The Painting Factory:

Abstraction After Warhol 

 

April 29, 2012 - August 20, 2012

  

This exhibition explores the recent transformation of abstract painting into one of the most dynamic platforms in contemporary art. The exhibition will address a painting tradition that was once seen as essentially reductive but has now become expansive, merging popular culture and current technology into its vocabulary, including works by Tauba Auerbach, Mark Bradford, DAS INSTITUT (Kerstin Brätsch and Adele Röder), Urs Fischer, Wade Guyton, Glenn Ligon, Julie Mehretu, Seth Price, Sterling Ruby, Josh Smith, Rudolf Stingel, Kelley Walker, Andy Warhol, and Christopher Wool.

 

Ironically, one of the places where this fresh approach to abstraction was germinating was the studio that might seem the farthest from the practice of the abstract tradition, Andy Warhol's Factory. The Factory was a haven for all sorts of brilliant artistic misfits, but was also a laboratory where the historical and contemporary innovations in art and culture could be remixed and reconstituted. Especially after Warhol refocused on painting in the late 1970s and 1980s with series like Shadows, Oxidations, and Rorschachs, he transformed pure abstraction into an impure product that opened up new directions. He thrived on the increasing confusion between high art and progressive popular culture and the challenge to conventional methods of painting by the techniques of mechanical reproduction. These confrontations simultaneously undermined and expanded the accepted approaches to painting.

 

The exhibition architecture was designed by Kupapat Yantrasast, principal of wHY Architecture, and his team.

 

The Painting Factory: Abstraction after Warhol is presented by the Steven A. and Alexandra M. Cohen Foundation.

 

Major support is provided by Mr. Bob Manoukian, Parx Casino, Maurice Marciano, Pamela K. and William A. Royall, Jr., and the Aishti Foundation.

 

Additional generous support is provided by The James and Eleanor Randall Foundation, Steven F. Roth Family Foundation, Margaret and Daniel S. Loeb, and Kelly Wearstler. In-kind media support is provided by Los Angeles magazine.

 

MOCA:

 Keith Arnatt  

Ends of the Earth:

Land Art to 1974 

May 27, 2012 - September 3, 2012

  

Ends of the Earth: Land Art to 1974 is the first large-scale, historical-thematic exhibition to deal broadly with Land art, capturing the simultaneous impulse emergent in the 1960s to use the earth as an artistic medium and to locate works in remote sites far from familiar art contexts. Organized by MOCA Senior Curator Philipp Kaiser and co-curator Miwon Kwon, Professor of Art History at UCLA, the exhibition highlights the early years of untested artistic experimentations and concludes in the mid-1970s before Land art becomes a fully institutionalized category. Rather than romanticizing notions of "return to nature" or an "escape from culture", the exhibition provides a comprehensive overview that reveals the complexity of the movement's social and political engagement with the historical conditions of its time.

 

Ends of the Earth exposes Land art as a media practice as much as a sculptural one, focusing on the extent to which language, photography, film, and television served as an integral and not a secondary or supplementary part of its formation. Over eighty artists and projects from United Kingdom, Japan, Israel, Iceland, Eastern and Northern Europe, as well as North and South Americas are included in the show.

 

Ends of the Earth: Land Art to 1974 is organized by The Museum of Contemporary Art, Los Angeles (MOCA), in collaboration with Haus der Kunst, Munich.

 

Major support is provided by Barbara Kruger and L&M Arts, LA.

 

The exhibition is also made possible by Kathi and Gary Cypres.

Generous support is provided by Suzanne and David Johnson.

Additional support is provided by The Kwon Family Foundation and John Morace and Tom Kennedy.

 

 

 

Susanne Vielmetter LA Projects:

 Karl Haendel
 

Karl Haendel:

"Informal Family Blackmail"

May 26, 2012 - June 28, 2012

 

Susanne Vielmetter Los Angeles Projects is pleased to present an installation with new drawings, a book and a film by Karl Haendel.A complex installation of walls, doorways and backrooms reconfigures the flow of the gallery's architecture and serves as a backdrop for a psychologically layered exhibition. Revolving around emotions of insecurity, doubt and regret, the works in the exhibition respond to larger socio-economic shifts that are changing both the relationships between the sexes and the generational roles of parents and children. Haendel's film "Questions to my Father", a key work in the exhibition, features a range of young men asking questions that they would have liked to ask their fathers but never did. Carefully constructed, the film features these men head on, each asking one question at a time, in clustered groupings of questions that relate to each other. As the film progresses, a more coherent impression both of the sons and their fathers emerges. The film feels both honest and awkward at times as topics that are transcending the personal turn into a seismograph of a larger social and political framework.

 

Alternating impressions of honesty and shame also permeate the drawings and the installation of a small, enclosed room with a table and a book at the very entrance of the gallery. Here, as in earlier exhibitions, Haendel juxtaposes images chosen from pop culture, news media, as well as texts from newspaper headlines to create a canon of voices where meaning and a larger sense of a personal and political reality emerges in the gaps between images. Haendel is not afraid to address classic philosophical ideas and conundrums, such as Change, Hope, Fear, Search, and Doubt.

 

 Karl Haendel earned his MFA at UCLA in 2003. Recent solo exhibitions include Yvon Lambert, Paris, France, Harris Lieberman, New York, NY, Lever House, New York, NY, and a "MOCA Focus Series" solo exhibition at the Museum of Contemporary Art, Los Angeles. His work has been included in recent group exhibitions at the Aspen Art Museum, Aspen, CO; the Charles H. Scott Gallery, Vancouver, Canada ; the Rubell Family Collection/Contemporary Arts Foundation, Miami, FL; the Astrup Fearnley Museum of Modern Art, Bienal Pavillion, São Paulo, Brazil; the Indianapolis Museum of Art, Indianapolis, IN; the Drawing Center, New York, NY; "Prospect II", New Orleans, LA; the Henry Art Gallery, Seattle, WA; the New Museum, New York, NY; the Fundación/Colección Jumex, Mexico; the Guggenheim Museum, New York, NY; the Art Institute of Chicago, Chicago, IL; in the 2008 and 2004 California Biennial, Orange County Museum of Art, Newport Beach, CA; the Museum of Modern Art, New York, NY; the UCLA Hammer Museum, Los Angeles, CA; among others. This is Karl Haendel's second solo exhibition at the gallery.

 

Susanne Vielmetter Los Angeles Projects is located at 6006 Washington Blvd in Culver City, 1 block west of La Cienega at Sentney Avenue. Gallery parking is available across the street from the gallery off of Sentney Avenue. Gallery Hours are Tuesday through Saturday from 11 am - 6 pm and by appointment.

 

 

 

M + B:

 Jon Rafman
 

Jon Rafman:

Mirror Sites

May 19, 2012 - June 23, 2012

 

M+B is pleased to announce Mirror Sites, a two-part exhibition of new work by Jon Rafman. Rafman is a leader in demonstrating how images created in digital space can be transformed to exist in physical space. As Jon Rafman bridges our two worlds, the virtual and real, it is only fitting that he should introduce us to his work at two galleries in a show entitled Mirror Sites. Mirroring is a salient term in both the computing and artistic worlds. Rafman's Mirror Sites is a dialogue spanning M+B and International Art Objects Galleries, both exhibiting examples of 9-Eyes of Google Street View and New Age Demanded. This approach expands the dialogue of re-use and re-interpretation as well as our own desire to look for meaning and intent. As the digital world becomes alive in this new way, its images become vital in their new form, and we are made to rethink both the virtual and the real world. Mirror Sites runs from May 12 through June 9, 2012 at International Art Objects Galleries and May 19 - June 23 at M+B, with an opening reception at M+B on Saturday, May 19 from 6 to 8 pm.

 

In Jon Rafman's 9-Eyes of Google Street View (GSV), the accidental, the incidental, the baffling and the dramatic collide. Rafman's work consists of selected images taken by the cameras atop the Google Street View vehicles that document the world's roadways in a constant mission to organize the world's information. While Street View's only goal is to capture the planet, mediated and easy for a viewer to peruse, Rafman's intervention is one of an Internet curator.  He searches through the vast records of fleeting moments, holding up a planet size mirror to ourselves, nature and our constructed world. From this chaotic reality Rafman builds an ambitious visual project that reflects both our modern experience and our desire to read meaning into images.  Within the sheer vastness, there is an inherent tension recognized by Rafman between the uncaring camera and the human being that sees meaning, sees stories and looks on things as a moral creature. As a result of editing, re-framing and focusing these moments, we are presented with images from the banal to the extraordinary in works that range from apparent social commentary to surreal landscapes touching on the sublime.  The formal visual qualities Rafman manages to inject or discover only reinforce the terse but open-ended, comprehensive social message. We seem to live always under the eye of such observation. From some perspectives it appears to be Google, God or chance, but Rafman suggests that the universe that is reflected is our own contemporary consciousness.

 

Previously conceptualized and rendered solely in digital form, these shows mark the emergence of the New Age Demanded (NAD) series in physical form.  Inspired by Ezra Pound's poem Hugh Selwyn Mauberley, in which a poet struggles to write in a Philistine age, NAD expresses Rafman's stance that every age demands something new of its artists, and that the artist can be seen as screaming to express it. Rafman takes the real to the virtual and then back to the real, bridging past and future, high and low, history and narration.  Employing 3D software, Rafman sculpts the "skin"-including paintings by Bruce Nauman, Francis Picabia, Robert Delaunay, Mark Rothko and others-onto virtual busts.  This evocation of both classical Greek busts and the covers to long-lost sci-fi space operas results in an image that suggests conversations and clashes between past, present and future. The reference becomes almost invisible yet fully integrated, as the different works in the series can be seen to represent different individuals in different ages on different planets. For Rafman, sci-fi is the literature of ideas, the world of alternative possibilities, and NAD allows the viewer to contemplate the artworks as unique beings of expression from what might appear to be another world of alternative possibilities. The age demands new artists capable of taking up this challenge, of plunging into this simmering broth and emerging with new awareness, new languages and new rules. The ability of Rafman's work to appeal to this call is what makes it so radical and potentially threatening. The exhibition will also be the preview of another digital intervention, Tokyo Color Drifter.  The video work filters the city's landscape through the experience of a video game rendering of speed, a form heavily dependent on science fiction and virtual worlds.

 

Jon Rafman (b. 1981) is a Montreal-based artist, filmmaker and essayist.  Mixing irony, humor and melancholy, Rafman's work explores the paradoxes of modernity. Well known within the digital community, his work is informed by the rich potential provided by contemporary technology in its possibility for celebrating and critiquing contemporary experience. As an artist whose subject is the human experience, he captures the human in a wide variety of potentially alienating contexts. He received his BA in literature and philosophy from McGill University in Montreal, QC in 2004, and his MFA from the School of the Art Institute of Chicago in Chicago, IL in 2008. Rafman has exhibited his works across the US, Canada, Italy, Sweden, Germany, France, Spain, the Netherlands, Japan and Russia. This month, Rafman's work will be included in "Collective Identity," a group exhibition at the Museum of Canadian Contemporary Art (MOCCA) and presented as a feature show of the 2012 CONTACT Photography Festival at Angell Gallery in Toronto. The first part of 2012 also sees Rafman's work being exhibited at the 2012 Moscow Photo Biennale, the 2012 Hong Kong International Art Fair, the New Museum (New York, NY), American Medium (New York, NY) and International Art Objects (Los Angeles, CA). Rafman's Nine Eyes of Google Street View has been featured in Modern Painters, Frieze, Der Spiegel, Libération, The New York Times, The Guardian, and Harper's Magazine.

 

 

 

In the Studio -

 

 

 

In the Studio:

Art Education

Csaba Markus

Techniques and Mediums:  

Serigraphs
 

 

Serigraphy is a printing technique that uses a woven mesh to support an ink-blocking stencil. The attached stencil forms open areas of mesh that transfer ink or other printable materials which can be pressed through the mesh as a sharp-edged image onto a substrate. A fill blade or squeegee is moved across the screen stencil, forcing or pumping ink into the mesh openings for transfer by capillary action during the squeegee stroke.


Serigraphy is also a stencil method of print making in which a design is imposed on a screen of polyester or other fine mesh, with blank areas coated with an impermeable substance, and ink is forced into the mesh openings of the mesh by the fill blade or squeegee and onto the printing surface during the squeegee stroke. It is also known as silkscreen, and screen printing. You can also have more than one colour printing, for example you could have a striped printing.


History of Serigraphy

 

Screen printing or Serigraphy is a form of stenciling that first appeared in a recognizable form in China during the Song Dynasty (960-1279 AD. It was then adapted by other Asian countries like Japan, and was furthered by creating newer methods.


Serigraphy was largely introduced to Western Europe from Asia sometime in the late 18th century, but did not gain large acceptance or use in Europe until silk mesh was more available for trade from the east and a profitable outlet for the medium discovered.


Early in the 1910s, several printers experimenting with photo-reactive chemicals used the well-known actinic light activated cross linking or hardening traits of potassium, sodium or ammonium Chromate and dichromate chemicals with glues and gelatin compounds. Roy Beck, Charles Peter and Edward Owens studied and experimented with chromic acid salt sensitized emulsions for photo-reactive stencils. This trio of developers would prove to revolutionize the commercial screen printing industry by introducing photo-imaged stencils to the industry, though the acceptance of this method would take many years. Commercial screen printing now uses sensitizers far safer and less toxic than bichromates. Currently there are large selections of pre-sensitized and "user mixed" sensitized emulsion chemicals for creating photo-reactive stencils.

A group of artists who later formed the National Serigraphic Society coined the word Serigraphy in the 1930s to differentiate the artistic application of screen printing from the industrial use of the process. "Serigraphy" is a combination word from the Latin word "Seri" (silk) and the Greek word "graphein" (to write or draw).


Since rudimentary screenprinting materials are so affordable and readily available, it has been used frequently in underground settings and subcultures, and the non-professional look of such DIY culture screenprints have become a significant cultural aesthetic seen on movie posters, record album covers, flyers, shirts, commercial fonts in advertising, in artwork and elsewhere.

 

 

Morton P. Traylor
 

Process and Technique 

 

A screen is made of a piece of mesh stretched over a frame. A stencil is formed by blocking off parts of the screen in the negative image of the design to be printed; that is, the open spaces are where the ink will appear on the substrate. 

 

Before printing occurs, the frame and screen must undergo the pre-press process, in which an emulsion is 'scooped' across the mesh and the 'exposure unit' burns away the unnecessary emulsion leaving behind a clean area in the mesh with the identical shape as the desired image. The surface (commonly referred to as a pallet) that the substrate will be printed against is coated with a wide 'pallet tape'. This serves to protect the 'pallet' from any unwanted ink leaking through the substrate and potentially staining the 'pallet' or transferring unwanted ink onto the next substrate. Next, the screen and frame are lined with a tape. The type of tape used in for this purpose often depends upon the ink that is to be printed onto the substrate. These aggressive tapes are generally used for UV and water-based inks due to the inks' lower viscosities. The last process in the 'pre-press' is blocking out any unwanted 'pin-holes' in the emulsion. If these holes are left in the emulsion, the ink will continue through and leave unwanted marks. To block out these holes, materials such as tapes, specialty emulsions and 'block-out pens' may be used effectively.

 

The screen is placed atop a substrate. Ink is placed on top of the screen, and a floodbar is used to push the ink through the holes in the mesh. The operator begins with the fill bar at the rear of the screen and behind a reservoir of ink. The operator lifts the screen to prevent contact with the substrate and then using a slight amount of downward force pulls the fill bar to the front of the screen. This effectively fills the mesh openings with ink and moves the ink reservoir to the front of the screen. The operator then uses a squeegee (rubber blade) to move the mesh down to the substrate and pushes the squeegee to the rear of the screen. The ink that is in the mesh opening is pumped or squeezed by capillary action to the substrate in a controlled and prescribed amount, i.e. the wet ink deposit is proportional to the thickness of the mesh and or stencil. As the squeegee moves toward the rear of the screen the tension of the mesh pulls the mesh up away from the substrate (called snap-off) leaving the ink upon the substrate surface.

There are three common types of screenprinting presses. The 'flat-bed', 'cylinder', and the most widely used type, the 'rotary'.

 

Textile items printed with multi-colour designs often use a wet on wet technique, or colors dried while on the press, while graphic items are allowed to dry between colours that are then printed with another screen and often in a different color after the product is re-aligned on the press.

Most screens are ready for recoating at this stage, but sometimes screens will have to undergo a further step in the reclaiming process called dehazing. This additional step removes haze or "ghost images" left behind in the screen once the emulsion has been removed. Ghost images tend to faintly outline the open areas of previous stencils, hence the name. They are the result of ink residue trapped in the mesh, often in the knuckles of the mesh (the points where threads cross).

 

While the public thinks of garments in conjunction with screen printing, the technique is used on tens of thousands of items, including decals, clock and watch faces, balloons, and many other products. The technique has even been adapted for more advanced uses, such as laying down conductors and resistors in multi-layer circuits using thin ceramic layers as the substrate.

 

 

We here at FrameStore hope you find your summer season to be filled with art, fun, family, and many memories with lots, and lots of lively colour!

 

Sincerely,


Chuck Mitchell
FrameStore

June News

Local Artist Spotlight - Nicole Horton

Art Happenings - MOCA

Art Happenings - MOCA

Art Happenings - Susanne Vielmetter LA projects

Art Happenings - M + B

In the Studio: Art Education - Serigraphs

FrameStore Club Mirrors

Eco-Care Frames

 

Quick Links

Home Page

Contact Us

 

Follow us on Twitter

Like us on Facebook

 

FrameStore Club Free Mirror 

Free Mirror   


 · Free When You 

    Frame It With 

    FrameStore

  · Up To 40" x 60"

  · 1/4" Thick Safety

    Glass

  · 1" Beveled Edge

  · Exclusively For

    FrameStoreClub

    Members

 

Speak to an Art and Design Expert at one of our stores for details!

 

 

  Eco-Care Logo

 

We at FrameStore are proud to introduce our new EcoCare Collection from Nurre Caxton. This line of moulding is both 
beautiful and kind to the planet. The wood to make these mouldings is harvested from managed forests that are carefully monitored. For every tree used one is replaced.  

  
The new EcoCare gives you, our customer, and us a choice we can feel good about making.

 

 The rich colors are achieved with organic water-based stains. No oils or chemical solvents are used so that they have very low impact on our environment.


Eco-Friendly
Framing