december 2013


Herding Sheep in a Winter Landscape at Sunset

Art Brightens The Holidays

December Newsletter



Girl With the Pearl Earring by Vermeer
Hanukkah has come and gone for another year, and we stand on the eve of Christmas, with a new year just around the bend. Time flies so quickly it seems, and the wonderful experiences we create pass into memory all too soon. 
It can be easy amid the stress and bustle of these holidays to forget the reasons we come together and celebrate. So, as 2013 fades and 2014 begins, be sure to take some time to appreciate the things in your life that truly matter: friends, loved ones, and the connections we create with those around us. 
And of course, art can be a medium for those connections and memories as well. So, along the way, make sure to stop and smell the paint and paper as well as the roses, and make art a part of your memories that last a lifetime!
In our December newsletter we bring you a whole pile of art world news from our blog. And as always we are bringing you some of the latest gallery openings, art shows and events, as well as some conservation basics from the studio, so don't miss out on what is happening of interest to the art scene in southern California this fall.
And, don't forget to check out the newest addition to FrameStore's commitment to our clients over at our blog. Newsletters only happen once a month, but our art blog can keep you up to date on the newest news, information, gallery and museum events as well as help educate and enlighten you on everything about art, design, and framing. So, drop over and see what we have happening at the FrameStore Blog today!
The Holidays have come at last, and even as autumn fights to maintain it's hold on LA, our eyes turn towards the winter and the new year ahead, and FrameStore wants to help you make your memories of this past season last forever!
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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 for locations and contact information!


From Our Blog:



LA Art Show 2014: Historic, Modern, Contemporary  


The 2014 LA Art Show presents the art world's limitless range featuring exhibitors who appreciate the past, embrace the present, and forecast the future.


The LA Art Show is the West Coast's most comprehensive art experience, with 3 distinct sections: Modern & Contemporary, Historic & Traditional Contemporary, and the IFPDA Los Angeles Fine Print Fair, showcasing the highest caliber galleries enhanced by exceptional programming and special exhibitions.


Read the rest of the article at our Blog, here:



Photography Exhibit: Greg Cohen - Farewell to Arms 


Last December, Newtown, Connecticut experienced severe tragedy, when 26 people were gunned down at Sandy Hook Elementary School. 20 of them were small children, 5 and 6 years old. Without warning, hundreds of lives were changed forever. For the people of Newtown, this nightmare is still very present, it is happening right now. The wounds are open and bleeding, and the trauma continues daily. For most people, however, the massacre is something that happened in the news last year. People have moved on.


Read the rest of the article at our Blog, here: 



LA TIMES: The Cézanne Paintings' Escape to Safety 


A cultural heritage law in Italy may have helped Cézanne artworks avoid Nazi plunder - unlike a Strozzi painting recently returned to its rightful owner - and make their way to the U.S.


Read the rest of the article at our Blog, here:



Degenerate Artwork Stolen by Nazi's Recovered in Germany 


A huge collection of 'degenerate' artwork confiscated by the Nazis in the 1930's and 1940's has been found in an apartment in Munich, Germany. Local authorities seized the 121 framed and 1,285 unframed works from the apartment of Cornelius Gurlitt, the son of the well-known Nazi-era art dealer Hildebrand Gurlitt, early last year.


Read the rest of the article at our Blog, here: 



SoCal Art Happenings -



  Lorser Feitelson, Hardedge Line Painting, 1963      

Four Abstract Classicists:

December 21, 2013 - June 29, 2014


Four Abstract Classicists features hard-edge abstractions from LACMA's collection by Karl Benjamin, Lorser Feitelson, Frederick Hammersley, and John McLaughlin. The term "abstract classicists" was coined in 1959 by curator and critic Jules Langsner to define these four southern California painters whose work he grouped in a seminal exhibition that year at the Los Angeles County Museum in Exposition Park (prior to LACMA's existence as an independent art museum). The work exemplified the generational shift in the late 1950s and early 60s from the energetic brushwork of Abstract Expressionism to the cooler aesthetics of Pop Art and Minimalism.


The abstract classicists painted forms that are, in Langsner's words, "finite, flat, rimmed by a hard clean edge...not intended to evoke in the spectator any recollections of specific shapes he may have encountered in some other connection. They are autonomous shapes, sufficient unto themselves"-that is to say, pure abstractions.




Alexander Calder, Eucalyptus, 1940  


Calder and Abstraction:

From Avant-Garde to Iconic

November 24, 2013 - July 27, 2014

One of the most important artists of the twentieth century, Alexander Calder revolutionized modern sculpture. Calder and Abstraction: From Avant-Garde to Iconic, with significant cooperation from the Calder Foundation, explores the artist's radical translation of French Surrealist vocabulary into American vernacular. His most iconic works, coined mobiles by Marcel Duchamp, are kinetic sculptures in which flat pieces of painted metal connected by wire move delicately in the air, propelled by motors or air currents. His later stabiles are monumental structures, whose arching forms and massive steel planes continue his engagement with dynamism and daring innovation. Although this will be his first museum exhibition in Los Angeles, Calder holds a significant place in LACMA's history: the museum commissioned Three Quintains (Hello Girls) for its opening in 1965. The installation was designed by architect Frank O. Gehry. 


If you visit these exhibitions, be sure to leave us your thoughts and impressions on our blog over at :



Santa Monica Museum of Art:


  Mathew Zefeldt, Observed Matter #4, 2012       

Mathew Zefeldt:

Forms Forming Forms


September 29, 2013 - January 5, 2014


Mathew Zefeldt: Forms Forming Forms is the first museum exhibition for this emerging Bay Area painter who has created an immersive, optical installation for SMMoA, rendering the gallery walls into a hallucinatory backdrop for three of his monumental still lifes. Fluorescent washes of color and intricate patterns of stripes, chevrons, and plaids provide the backdrops for the work in Forms Forming Forms. Headface, as one example of Zefeldt's jubilant exploration of paint, is part still life part portrait, set upon a dizzying gingham background. Dozens of identical Classical busts, each painstakingly hand-painted, crudely outline a stick-figure face with gaping holes for its eyes and mouth. Zefeldt describes his paintings as windows into fictional worlds. With the steady hand of a masterful painter he plays with a reliance on simple forms reminiscent of Microsoft's Paint, complete with pixel-induced shakiness and clip art-style copying and pasting.

The paintings and patterns in Forms Forming Forms call up the visual lexicon of early 1990s computer hackers, who created viruses and other self-reproducing computer programs, which used excess and obfuscation to distract as they wiped out memories. Using this just-outdated aesthetic as a trojan horse, Zefeldt successfully invokes the digital age while ultimately emphasizing a love of paint. His still lifes encompass all of paint's visual tools from abstraction to figuration: at times he piles paint directly onto canvas to emphasize its literal, sculptural qualities, but he also paints narratives with illusionistic, three-dimensional figures in two-dimensional planes. In Zefeldt's paintings, repetitive decorous patterns are transformed from the monotonous into the maniacal.

As a beacon in SMMoA's Fall 2013 exhibition schedule, Forms Forming Forms invites viewers to consider the crisis of individuality in an era of instantaneous image sharing and replication. The project reflects SMMoA's unique capacity as a kunsthalle to collaborate with contemporary artists and highlight ambitious, never-before-seen artworks and installations.

Mathew Zefeldt: Forms Forming Forms is organized by Jeffrey Uslip, curator-at-large for the Santa Monica Museum of Art.

About the artist:
Mathew Zefeldt is an Assistant Professor in Painting and Drawing at the University of Minnesota. He received his MFA at the University of California, Davis in 2011 and was awarded the Dedalus MFA Fellowship in 2011. Zefeldt has had solo shows at Swarm Gallery in Oakland, Eduardo Carrillo Gallery in Santa Cruz, Skinner Howard Gallery in Sacramento, and Michael Rosenthal Gallery in San Francisco; he will be included in a group exhibition at M.O.H.S. in Copenhagen in November 2013.

About the curator:
Jeffrey Uslip was born in 1977 and lives and works in New York City. At SMMoA, he most recently organized Joyce Pensato: I KILLED KENNY, Michael Queenland: Rudy's Ramp of Remainders, Agnes Denes: Body Prints, Philosophical Drawings, and Map Projections, 1969 - 1978, and Samira Yamin: We Will Not Fail. Uslip has also organized exhibitions for PS1/MoMA, New York; Artists Space, New York; Columbia University's Graduate School of Arts and Sciences, California State University, Los Angeles; and LA><ART, Los Angeles. He has lectured at the Yale University School of Art, New Haven, and the Whitney Museum of American Art, New York, and is an online contributor to Artforum. Uslip is currently a PhD candidate at The Institute of Fine Arts, New York University.


In the Studio -


In the Studio:  


  Degas, Dancers in pink, c 1885


Art Education

Custom-Framing Essentials:  


What is Conservation Framing?

When dealing with the framing of fine art, the materials and design used must not only enhance the beauty of the work by continuing what the artist started, but needs to also protect and preserve the integrity and value of the artwork. Sadly, many people do not consider conservation when framing their finer pieces of art, risking potentially irreversible damage.


Framing materials come in many types and many quality levels, only some of which are designed to protect and preserve the artwork for its lifetime. Making sure the materials you frame with are conservation quality is crucial when handling any piece that has value, inherent or sentimental. This process of designing and custom-framing with museum quality materials intended to extend the life of the artwork is what is called 'Conservation Framing'.


What type of protections do paper works of art need?


Even more than those on canvas or wood, artwork done on paper is very susceptible to environmental factors and damage. The fibers in a piece of paper expand and contract with variations in temperature, humidity, and light and can be severely affected by exposure to these and other factors. Paper reacts and interacts especially easily with certain chemicals, including the acids used in production of cellulose-based papers, boards and mats.


We have all seen brittle, crumbling antique photographs and artwork that have severely yellowed, or browned (acid burns), developed dark spots (called foxing), or faded from exposure to damaging UV rays. These are the telling signs of damage to paper that results when materials and methods are used that do meet the level of 'Conservation Framing'. Sadly, most of this damage can never be undone, and what can be reversed is quite costly.


Before You Frame:


If your artwork has already suffered damage from past exposures, a conservator can advise you on your options for restoration, if possible. In many cases, the best course of action may be to leave the piece as is, and merely move forward with protecting it from any further damage through museum quality conservation framing with a qualified Master Framer, such as FrameStore. If restoration work is to be attempted, it must be completed before you bring the artwork in for framing.


It is essential that you avoid certain practices that can lead to further damage of your art, and possibly greatly reduce its value:

  • Cutting, trimming, or folding artwork is always advised against. Any artwork with value can lose that value quickly if it is altered in any form, including personal inscriptions, notations, margin marks, etc. The art exists as it was intended to be by the artist, and any alteration of the piece carries a possible loss in value.
  • Dry-mounting, or Vacuum-mounting of valuable artwork is highly discouraged. These forms of mounts may help to flatten artwork that is waving or wrinkled, but will certainly reduce or negate the art's value as the techniques use non-conservation materials and adhesives, and are irreversible for most types of art.
  • Avoid the use of any tapes or adhesives not specifically designed for conservation level mounting of fine art. Masking tape, Scotch tape, etc will damage the paper and should never be used on artwork.

The Frame:


Certain types of framings and certain framing methods can leave your artwork open to severe environmental damage, or even directly damage or reduce the value of your works. Avoid these framing methods when conserving fine art:

  • Metal frames are almost never conservation quality, and should be avoided for any work of art with value. The joints and backing on metal frames cannot be sealed in the way wooden frames are, leaving your artwork exposed to damaging environmental factors, from moisture, air, bugs, dirt and more. Valuable artwork must be sealed to protect it from exposure to such environmental elements.
  • Mass-produced factory made frames rarely ever use true conservation level materials, and thus are very likely to damage your artwork over time. Matting, backing boards, and mounts are most often made from non-rag papers that will burn your artwork and photographs and damage the fibers of the papers from the acids they contain. Additionally, many factory made frames do not use UV protective glazing, leaving your art open to permanent fading from light exposure.
  • Frames that are too small for the size of your artwork will not hold the weight of the art, mats, mounts and glass over time and will eventually fail leading to possible direct damage or exposure to environmental factors. The frame you use on your fine art must be heavy and sturdy enough to bear the weight of the entire design over the life of the framing. Structural integrity of the design is a key factor in protecting your artwork.
  • Frames that do not use mats or spacers to separate your artwork from the glazing open your fine art to severe damage caused by condensation that can form on the inside of the glass in the framing design. Mats, either fabric or acid-free rag paper are designed to separate and put space between your artwork and the glazing. This space is a key protection for your artwork against humidity and condensation damage. If for design and aesthetic reasons, you do not wish to use a mat in your framing, special spacers can be used in the rebate of the frame to lift the glazing away from the artwork.

Read more about conservation framing and methods in future newsletters and blog posts. Also, be sure to look for our coming posts on design and art theory for more help on how to custom-frame your fine works of art!



Visit your nearest FrameStore location.


We here at FrameStore hope that your Holiday season will be filled with love, art, family, and many memories with lots, and lots of lively colour!


Chuck Mitchell
December News
From Our Blog: Art World News
Art Happenings - LACMA
Art Happenings - Santa Monica Museum of Art
In the Studio: Art Education - Conservation
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