How to Start and Run a Commercial Art Gallery by Edward Winkleman

Author:Edward Winkleman
Language: eng
Format: epub
Publisher: Allworth Press
Published: 2009-03-19T16:00:00+00:00

Mounting

“Mounting” is how the artwork is attached to a board within a frame that touches it and holds it in place. As noted, the guidelines for fine art have traditionally dictated that each mounting choice (the mount board, adhesive, hinges, and surrounding substances) be reversible and only use archival materials, which generally means materials free of acid and lignin. The overwhelmingly preferred choice among mounting options for fine artworks on paper is known as “conservation mounting” or “hinge mounting,” in which a series of small, acid-free hinges (often made of a pure Japanese paper known as kozo) are placed along the top edge of the work only so that the artwork hangs down from the mount board, which minimizes the amount of other materials (especially adhesives) that actually touch it. This mounting is commonly used whether a mat covers the edges of the artwork or not, but recently, corner supports or edge strips (which do not require the use of any adhesive on the artwork) have become popular—if the treatment includes a window mat that conceals them.

In “float mounting,” a decorative backing is seen behind all four sides of the artwork, and spacers hold the work away from the mount board to create the illusion that the artwork is floating within the frame. None of the allover mounting methods—such as “dry mounting,” “wet mounting,” or “spray mounting” (in which the work is permanently attached to the board with an adhesive applied to the entire back of the artwork)—is reversible, and therefore, none are recommended for fine art unless such a treatment is considered part of the piece.

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