David Ridgway “Orcas… Familiar Spots” Renowned Pacific Northwest painter David Ridgway, a resident of Orcas for more than ten years before relocating to Bellingham, continues his passion for “all things Orcas.” His new oil paintings illustrate this intense love and intimate relationship with the island, its landmarks and most especially its people.

Ridgway paints much of his work “plein aire,” which means quite literally, in plain air: outdoors and on location. A collection of nearly 50 new pieces will be on view.

“David Ridgway: “Orcas… Familiar Spots” August 1 – Labor Day, 2014 Crow Valley Pottery and Gallery Eastsound, WA

FRAMING SPECIFICATIONS AND ADVICE FLOATING FRAME

Deep Floating Profile: 121 Type: floating frame for 1-1/2″ deep canvas paintings Wood Finish: unfinished cherry frame Purchasing Options: joined wood frame Framing Advice: fitting floating frames

Kes Woodward exhibit in Anchorage Alaska

Kesler Woodward, the widely recognized Alaska artist from Fairbanks, will be featured in a solo exhibition at the blue.hollomon gallery. Woodward is best known for his paintings of birch trees and the northern landscape. This new body of work provides his birch tree “portraits” and his personal view of the Alaska landscape in a range of seasons. In his exhibit catalog last October in Montreal he says, “I made completely abstract, non-representational paintings for years before my images evolved into landscapes.” Woodward also says, “I want my paintings to be very realistic – all about the beauty, wonder, and magic of the thing I’ve painted. But, up close, I want them to be entirely about, color, texture, surface, gesture – all about the paint.”

Woodward has had numerous solo exhibitions spanning his more than 35 years of work in Alaska. He has shown his paintings and has been included in the permanent collections of the Anchorage Museum, the Alaska State Museum in Juneau, the University of Alaska Museum in Fairbanks, and the Morris Museum in Augusta, Georgia among others. His paintings are also included in numerous public, corporate and private collections throughout the .

In addition to his active career as an artist, Kesler Woodward has worked in Alaska, first as the Curator of Visual Arts at the Alaska State Museum in Juneau, next as the Artistic Director of the Visual Arts Center of Alaska in Anchorage and finally as Professor of Art at the University of Alaska in Fairbanks from 1981 until his retirement in 2000, when he returned to painting on a full-time basis. He is currently a Professor Emeritus of Art at the University of Alaska Fairbanks.

Woodward has been recognized for his outstanding contributions to the arts by the Alaska State Council on the Arts, the Rasmuson Foundation and the Western States Arts Federation. He is also recognized for his accomplishments as an art historian and curator. He organized three major exhibitions for the Anchorage Museum and wrote four major books on Alaska art for the museum, including Painting in the North, a catalog of the Museum’s permanent collection, and major publications on Alaska artists Sydney Laurence, Eustace Zeigler and Fred Machetanz.

Georgia Blue, co-owner of blue.hollomon gallery with Gina Hollomon, has worked with Woodward since the late 70’s. She says, “Kes is simply the total package. He brings a richness, vitality, intelligence to painting that celebrates the Northern landscape plus his support of other artists is unwavering. He is a treasure!”

“Harbinger” “Deep Enough for Ivorybills”

“Promise” “Water From the Rock”

“Kes Woodward: New Work” July 3 – July 26, 2014 Blue.Hollomon Gallery Anchorage, Alaska

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METRO FLOATING FRAME

Deep Floating Profile: 121 Type: floating frame for 1-1/2″ deep canvas paintings Wood & Finish: ash wood frame with pickled white finish and black interior Purchasing Option: joined wood frame Framing Advice: fitting floating frames Janet Gorzegno “Old Souls” at Bowery Gallery in City

Painter Janet Gorzegno’s new works in gouache on paper that invent for contemplation glimpses of the human—her recurring motif is the human head, which appears as a symbol of human consciousness.

Gorzegno’s intimately sized paintings discover their form from within; they concentrate the eye on serene faces that appear wrapped in stillness as if attending a shift in consciousness that has not yet happened, but is about to occur. Each of these intense yet compassionate countenances invokes its own in-between or liminal state of being. The heads seem paused, as if between actions or thoughts, as if waiting for something to happen. Their liminality seems related to their stillness—neither here nor there, timeless and eternal.

While Gorzegno’s heads, mostly profiles, are created entirely from imagination, they seem to possess distinct personalities and missions that invite reflection on themes of awareness, death, and transformation.

These paintings—some reminiscent of the sacred art of icon painting, others evocative of early portraits, some appearing as emissaries from imagination’s keep—are based on no particular canon of creation, but many of them explore limits of the icon. They test the visual tension between abstraction—with its vivid geometries and colors—and naturalistic portrayal. But if they test the boundaries of form, they also distill and concentrate aspects of human existence.

Janet Gorzegno studied painting at the New York Studio School and received her MFA in painting from Yale University. Her abiding interest in sacred art forms has led her to engage in hands-on study of icon writing and Thangka painting with Master practitioners. Her work has been exhibited widely in numerous juried and invitational shows. She currently lives in Hattiesburg, Mississippi, where she teaches drawing and painting as a Professor of Art for The University of Southern Mississippi.

Janet Gorzegno “OLD SOULS” May 20 – June 14, 2014 Bowery Gallery New York, NY

FRAMING SPECIFICATIONS AND ADVICE

METRO GALLERY FRAME

Thin Profile: 114 Type: Thin Gallery Frame Wood & Finish: maple wood frame with pickled white finish Purchasing Option: joined wood frame Custom Frame Spacer: 1/2″ wood frame spacer Custom Frame Acrylic: regular acrylic cut to size Framing Advice: fitting gallery frames Weird, Wild, & Wonderful

Weird, Wild, & Wonderful, The Second Triennial New York Botanical Garden Exhibition, opened in the Garden’s Ross Gallery on April 19. Curated by the American Society of Botanical Artists, the traveling exhibition features contemporary artworks of botanical oddities and curiosities, and includes artists from the US, Australia, Canada, India, Japan, and the UK.

The forty-six included artworks were selected from a field of 238 submissions. Novel adaptations to habitat, reproductive strategies, or defenses against predators have led to some of the incredible diversity of the plant kingdom. Plants also display some unique developmental quirks that occur due to extreme growing situations or invasion by parasitic creatures. Find illumination about biodiversity as depicted by contemporary botanical artists in the exhibition’s forty-six artworks. Exotic species from such locales as Borneo, Australia, Asia, and the Americas join familiar plants we find in our kitchens, all through the lens of the extraordinary. Bat flowers and violet hedgehog mushrooms join strange cacti and parasitic plants in unusual renderings in watercolor, graphite, etching, oil, pen and ink, and colored pencil. Exploratory delight is exhibited by each artist’s original take on the theme.

ASBA is a nonprofit organization dedicated to promoting public awareness of contemporary botanical art, to honoring its traditions and to furthering its development. In its 20th year, ASBA has 1300 members from over 20 countries around the world. More information is available on asba-art.org as well as information about purchasing the catalog from the exhibit.

“Kind-hearted Monster” heirloom tomato, Solanum lycopersicum, Watercolor on Paper,11” x 14” © ASUKA HISHIKI

Crested Saguaro, Carnegiea gigantea f. cristata, Pen and Ink, 17” x 25”, ©JOAN MCGANN “Devil’s Claw” Proboscidia louisianica, Aquatint Etching, Hand-colored, Chine Collé, 18” x 12” ©MONIKA E. DEVRIES GOHLKE “Bat Flower/Cat’s Whiskers”, Tacca chantrieri, Watercolor on Paper, 20” x 16” © AKIKO ENOKIDO

Weird, Wild, & Wonderful Second New York Botanical Garden Triennial Exhibition April 19 – September 21, 2014 The New York Botanical Garden 2900 Southern Blvd, Bronx, NY

Exhibitions are especially difficult when the artists are from all over the world and you want the framing to be consistent. Metropolitan was selected as the sole provider of frames because we are a national company that makes museum quality frames and they are available in different depths to accommodate different artwork presentations. The specifications for the exhibit were our standard maple frames with clear lacquer finish. The artists were provided links to our online ordering and our framing advice section provided information to ensure they were done professionally.

FRAMING SPECIFICATIONS AND ADVICE

101 maple with clear finish

GALLERY FRAMES

Standard Profile: 101, 106, and 105 Type: Standard Gallery Frames Wood & Finish: maple wood frame with clear lacquer finish Purchasing Option. joined wood frame, joined wood frame with splines Custom Frame Spacers: 1/4″, 1/2″, 3/4″ wood frame spacers Custom Frame Strainers: 1/2, 3/4″ wood frame strainers Custom frame mats: 4 & 8 ply museum mats Custom cut matboard: 4 & 8 ply museum matboard Custom frame acrylic: regular & UV acrylic cut to size Custom frame backing boards: foamboard, coroplast, and archival corrugated cut to size Framing Advice: fitting gallery frames

Laurie Frick: Walking, Eating, Sleeping

Laurie Frick opens an exhibit at the Marfa Contemporary Gallery “Walking, Eating, Sleeping” and it takes an obsessive, quantitative look at daily life, drawing on Frick’s background in engineering and technology.The artwork of Laurie Frick explores the intersection of technology and creativity as the artist herself adopts a daily regimen of self-tracking that measures her activities and body. In doing so, she shapes a vocabulary of pattern used to construct her intricately hand- built works and installations. Her quantifiable patterns, like her heart rate, the duration of her sleep or body weight are some of the metrics that inspire her colorful and complex works. “Numbers are abstract concepts but we recognize pattern intuitively. I’m experimenting with wall size patterns that anticipate the condition of our daily-selves. Very soon walls and spaces we occupy will be filled with easy to decode patterns – a visual record of how we feel, stress level, mood, bio-function captured, digitally recorded and physically produced using 3D printers and lasercutters. Human data portraits transcribed as pattern from the all the sensor data collected about us.Will it kill the mystery of being human, simply magnify our defects or will sensors and a mass of measurements acknowledge and present patterns of self- examination that lure us into a future of self-quantification that is irresistible?” Laurie Frick is a TED Award winner.

Laurie Frick: Walking, Eating, Sleeping September 10 – Janaury 3, 2014 Artist Talk Sunday Oct 13 at 11.30 am Marfa Contemporary Marfa, TX 79843 FRAMING SPECIFICATIONS AND ADVICE

METRO GALLERY FRAME

Thin Profile: 114 Type: Thin Gallery Frame Wood & Finish: Unfinished Ash Wood Frame Purchasing Option: joined wood frame with contrasting splines Framing Advice: fitting gallery frames

Kenneth Josephson at Stephen Daiter Gallery in Chicago

Kenneth Josephson has been a tireless pioneer of conceptual art photography since the late 1950s. He is the product of a rigorous education that began with the inspiration of the visionary at the Rochester Institute of Technology and culminating with his graduate studies under the renown teaching team of Harry Callahan and at the fabled Institute of Design, Chicago. At a time when photography was just beginning to be considered seriously by the art world and the art market, Josephson was working ahead of the curve, busy laying the groundwork for conceptual approaches to the medium that would later subvert many long held notions about the place and purpose of pictorial representation.

Josephson’s early visual experiments ran the gamut of imaginative approaches and were rooted in the highest technical standards of his craft. Before others he employed the conceits of images within images and posed questions such as what is the importance and reality of the photograph itself as a physical object. In addition, Kenneth Josephson imbued his work with a signature sensibility of humor – an application that came naturally and added dimension to the artist’s highly intentioned works. There is no mistaking Kenneth Josephson artworks for those by his other conceptually driven peers and contemporaries, such as Edward Ruscha, John Baldessari and Robert Heinecken, who were content to use photographic material, often incorporated with other media, for the production of their final works. But this appropriation of imagery was peripheral to the notion of the pure photographic process – it was Josephson’s obsession with the inherent and endless possibilities within the medium that makes him unique among them, and positions him as a master. Kenneth Josephson Colorado 1959 | Gelatin silver print | 6 x 9 in. 1959 print. Signed, dated and annotated ´59-2-9-7´ in pencil by artist on print verso Kenneth Josephson Wisconsin 1965 | Gelatin silver print | 4.69 x 6.63 in. C. 1965 print. Signed, titled, dated and annotated ’65-5-1-2′ in pencil by artist on print verso.

Kenneth Josephson Chicago 1962 | Gelatin silver print | 4.25 x 9.06 in. c. 1962 print. Signed, titled, dated and annotated ’62-2-1-11′ in pencil by artist on print verso. Been There. Done That. September 6 – November 30, 2013 Stephen Daiter Gallery Chicago, IL

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METRO GALLERY FRAME

Standard Profile: 106 Type: Standard Gallery Frames Wood & Finish: walnut wood frame with ebony finish Purchasing Options: joined wood frames Framing Advice: fitting gallery frames

Objects of Desire Michael Beck at Paul Thiebaud Gallery in San Francisco

Objects of Desire by Michael Beck opens the fall season at the Paul Thiebaud Gallery in San Francisco. Though not necessarily depictions of items coveted by the masses, they are a curious group of subjects— sailboats, cars, trucks, amusement park rides, and dolls—all antique toys, desired at certain ages and in certain eras. Beck’s explores and elevates these “junk” objects, now discarded, time- worn, or rendered obsolete with regard to use in today’s age—the detritus of the past. To Beck, they are items of nostalgia; he sources material from flea markets, especially in Alameda. This series began in the late 1990s, when the painter turned to single, solitary objects and their complicated shadow patterns produced through the use of multiple light sources. By depicting the objects in their actual sizes, Beck wished to engage the viewer as if the objects were truly present in the round and in real time. As he explained, “ . . . making it smaller creates a preciousness, making it larger creates an issue that goes beyond what the actual object is (i.e. Rosenquist, Oldenburg, etc.).”

Beck received an MFA in Painting with High Distinction from the California College of the Arts and Crafts (now the California College of the Arts), Oakland, California in 1984. He lives and works in Oakland, California.

Objects of Desire September 10 – October 26, 2013 Paul Thiebaud Gallery San Francisco, CA

FRAMING SPECIFICATIONS AND ADVICE METRO FLOATING FRAME

Deep Floating Profile: 121 Type: Floating Frame for 1-1/2″ deep canvas paintings Wood & Finish: ash wood frame with black lacquer finish Purchasing Options: joined wood frame Framing Advice: fitting floating frames

Stephen Magsig at George Billis Gallery

“When I think about the conventions of painting — a tradition I respect immensely — I notice that my concern has always been with the interplay of light and structure,” says artist Stephen Magsig. “Light, since it defines everything, is what my work is about — how light changes things, how it inflects the surfaces of places we imagine for ourselves and inhabit, like sunlight touching a window sill, illuminating and creating contrasts and shadows.”

Working with images he personally photographs, Magsig looks for crucial details in both the highlights and the shadows, in the brightness and obscurity of each scene. The artist says, “I get caught up in the mix of organic and non-organic human signs: the color of loaves of bread in an Italian bakery window, the reflections of facades in the car’s windshield, the abstracted angles of cornices and architectural detail.” New Yorkers will recognize many of the scenes Magsig paints, yet the universal appeal is the atmosphere and mood which attracts those for whom the images hold no personal significance

Stephen Magsig lives and works in , .

Stephen Magsig April 23 – May 25, 2013 Reception April 25, 2013 6 – 8 pm George Billis Gallery New York, NY

FRAMING SPECIFICATIONS AND ADVICE FLOATING FRAMES

Deep Floating Profile: 121 Type: floating frame for 1-1/2″ deep canvas paintings Wood & Finish: maple wood frame with black opaque finish Purchasing Options: joined wood frame Framing Advice: fitting floating frames

Fatima Ronquillo “Private Revolution”

On Saturday, April 6th, Wally Workman Gallery opens Private Revolution, a solo show by Fatima Ronquillo. Her fourth show with the gallery, Private Revolution is a celebration of the various private revolutions that her imagined personages launch: rebellions against indifferent beloveds, oppressive thoughts, and real or perceived injuries. There is a context for the ongoing themes of symbolic or literal wounds, mingled with the optimism of youth, lovers and dreamers. Stylistically Fatima has been inspired by the neoclassical period following the French Revolution alongside formal portraiture in colonial Latin America. She is amused by the juxtaposition of a colorful palette and traditional compositions with the ambiguous yet oddly humorous situations of injured cupids or children in military dress or exotic persons with their animal entourage.

ABOUT THE ARTIST

Fatima is a self-taught painter who works from a deeply personal visual language and imagination. Each painting is an unfolding story of layered meanings brought to life through multiple layers of paint. Her painted surfaces sparkle with thin delicate glazes over thick impastos and scattered scumbles of semi transparent colors. She paints in the style of the European classical traditions coupled with a magical realism rooted in folk and colonial imagery. Hers is an authentic voice echoing from an inner world where art history meets with nostalgia and imagined characters from literature, theatre and opera.

Born in San Fernando, Philippines in 1976, Fatima Ronquillo immigrated as a child to the United States in 1987 where her family settled in San Antonio, Texas. She currently resides and maintains a studio in Santa Fe, New Mexico with her husband and west highland terrier. Her work is included in private collections throughout North America and Europe.

“Private Revolutions” April 6 – April 27, 2013 Wally Workman Gallery Austin, Texas Fatima Ronquillio

FRAMING SPECIFICATIONS AND ADVICE METRO FLOATER FRAME

Very Deep Profile: 120 Type: floater frames for panel paintings on 2-1/4″ cradle Wood & Finish: maple wood frame with graphite finish Purchasing Options: joined wood frame with splines Framing Advice: fitting floater frames Joseph D. Jachna: Surface Contradictions 1958-1971

For Joseph D. Jachna, photography has always been a spiritual practice. His photographs are quiet meditations—offerings from a lifelong naturalist. Jachna considers himself a poet with a camera, creating the visual equivalent of a Haiku. As with Haiku, the highest form of Japanese poetry, his ideas flow with an intensity created by combining a few carefully chosen elements in a spare and elegant framework.

Surface Contradictions is comprised of over sixty previously unknown vintage photographs from the artist’s 1961 thesis project on the subject of water, along with images made several years later in Door County, Wisconsin. These photographs represent an overarching theme Jachna returned to time and again, all ideas of self – exploration, reflection, and expression. Incorporating opposing surfaces found in the outdoors – Rough/Smooth; Wet/Dry; Matte/Lustre; Luminous/Dark; Teeming/Empty; Opaque/Transparent – Jachna enhances natural contrasts, and from his simplified compositions, complex revelatory images arise.

“Joseph D. Jachna: Surface Contradictions 1958-1971” December 7 – February 23, 2013 Stephen Daiter Gallery 230 W. Superior Street, Fourth Floor Chicago, IL 60654

FRAMING SPECIFICATIONS AND ADVICE GALLERY FRAMES

Standard Profile: 105 Type: standard gallery frame Wood & Finish: walnut wood frame with ebony finish Purchasing Options: joined wood frame Framing Advice: fitting gallery frames