Preservation

Total Page:16

File Type:pdf, Size:1020Kb

Preservation WELCOME While browsing our interactive catalog please feel free to cick on any product to launch our website to either obtain more information or to place your order. You can also Visit our Web Site directly at: www.archivalmethods.com Or Call our Toll Free Number to Order 866.877.7050 Museum Board & Frames, MEMOIR by Casey Inch Pages 28–31 www.caseyinch.com The art of PRESERVATION 2010 – 2011 CATALOG www.archivalmethods.com Digital Print & leather Portfolios Index CUSTOM PRODUCTS When the presentation of your work matters, these two portfolio options make the grade. Our Portfolios & Cases digital print folio is constructed of archival binder board (.098), bound in smooth, black, linen- Accent Portfolios ................... 4 textured fabric with a Velcro ™ closure. The lining is of acid-free paper in bright white. Inside depth Carry Case ............................ 7 1 is 1/2". Interior dimensions are ⁄8" larger than the intended format for safe print storage. Our leather Digital/Leather Print Folios ...... 3 portfolios are constructed of bounded leather; interior are lined with acid-free, lignin-free black DTC Carry Case .................... 7 paper and have magnate closure. Embossed grain pattern gives the folios the tactile feel of leather. Gallery Portfolio ..................... 3 Jewel Case .......................... 13 Each portfolio is available in the most popular digital sizes and will store up to six matted prints and Museum Case ........................ 6 between 36 and 48 un-mounted prints, depending on paper weight. Onyx Portfolio ....................... 5 Tenba Cases .......................... 6 Digital Transport Shipping Case ......... 7 Print Folio Boxes 4x6" Print Boxes ............. 16-17 * Unless otherwise noted, all specified CD Storage Box................... 14 Collection Edition Boxes ....... 23 dimensions are interior dimensions Label Holders ...................... 12 for our boxes, portfolios and cases. Metal Edge ...................... 19-22 Print Lux Boxes .................... 22 Proof Boxes ......................... 23 Record Storage Boxes .......... 19 Safe Ship Boxes .................... 23 Digital Print Folio 1⁄2" Depth 1 2-9 10+ 3 1 Textile Storage Box .............. 18 70-011 8 ⁄4 x 11 ⁄4" $27.35 $24.60 $23.25 Binders & Albums 1 1 70-014 11 ⁄4 x 14 ⁄4" 34.25 30.85 29.10 Accent Binder Box ......... 12-13 3 1 Accent Album ........................ 8 70-017 11 ⁄4 x 17 ⁄4" 35.25 31.75 29.95 ............... Album Mount Hinge 8 1 1 70-019 13 ⁄4 x 19 ⁄4" 42.60 38.35 36.20 Binder / File Hangers .............. 9 1 1 Binder Box ............................. 9 70-022 17 ⁄4 x 22 ⁄4" 51.00 45.90 43.35 CD / DVD Pages ............ 12-13 Collector Grade Binders .. 10-11 Digital Print Folio 1" Depth Leather Page Protectors .................... 10 1 1 70-2432 24 ⁄4 x 32 ⁄4" 124.95 112.45 106.20 Portfolio Print and Slide Pages ............ 11 Ring Folio .............................. 9 Leather Portfolio 1⁄2" Depth Enclosures Black Burgundy Navy Blue Size 1 2-9 10+ ............... Crystal Clear Bags 26 3 1 73-5811 73-6811 73-7811 8 ⁄4 x 11 ⁄4" $40.75 $36.70 $34.65 File Folders .......................... 27 1 1 HD Poly Envelopes .............. 25 73-51114 73-61114 73-71114 11 ⁄4 x 14 ⁄4" 46.95 42.25 39.90 ................... Paper Envelopes 26 1 1 73-51117 73-61117 73-71117 11 ⁄4 x 17 ⁄4" 54.70 49.25 46.50 Polyethylene Bags ................. 25 1 1 73-51319 73-61319 73-71319 13 ⁄4 x 19 ⁄4" 59.40 53.45 50.50 Kit & Accessories Black Burgundy Navy Blue 35mm Slides Box Storage .... 15 1 1 73-51722 73-61722 73-71722 17 ⁄4 x 22 ⁄4" 71.85 64.65 61.05 CD / DVD Storage ......... 13-14 Desiccant Canisters .............. 18 Film Storage Kits ................... 15 Mounting Corners ................ 30 ArchiA hival SStorage and Presentation Products Visit our Web Site: archivalmethods.com Newspaper Storage Kits ....... 18 For complete archival specifications. QPO 4x6" Print Storage . 16-17 White Gloves ...................... 16 Tapes .................................. 29 Sleeves CD / DVD Sleeves ............... 14 Clear Mount Sleeves ............ 10 Print and Film Sleeves ........... 24 Side Loading ........................ 24 Frames Custom Cut Frames .. Web Site Complete Frame Kits ............ 30 Pre-Cut Aluminum Frames .... 31 UV Filtering Acrylite ............. 31 ArchiA hival StorS age and Presentation Products Board & Paper 100% Museum Board .......... 28 Archival Paper & Tissue ........ 27 Acid Free Foamboard ........... 31 Conservation Board.............. 29 Pre-Cut Mats ...................... BC Copyright © 2010 by Archival Methods. Prices in this catalog are subject to change. 2 Visit our Web Site: archivalmethods.com • Or Call Toll Free to Order 866.877.7050 Visit our Web Site: archivalmethods.com • Or Call Toll Free to Order 866.877.7050 3 02 | 03 accent Portfolios onyx Portfolio Box Accent Portfolios were designed in response to the needs of commer- cial and fine art photographers, design studios and advertising agencies Portfolio boxes are often the ideal choice where “presentation” is as who require high-level presentations. Due to the popularity of this important as storage and protection. This is particularly applicable for fine product and request from our customers, the Accent Grey Portfolio 2" Onyx photographs, and artworks that are regularly presented or viewed. Our is now available with a 1" and 2" depth in the 9x12" size. This series of Portfolio Box Onyx Portfolio can be considered a “locker” that converts to a “stage.” highly styled yet fully archival portfolios hold images and documents in Ruggedly constructed and well sealed against dust and contaminants, several standard formats, including digital. portfolios flip open to provide a handsome, complimentary presentation Each portfolio has an integral tray to hold and protect the presenta- for the artwork. tion and a wrap-around exterior with a flap-style magnetic closure. Portfolios come in a full range of standard sizes, including digital formats. The All are lined with white archival paper. The wrap-around exterior is most popular formats are offered in a choice of three depths, with white or covered with charcoal grey, techno-textured paper or black basket black lined interiors. The exterior is a black textured buckram fabric. weave with a soft-touch look and feel. It is resistant to dirt and scuffing 1 The hinged clamshell design allows the portfolio to lie flat when open; this and easily cleaned with a damp cloth. The 9 x 12" is ideal for 8 ⁄2 x11" 1 3 provides easy access and facilitates smooth and safe transfer of contents materials as well as international A4 (8 ⁄4 x 11 ⁄4") presentations. The 13 x 19" is especially designed to accommodate this popular digital from one side to the other with minimal handling. paper size. Capacity will vary depending on paper weight and if sleeves are used. One inch portfolios will hold 100 single weight prints. 3 1 ⁄8" Onyx Portfolio (White lining) 1 2-9 10+ 11-012 83/4 x 111/4" $29.95 $26.95 $25.45 Accent Grey Portfolios: 9 x 12 x 1 or 2" 1" Depth or 2" Depth 11-013 111/4 x 141/4" 30.50 27.45 25.95 Choose from 11-014 113/4 x 171/2" 47.65 42.90 40.50 a full range of 3 1 ⁄8" 11-015 133/4 x 191/2" 55.40 49.85 47.10 Accent Grey Portfolios – 9 x 12 x 1” 1-9 10-49 50+ Accent Black standard portfolio sizes & depths! 75-O912 Saffron Orange $33.85 $30.45 $28.75 Portfolio: 11-017 161/4 x 201/4" 73.65 66.30 62.60 9 x 12 x 1" 2" 75-B912 Lilac Blue-Violet 33.85 30.45 28.75 11-018 201/4 x 241/4" 98.25 88.45 83.50 75-BK912 Black 33.85 30.45 28.75 11-019 221/4 x 281/4’’ 118.50 106.65 100.75 4" 3 Accent Black Portfolios – 9 x 12 x 1” 1 ⁄8" Onyx Portfolio (Black lining) 11-115 133/4 x 191/2” 54.50 49.05 46.35 72-01912 Black / Black $33.85 $30.45 $28.75 72-02912 Black / Tan 33.85 30.45 28.75 2" Onyx Portfolio (White lining) Accent Features 72-03912 Black / Maroon 33.85 30.45 28.75 10-021 81/2 x 101/2" 24.40 21.95 20.75 • Combines function with fashion 10-030 83/4 x 111/4" 28.95 26.05 24.60 Accent Portfolio – 131/4 x 191/4 x 1" • Select from a range of colors to give your portfolio 10-022 91/4 x 121/4" 28.50 25.65 24.25 75-BK1319 Black $41.65 $39.55 $37.50 4" Onyx its own unique style 10-023 111/4 x 141/4" 28.95 26.05 24.60 Portfolio Box 3 3 • Magnetic closure system 10-024 11 ⁄8 x 17 ⁄8" 42.50 38.25 36.15 securely fastens and 5 10-025 123/4 x 16 ⁄8" 45.95 41.35 39.05 conveniently opens. Accent Portfolio: 131⁄4 x 191⁄4 x 1" 10-029 133/4 x 191/2" 52.35 47.10 44.50 10-026 141/4 x 181/4" 49.95 44.95 42.45 10-027 161/4 x 201/4" 69.95 62.95 59.45 accent grey Portfolios – 41⁄4 x 61⁄4 x 2" 10-031 171/4 x 221/4" 85.95 77.35 73.05 Combines function with fashion; select from a range of colors to 10-028 201/4 x 241/4" 97.90 88.10 83.20 give your boxes its own unique style. The magnetic closure system both securely fastens and conveniently opens for quick and easy 2" Onyx Portfolio (Black lining) access. Portfolio style boxes have an integral tray to hold and protect 3" Onyx Portfolio (White lining) 1 2-9 10+ 1 1 10-121 8 ⁄2 x 10 ⁄2" $26.25 $22.65 $22.30 4 x 6 prints.
Recommended publications
  • Caring for Your Prints, Drawings and Watercolours
    The text of this leaflet was originally prepared by Catherine Rickman ACR MIPC for the Museums & Galleries Commission, now MLA: The Museums, Libraries and Archives Council for its publication Ours for Keeps, and adapted for this publication. Suppliers of conservation quality storage and mounting materials Conservation by Design Ltd. Timecare Works, 5 Singer Way, Woburn Road Industrial Estate, Bedford MK42 7ATelephone 01234 853555 Website: www.conservation-by-design.co.uk Conservation Resources (UK) Ltd. Unit 2 Ashville Way, Oxford OX4 6TU Telephone 01865 747755 Website: www.conservationresources.com Caring for your Falkiner Fine Papers 76 Southhampton Row London WC1B 4AR Telephone 020 7831 1151 John Purcell Paper 15 Rumsey Road, London SW9 OTR Telephone: 0207 737 5199 www.johnpurcell.net prints, drawings Photograph copyright – the Trustees of the British Museum and watercolours Works of art on paper appear in almost every private or public collection and cover a vast range, both in subject matter and value. For further information contact IPC email:[email protected] www.ipc.org.uk In Europe, paper has been in common use as a picture support since the mid-fifteenth century and is still the material on which the majority of artists’ images are produced. Contact the Preservation Department Phone: +44 (0)20 8392 5200 email: [email protected] www.nationalarchives.gov.uk The National Archives Kew Richmond Surrey TW9 4DU The materials When handling the work of art, you should touch the paper as little as possible What you can’t do From old master drawings to contemporary prints, the paper is fundamentally and keep your fingers away from the image.
    [Show full text]
  • The Fine Art Trade Guild Standards for Mountboard (Mat Board) and Other Boards Used in Framing
    The Fine Art Trade Guild Standards for Mountboard (Mat Board) and other boards used in framing. Amended 10th June 2004 Copyright C Sumner, Fine Art Trade Guild Introduction These standards are directed to the composition, combinations, and characteristics of papers and paper-boards used in the framing of artwork, keepsakes and memorabilia. They help to give material categorisation of these to fit into the five levels of framing specified by the Fine Art Trade Guild. The objective of each level of framing is stated, with examples of the kinds of things for which that level is suitable. At present, all board that does not meet either the Cotton Museum Board standard or the Conservation Board standard will be deemed to be Standard Board and suitable for Commended, Budget and Minimum levels of framing only. The specifications for Standard Board may be further refined in due course as the quality of boards in this category vary greatly. Conservation Board is deemed to be acceptable for all levels except Museum level framing. Museum Board is deemed to be acceptable for all levels of framing. It is a prerequisite that the type of surface and texture must be specified relating to any board purporting to meet Guild Standards. If the surface is designed to accept decoration and embellishments, as in the case of Mountboard unless otherwise stipulated, it should be fit for the purpose. (FACTS Institute, USA, Test No. 6-97). International – Note that in some markets no distinction is made between Museum and Conservation Framing. In others, the terminology is reversed, i.e.
    [Show full text]
  • MINOR HISTORIES Statements, Conversations, Proposals MIKE KELLEY Edited by John C
    KELLEY MINOR HISTORIES Statements, Conversations, Proposals MIKE KELLEY edited by John C. Welchman What John C. Welchman calls the “blazing network of focused conflations” from which Mike Kelley’s styles are generated is on display in all its diversity in this second volume of his writings. The first volume, Foul Perfection, contained thematic essays and writings about other artists; this collection concentrates on Kelley’s own work, ranging from texts in “voices” that grew out of scripts for performance pieces to expository critical and autobiographical writings. Minor Histories organizes Kelley’s writings into five sections. “Statements” consists of twenty pieces produced MINOR between 1984 and 2002 (most of which were written to accompany exhibitions), including “Ajax,” which draws on MIKE KELLEY Homeric epic, Colgate-Palmolive advertising, and Longinus to present its eponymous hero; “Some Aesthetic High Points,” an exercise in autobiography that counters the standard artist bio included in catalogs and press releases; and a sequence of “creative writings” that use mass cultural tropes in concert with high art mannerisms—approximating in prose the visu- MINOR HISTORIES al styles that characterize Kelley’s artwork. “Video Statements and Proposals” are introductions to videos made by Kelley and other artists, including Paul McCarthy and Bob Flanagan and Sheree Rose. “Image-Texts” offers writings that accom- Statements, Conversations, Proposals pany or are part of artworks and installations. This section includes “A Stopgap Measure,” Kelley’s zestful millennial essay in social satire, and “Meet John Doe,” a collage of appropriated texts. The section “Architecture” features a discussion of Kelley’s Educational Complex (1995) and an interview in which he reflects on the role of architecture in his work.
    [Show full text]
  • Smart Museum of Art the University of Chicago
    SMARTSMART MUSEUM OF ART THE UNIVERSITY OF CHICAGO BULLETIN 2010–2012 WELCOME The Smart Museum’s 2010-2012 Bulletin to great e!ect through iPads accompanying special exhibitions EXPLORE is an opportunity to reflect on two and videos featuring original and intimate interviews with Our new interactive online Bulletin format allows you to years of exceptional growth in the life artists. In 2011, we also revamped our approach to membership easily view original content of this institution. During this time, and the annual fund by uniting them in the more streamlined on our Vimeo channel, we made significant additions to the Smart Partners program. It is not enough for us to present slideshows on Flickr, and other great resources. collection, collaborated with exciting the most distinctive and engaging visual arts programming Hyperlinks throughout this new partners, and presented inspiring possible: We also want to fully convey the vibrancy of our work document are indicated by exhibitions and programs. Guided by to all of our audiences. bold blue text. You can also skip from section to section a new strategic vision, we embraced a The Bulletin allows us to acknowledge everyone who, in a vari- using the buttons at the more active leadership role on the University of Chicago campus. ety of ways, has helped to encourage, challenge, and sustain the bottom of the page. Enjoy And while our sta! and budget increased judiciously alongside Smart Museum. Indeed, none of the accomplishments found in exploring! our ambitions, we are pleased to report that we have maintained the following pages would have been possible without our gener- CO N N EC T a balanced budget every year since the Museum opened in 1974.
    [Show full text]
  • Online Catalog Designers & Manufacturers Since 1943
    ONLINE CATALOG DESIGNERS & MANUFACTURERS SINCE 1943 WELCOME TO NEW BRUNSWICK LAMP SHADE Our goal is to provide you with a wide selection of the best production-made shades available, along with personal service and fast, reliable lead times. NBLS is a quality, custom-production hard-back shade manufacturer. Our customers include retail lighting stores, large and small lamp manufacturers, hotels, and commercial craftspeople. We make lamp shades to your specifications in production quantities. Our specialty is being able to make just about any size or shape in any material that is appropriate for hard-back lamp shades. Making top-notch lamp shades has been our specialty since 1943. No other lamp shade manufacturer matches our combination of high quality, broad range of materials, spectacular customer service, and quick manufacturing, at a competitive price. Your orders are tracked by the most sophisticated lamp shade manufacturing system in North America. This ensures timely delivery of consistently well-made shades. If you are just starting as a retailer or lamp manufacturer and need help selecting shades, call us. We have a Basic Stock List for retailers which shows the essential styles and sizes and comes with an introduction to selling lamp shades. If you are a lamp manufacturer trying to find the right shades for your lamps, we can offer you the same expert advice many top lighting firms rely on. Thank you for your interest in our company. We want to be your source for hard-back lamp shades. 7 Terminal Road, New Brunswick, NJ 08901 Phone: (732) 545-0377 Fax: (732) 545-6993 E-mail: [email protected] Website : www.nbls.com All lamp shades are not the same.
    [Show full text]
  • Archival Methods Onyx Portfolio
    Index CUSTOM PRODUCTS Portfolios & Cases Accent Portfolios ............................ 5 Custom Mat Cutting Digital Print Folio ............................. 5 Art Carry Case ................................ 6 EZ Carrier ..................................... 6 Museum Drop Front Box ................ 3 Museum Case ................................. 3 Onyx Portfolio ............................... 4 Tenba Presta Case .......................... 6 Transport Shipping Case .................. 7 Boxes 4 x 6" Print Storage Boxes .............. 12 Artifact Box .................................. 15 Black Proof Box .............................. 5 Corrugated Boxes ..................... 14-15 Label Holders ................................23 Metal Edge Boxes .......................8-11 Flat Storage Boxes .......................... 7 Proof Box 4x6'' ............................... 7 Window mats should enhance your print or artwork and sometimes Pre-Cut Record Storage Box ....................... 14 Textile Storage Box ........................ 13 sizes just aren’t the right size. Our easy to follow custom mat cutting form on our website, makes placing your order quick and easy. There are five easy steps and Binders & Albums Accent Binder Boxes ................. 20-21 the price calculates automatically with a diagram previewing the measurements. Accent Album ............................... 16 Find under Board & Paper on our website: www.archivalmethods.com Album Mount Hinge ....................... 17 Binder/File Hangers ........................ 17 Binder
    [Show full text]
  • Catalog Highlights Crescent’S Extensive Range of Products Designed for the Creation, Presentation and Display of Artwork
    The Crescent brand is recognized for its broad range of products, industry leadership in color and design, and commitment to quality. Crescent currently serves 168 countries worldwide and continues to expand its facilities to service those markets. In addition to its U.S. Headquarters, Crescent has facilities in Germany and Great Britain. Crescent Cardboard Company, LLC is the global leader in the manufacturing and marketing of paper and board products for the custom framing and art materials markets. Crescent has led the marketplace with a rich tradition of innovation and ground breaking products that have changed the industries we serve. www.crescentartists.com (888) 293-3956 This catalog highlights Crescent’s extensive range of products designed for the creation, presentation and display of artwork. TABLE OF CONTENT Art Boards 2-5 • Mix Media Boards • Collage Boards • Poster Boards • King Size Poster Boards • Marker Boards • Painting and Illustrations RENDR 6-7 RENDR No Show Thru No Bleed Thru Paper Sketchbooks, Drawing Pads and Rolls. Matboards 8-9 Create it, mount it, mat it and present it with Crescent Matboards. Mounting Boards 10-15 • Mounting & Presentation Boards • RagMat® Museum Solid Mounting Boards • Fome-Cor® Board • Gatorfoam® Board • Perfect Mount Board Retail Merchandise Displays 16 Crescent offers creative display options for retailers to help merchandise our fine products. Customer Support 17 Crescent has a complete Customer Support Team dedicated to helping you. www.crescentartists.com (888) 293-3956 No matter what media or technique you prefer, Crescent has an art board to fit your needs. For over 100 years, Crescent has served the art and framing communities, establishing a reputation for quality art, illustration and mounting boards that is unequaled.
    [Show full text]
  • 2020 Catalog 3 5-S2fh.Pdf
    www.legionpaper.com www.moabpaper.com www.risingmuseumboard.com www.solvart.com © Copyright 2020 Legion Paper Corporation All Rights Reserved. No portion of this publication may be reproduced without the permission of Legion Paper. OUR ROMANCE WITH PAPER Peace treaties are signed on it. Declarations of love are written on it. Artists’ works are portrayed on it. Of course, we mean paper; the medium that has evolved to reflect its own poetry, becoming an opportunity for pure innovation and unlimited creativity. Through the years, a melding of ancient craft and enlightened technology occurred, creating new practices and opening new horizons for expression in paper. When we trace its history, we find insight into man’s relentless imagination and creativity. Today, this convergence of ancient and modern continues and paper emerges with not only greater variety but a renewed appreciation of quality. To some, fine paper is the space that translates what is conceived in the mind to what is authentic. To others, having access to the right paper represents abundant possibility and profitability. The very selection of paper now becomes an adventure, realizing how the end result will vary based upon choice. Today, as in the years past, Legion Paper continues to source the finest papermakers around the globe, respecting the skill of the artisan and the unique attributes of the finished product. As we head into the future, Legion remains steadfast in its commitment to diversity, customer service and an unparalleled level of professionalism. We’re sure you will want to touch and feel some of the 3,500 papers described on the following pages.
    [Show full text]
  • Exhibition Checklist
    Art=Text=Art: Works by Contemporary Artists | www.artequalstext.com CHECKLIST OF THE EXHIBITION Art=Text=Art: Works by Contemporary Artists Zimmerli Art Museum, Rutgers, The State University of New Jersey, New Brunswick September 5, 2012 – January 6, 2013 All works drawn from the collection of Sally and Wynn Kramarsky, New York, unless otherwise noted. William Anastasi (American, b. 1933) Word Drawing Over Short Hand Practice Page 1962 graphite on found paper 4 3/8 x 3 1/8 inches (11.1 x 7.9 cm) Word Drawing Over Short Hand Practice Page 1962 graphite on found paper 5 7/8 x 4 3/8 inches (14.9 x 11.1 cm) Untitled (READING A LINE ON A WALL) 1967/1977 graphite on paper 6 3/8 x 11 inches (16.2 x 27.9 cm) The Museum of Modern Art, New York Gift of Sally and Wynn Kramarsky in honor of Maja Oeri Carl Andre (American, b. 1935) Untitled 1960 typewriting on paper 11 x 8 ½ inches (27.9 x 21.6 cm) The Museum of Modern Art, New York Gift of Sally and Wynn Kramarsky now now 1967 typewriting and ink on paper 8 ¼ x 8 inches (21 x 20.3 cm) The Museum of Modern Art, New York Gift of Sally and Wynn Kramarsky red red 1967 typewriting on paper mounted on colored paper 9 7/8 x 9 ¼ inches (25.1 x 23.5 cm) The Museum of Modern Art, New York Gift of Sally and Wynn Kramarsky Alice Aycock (American, b. 1946) The Garden of Scripts (Villandry) 1986 ink on paper 76 x 60 ½ inches (193 x 153 cm) Promised gift to the Yale University Art Gallery, New Haven, Connecticut Frank Badur (German, b.
    [Show full text]
  • California State University, Northridge Salvage And
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE SALVAGE AND SYNTHESIS An abstract submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Dona J: Geib January, 1983 The Abstract of Dona J. Geib is approved: Kenan BreazeJle Vida Hackman Tom Fricano, Chair California State University, Northridge ii ACKNOWLEDGEMENTS My compulsion to complete this graduate exhibition has been with the encouragement, stimulation and provoking advice of Tom Fricano, Kenan Breazeale and Vida Hackman. My family, sons Kurt and Kent, and especially my husband, Lorne, have worked extensively as collaborators, partners, jack-of-all trades and unpaid laborers. Without their help and consideration at a time when my attention was entirely single minded in purpose, I would indeed have felt the loss. To my artist/friends, neighbors and long-time family friends, thank you for your muscle, technical assistance and question answering and asking in time of need. iii TABLE OF CONTENTS Acknowledgements iii Introduction 1 Development 3 Technique I. Urban Discard Series - Intercalations 5 II. Urban Discard Series - Corrugated Sections 8 III. Urban Discard Series - House of Cardboard 11 Conclusion 12 Bibliography 13 Figure 1 - Intercalations I 14 Figure la - Intercalations I (detail) 15 Figure 2 - Intercalation/Doubled 16 Figure 2a - Intercalation/Doubled {detail) 17 Figure 3 - Intercalation III 18 Figure 4 - Corrugated Sections IX 19 Figure 5 - Corrugated Sections XI 20 Figure 6 - Corrugated Sections XII 21 Figure 7 - Corrugated Sections XIV 22 Figure 8 - Corrugated Sections ~1 23 Figure 9 - Sections XVa 24 Figure 10 - Sections I, II, III and IV 25 Figure lOa - Sections I, II, III and IV (detail) 26 Figure 11 - Corrugated Sections X 27 Figure 12 - House of Cardboard 28 Figure 12a ·· House of Cardboard (detail) 29 iv ABSTRACT SALVAGE AND SYNTHESIS by Dona J.
    [Show full text]
  • Smart Museum of Art the University of Chicago Bulletin 2013–2014 Welcome
    SMART MUSEUM OF ART THE UNIVERSITY OF CHICAGO BULLETIN 2013–2014 WELCOME With all the energy and three interlocking projects—two museum-wide exhibitions EXPLORE forward momentum drawn from the collection, and the GalleryX initiative—were Our interactive online Bulletin format allows surrounding the Smart designed to totally transform the look and feel of the Smart. you to easily view original Museum today, it gives us By inviting our audiences to explore in meaningful ways, and content on our Vimeo great pleasure to reflect on carefully evaluating the results, the Smart delved deeply into channel, slideshows on Flickr, and other great July 1, 2013, to June 30, 2014— what a great academic museum can and should be in the resources. Hyperlinks a fiscal year that went very decades ahead. throughout this document quickly, but that saw a great An undertaking as ambitious as the 40th is only possible are indicated by bold blue text. You can also skip deal accomplished. We presented a range of exceptional at a place like the Smart—a place where the staf and board from section to section exhibitions, including the first in-depth survey of conceptual fully embrace the potential and challenge of a yearlong using the buttons at the art in California, which was organized as part of the experiment, and with audiences equally engaged in big bottom of the page. Enjoy exploring! landmark Pacific Standard Time initiative; a multi-venue ideas. Indeed, in spring 2014, hundreds of visitors took presentation co-curated by two UChicago doctors; and, of part in a prelude to the 40th: a rotating display in the CO N N EC T course, Performing Images, a project that brought Professor contemporary art gallery that invited feedback about Friend us on Facebook Judith Zeitlin’s academic research to exquisite, colorful life diferent approaches to wall text.
    [Show full text]
  • 12. the Handling, Presentation, and Conservation Matting of Photographs
    393 The Permanence and Care of Color Photographs Chapter 12 12. The Handling, Presentation, and Conservation Matting of Photographs By Carol Brower Introduction The survival of original photographs requires a solid sentation of Photographic Prints” (see Appendix 12.1). appreciation of their value. This begins with the photo- Although many outside references are cited, this chapter graphic manufacturers, who must produce inherently stable draws chiefly on this author’s experience during the past color and black-and-white materials. It is then the photo- 21 years in providing conservation matting for a colorful grapher’s responsibility to select the most stable materials segment of the photographic art community centered in available and to process them correctly. Thereafter, proper New York City.1 display and storage, and careful handling, will be required throughout a photograph’s existence to prevent otherwise Section One: Attitudes and Practices inevitable damage and deterioration. Regarding the Care of Photographs Making top-quality photographic prints is an exacting process. This chapter is concerned with the intimate physical To a great extent, the value of an object, whether artis- care of such prints: It tells why it is necessary to provide tic or historical, depends on its physical condition. Obvi- individual physical protection for valued photographs and ously, historical photographs are more valuable when in illustrates how conservation matting can make an impor- perfect condition, but it is usually possible to obtain from tant contribution to both their preservation and presenta- them the desired information despite cracked emulsions, tion. The text is divided into four sections which deal with scratches, or fingerprints.
    [Show full text]