Essex Art Club

President: Prof. Ken Howard, RA, RWS,  NEAC, RWA, ROI, RBA, RBSA, ARCA.

 

Vice President: William Porter

Exhibitions

Chairman's Announcement: Exhibiting Prints as Works of Art

There has been some confusion over what kind of creative prints are eligible to be included in the Club's exhibitions. After taking expert advice from members of the Executive Committee and the Selection Committee Convener, I am proposing the following rules be introduced for the exhibiting of prints at all future Essex Art Club exhibitions.

 

No prints made by photocopying or computer enhanced methods whereby the print is a facsimile of an original image, whether by laser or giclee (inkjet) process, will be accepted. Only prints made from hand-made plates or stencils within the following definition will be permitted:

 

RELIEF (BLOCK) PRINT
Any image inked and transferred to paper from the raised surface of a block as in wood engraving, wood-cut, lino-cut or cuts from any similar material.

 

INTAGLIO PRINT
Any image engraved or recessed into metal or other material whereby the ink is transferred from the channels onto paper under pressure, including etching, aquatint, mezzotint and drypoint.

 

PLANOGRAPHIC (LITHOGRAPHIC) PRINT
Any image inked and transferred from a flat surface onto paper based on the mutual antipathy of oil and water.

 

STENCIL (SILKSCREEN) PRINT
Any image created by the process of stopping out (masking) certain areas of a fine-mesh material (silk) and squeezing ink through the unmasked areas onto paper or some other surface.

 

MONOPRINT
Any painted image transferred by pressure from one surface (usually glass) onto another surface (usually paper).

 

COLLAGRAPH PRINT
Any image made up from a collage of textured materials which is inked and transferred to paper.

 

All prints must be signed and numbered relative to the total print run. It is axiomatic that there can be no reprints and that the original plates are either destroyed or sufficiently altered as to constitute a different image.

 

It is hoped that arrangements can be made for a designated site, separate from the main exhibits, be set up specifically for the sale of reproduction copies of works in the form of prints and postcards.

 

Signed by the Chairman, Essex Art Club

(Ron Clark 2003)

 

Footnote:

This is what has happened at recent exhibitions in accordance with the above rules.

 

Prints have been classified as original prints if they fall strictly within the above definition.  Prints, of high quality,  made by the inkjet (giclee) process, but not by photocopying or laser processes, have been acceptable for displaying, unframed, in browser boxes at local (i.e. not London) exhibitions.  These are described as reproduction prints. Reproduction prints must be clearly marked as such, and the Chairman has ruled that they must not be numbered as a limited edition.

 

 

Frames and Fixings for Exhibitions

In the past few years there has been a virtual revolution in suitable framing for exhibitions. In the light of questions raised at our recent show at Wanstead House the Committee thought it would be a good time to clarify the situation.

 

More and more canvases are being hung without traditional frames: what have become known as 'box' frames. These are generally deeper than standard canvases, but have their edges finished in a neat and tidy manner. They are either painted as a continuation of the front of the canvas, or they are painted in a clean, flat colour. For future exhibitions your committee have agreed to accept box frames but with certain provisos:
The depth of the canvas must be at least 30mm.

The edges must be free of tacks, pins or other disfigurement.

The edges must be neatly finished with paint.

 

All other canvases or painted surfaces should be framed by traditional methods unless a cut-out shape forms part of the work's concept: e.g. some trompe l'oeil pieces.

 

Oil paintings must be dry.

 

Pictures using mountboard or paper must be glazed.

 

FIXINGS
All frames must be securely constructed. It is imperative, no matter whether a canvas be traditionally framed or not, that D-rings or some similar device which lies flat, (not O-rings) are the only hanging fixings used. These lie close to the surface of the frame and thereby cause no damage to other works when being transported or stored. D-rings in various sizes are readily available from B&Q and other DIY stores rather than art shops. They should be positioned approximately a quarter way down from the top edge and joined by a taut cord or wire.
Glazed works should be securely taped at the back with an appropriate framing tape- (not Sellotape, parcel tape or masking tape, all of which are unstable).

 

UNFRAMED PRINTS
Unframed prints or unframed paintings must be presented in stiff mounts and enclosed in . a transparent protective sleeve.

 

Ron Clark, Chairman

 

Footnote: 

These rules are necessary because some pictures have been presented for exhibition which were unsatisfactory in various ways including: wet oil paintings; pictures in frames which were likely to collapse causing a danger of broken glass; pictures framed with glass without proper sealing-tape at the back, pictures with  0-rings, pictures without proper hanging cord.