Framing the Frame : Exhibition Proposal Presented to the Samuel P. Harn Museum of Art. Exhibition Seminar, Dr. Glenn Wil...

MISSING IMAGE

Material Information

Title:
Framing the Frame : Exhibition Proposal Presented to the Samuel P. Harn Museum of Art. Exhibition Seminar, Dr. Glenn Willumson, Spring 2011
Series Title:
Framing the Frame : Exhibition Proposal Presented to the Samuel P. Harn Museum of Art. Exhibition Seminar, Dr. Glenn Willumson, Spring 2011
Physical Description:
Exhibition Proposal
Language:
English
Creator:
Boyle, Kathleen
Ferrante, Laura
Soh, Hannah
Willumson, Glenn
Publisher:
George A. Smathers Libraries, University of Florida
Place of Publication:
Gainesville, FL
Publication Date:

Notes

Abstract:
Framing the Frame : Exhibition Proposal Presented to the Samuel P. Harn Museum of Art. Exhibition Seminar, Dr. Glenn Willumson, Spring 2011

Record Information

Source Institution:
University of Florida
Holding Location:
University of Florida
Rights Management:
Applicable rights reserved.
System ID:
AA00014208:00001


This item is only available as the following downloads:


Full Text

PAGE 1

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Table of Contents Abstract Exhibition Proposal Introductory Wall Panel Object Checklist Object Images Object Labels Floor Plan Layout and Design 3 D Model Education and Outreach Aiming and Framing Frame Quest Frame the Art Museum Educational Guide Press Release Sources PowerPoint Presentation Digital Copy Credit

PAGE 2

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Abstract The task of any discussion of frames and framing in the arts is first and foremost to counter the tendency of the frame to invisibility with respect to the artwork. We see the artwork, but we do not see the frame. Paul Duro, The Rhetoric of the Frame The relationship between fine art and framing devices is frequently accepted without critical examination. Picture frames have been in existence for centuries, hugging works of art as they barrier the picture plane from the wall upon which it hangs. Beca use the traditional frame is common, its presence is often received with little consideration if not dismissed entirely as being trivial to the viewing experience. It is when one questions the reason for frames that the persuasiveness of this device revea ls itself. Framing the Frame is an exhibition that will explain how framing influences the ways people understand art. By inviting viewers to critically engage with various framing methods applied within an art museum, Framing the Frame will draw atten tion to the importance presentation plays in shaping the societal appreciation for visual art. The exhibition will pose questions such as, "Why do we use frames?", "How do frames shape the ways we see art?", and "What are examples of non traditional frame s?" in order to evoke analytical reflection from museum visitors. Through the juxtaposition of conventional and unusual framing displays, curatorial methods will heighten contrasts between exhibits in order to visually reveal specific yet subtle framing s uggestiveness. Framing the Frame will also provide visitors the educational opportunity to witness framing techniques in other galleries of the museum in an effort to further identify a wide range of framing methods. Although Framing the Frame will focus on framing techniques in art museums, the works of art are not the subjects of the exhibition. Complimenting the educational guide that ventures into the rest of the museum, Framing the Frame will exhibit a selection of artworks from every department of the museum in order to demonstrate the various framing practices characteristic of geographic location, time period, and medium. In the introductory quote, Paul Duro explains that when viewing art, "We see the artwork, but we do not see the frame." This exhibition invites visitors to experience the frame.

PAGE 3

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Fram ing the Frame Introductory Wall Panel The task of any discussion of frames and framing in the arts is first and foremost to counter the tendency of the frame to invisibility with respect to the artwork. We see the artwork, but we do not see the frame. Paul Duro, The Rhetoric of the Frame Why do frames matter? The picture frame is a tool that has existed for centuries. Established as a fine art tradition, frames are commonly accepted as devices that make works of art appear more attractive. Yet, frames serve more than a decorative function. Framing the Frame invites viewers to engage critically with various framing methods within an art museum. From different styles of picture frames to design techniques used for displays, this exhibition ou tlines the functions of frames as a means of influencing one's understanding of art. Why do we use frames? How do frames shape the ways we see art? What are examples of non traditional frames? The frame serves an important purpose; it becomes a window, through which viewers see art. Framing the Frame will highlight the ways in which frames perform this duty, both within the exhibition and throughout other galleries in the Harn. By drawing atte ntion to the image within, the border of the frame mediates as a boundary between the outside world and art. Museum visitors ignore frames, focusing instead on the works of art they contain. It is time to see the frame.

PAGE 4

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Har n Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Object Checklist 1. Unknown Copy after Titian's The Penitent Magdalene 19 th Century Oil on canvas 40 x 30 in. (101.6 x 76.2 cm) F ramed: 55 1/2 x 45 1/2 in. (141 x 115.6 cm) PA 83 4 Gift of Jeannean Green 2. Eugene Atget France, 1857 1927 Rue Boutebrie, Paris c 1900 Albumen silver print 8 1/2 x 6 7/8 in. (21.6 x 17.5 cm) 2004.40 Gift of Melvin and Lorna Rubin 3. Diane Arbus American, 1923 1971 Child Teasing Another 1960 Gelatin silver print by Neil Selkirk, 1990s Mat: 20 x 16 in. (50.8 x 40.6 cm) Image: 8 7/8 x 6 in. (22.5 x 15.2 cm) 2005.42 Museum purchase with funds provided by the Melvin and Lorna Rubin Endowment 4. Andy Warhol American, 1928 1987 Soup Can, Vegetarian Vegetable 1964 Silkscreen Print mark: 32 x 18 3/4 in. Frame: 41 5/8 x 29 1/4 in. (105.7 x 74.3 cm) 1989.12.1 Gift of Richard Anuszkiewicz

PAGE 5

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 5. Campbell's Vegetable Vegetarian soup can 2011 Aluminum, paper, soup 6. Mende people, Southern Sierra Leone Hammock c. 1950 Cotton 26 in. x 7 ft. 3 in. (66 x 221 cm) 2002.31.8 Gift of Lewis Berner and family 7. Yoshiyuki Japanese, active late 19th early 20th century Vase with Design of Goose by a Stream Meiji, Meiji period, 1868 1912 Silver, gold, and copper 8 3/8 in. (21.2 cm) 2003.44.1 Museum purchase, gift of Dr. and Mrs. David A. Cofrin with additional funds provided by the David A. Cofrin Art Acquisition Endowment 8. Hu Wenming Chinese, active late 16th early 17th century Incense Tool Vase Ming Dynasty (1368 1644) 7 1/4 x 2 1/2 x 1 3/4 in. (18.4 x 6.4 x 4.4 cm) Bronze with gilding and inlaid silver wire 2005.21.1 Museum purchase, gift of private donors 9. Katsushika Hokusai Japanese, 1760 1849 Okitsu, from an untitled series of views of the T™kaido Roa d station c. 1800 4 7/8 x 6 1/2 in. (12.4 x 16.5 cm) Color woodcut PR 00 23 Gift of Rudolph Weaver 10. Iatmul people, Papua New Guinea, Korogo village Canoe Prow 20th century Wood 39 1/2 x 15 1/4 x 8 in. (100.3 x 38.7 x 20.3 cm) S85 SPNG G204 Gift of Dr. Sa muel Spring

PAGE 6

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Object Images Unknown Copy after Titian's The Penitent Magdalene 19 th Century Oil on canvas 40 x 30 in. (framed: 55 1/2 x 45 1/2 in.) PA 83 4 Framing Method: gilded frame, hang at eye level Samuel P. Harn Museum of Art, University of Florida, Gainesville; Gift of Jeannean Green

PAGE 7

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Choice #2: Charles Henry Passey British, 1870 1885 Wheat Field 1878 Oil on canvas 16 x 24 in. (framed: 21 3/4 x 29 1/2 x 2 in.) PA 70 65 Choice #3: Emile Sabouraud French, b. 1900 Vue sur Dieppe Oil on canvas n.d. 17 x 25 in. (framed: 25 3/8 x 33 in.) 1995.5.13 Guidelines: Modern collection Oil painting c. 1900 Gilded frame Width 36 in. or less

PAGE 8

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Object Images Framing Method: matted, same frame, hang vertically Samuel P. Harn Museum of Art, University of Florida, Gainesville; Gift of Melvin and Lorna Rubin Samuel P. Harn Museum of Art, University of Florida, Gainesville; Museum purchase with funds provided by the Melvin and Lorna Rubin Endowment Eugene Atget France, 1857 1927 Rue Boutebrie, Paris c. 1900 Albumen silver print 8 1/2 x 6 7/8 in. 2004.40 Diane Arbus American, 1923 1971 Child Teasing Another 1960 Silver gelatin print 20 x 16 in. 2005.42

PAGE 9

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Choice #2: Paula Chamlee American, b. 1944 Garnet Tucson, AZ 120 #3 c. 1990 Gelatin silver print 8 x 10 in. 2006.38.3 Choice #3: He lmust Newton Australian, b. Germany 1920 2004 A Scene from Pina Bousch Ballet 1983 Platinum print 13 x 16 in. 1994.23.8 Guideline s: Photography collection Black & white photograph One early (before 1900) and one modern (after 2000) Matted Both in same frame

PAGE 10

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Object Images Andy Warhol American, 1928 1987 Soup Can, Vegetarian Vegetable 1964 Silkscreen 32 x 18 3/4 in. (frame: 41 5/8 x 29 1/4 in.) 1989.12.1 Framing Method: matted, framed, hang elevated above eye level Samuel P. Harn Museum of Art, University of Florida, Gainesville; Gift of Richard Anuszkiewicz

PAGE 11

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Object Images Campbell's Vegetarian Vegetable soup can 2011 Aluminum, paper, soup (Dimensions) Framing Method: pedestal, vitrine, against wall

PAGE 12

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Object Images Hammock Mende people, Southern Sierra Leone c. 1950 Cotton 26 in. x 7 ft. 3 in. 2002.31.8 Framing Method: object mounted on wall, empty picture frames hanging from ceiling at various heights Alternative Framing Method: object mounted on wall, Plexiglas in front of object, frame decals on Plexiglas Samuel P. Harn Museum of Art, University of Florida, Gainesville; Gift of Lewis Berner and family

PAGE 13

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Choice #1 : Textile blanket (mens weave) Benadir 10 ft. 2 in. x 5 ft. 5 in. T 82 135 Guideline s: Non Western mural/narrative/textile At least 6 feet wide Unframed

PAGE 14

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Object Images Yoshiyuki Japanese, active late 19 th early 20 th century Vase with Design of Goose by a Stream Meiji, Meiji period, 1868 1912 Silver, gold, and copper 8 3/8 in. 2003.44.1 Framing Method: low pedestal, tall vitrine Samuel P. Harn Museum of Art, University of Florida, Gainesville; Muse um purchase, gift of Dr. and Mrs. David A. Cofrin with additional funds provided by the the David A. Cofrin Art Acquisition Endowment

PAGE 15

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Choice #2 : Covered Vase China Imperial Qianlong Reign (1736 1795), Attributed to the Qing Dynasty (1644 1911) Nephri te, jade 12 x 7 7/8 x 1 1/2 in. 1987.3.26 Choice #3: Kozan Japanese, active late 19 th early 20 th century Vase with Buddhist Symbols Meiji, Meiji period (1898 1912) Bronze with gilt stand 11 13/16 in. 2003.44.2 Guideline s: Asian collection Short height Visually appealing from top

PAGE 16

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Object Images Framing Method: pedestal, vitrine Samuel P. Harn Museum of Art, University of Florida, Gainesville; Museum purchase, gift of private donors Samuel P. Harn Museum of Art, University of Florida, Gainesville; Gift of Rudolph Weaver Hu Wenming Chinese, active late 16 th early 17 th century Incense Tool Vase Ming Dynasty (1368 1644) 7 1/4 x 2 1/2 x 1 3/4 in. Bronze with gilding and inlaid silver wire 2005.21.1 Katsushika Hokusai Japanese, 1760 1849 Okitsu from an untitled series of views of the T™kaido Road station c. 1800 4 7/8 x 6 1/2 in. Color woodcut PR 00 23

PAGE 17

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Object Images Canoe Prow Iatmul people, Papua New Guinea, Korogo Village 20 th century Wood 39 1/2 x 15 1/4 x 8 in. S85 SPNG G204 Framing Method: pedestal, against wall, object slightly suspended above pedestal Samuel P. Harn Museum of Art, University of Florida, Gainesville; Gift of Dr. Samuel Spring

PAGE 18

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Choice #2: Spear African, Libera Wood, metal, cowrie shells, fabric, leather 38 1/4 x 2 3/4 x 2 in. 1995.28.66 Choice #3: Bowl New Guinean, Siassi c. 1915 Wood 24 1/4 x 8 1/2 x 3 1/2 in. S85 SPNG G120 Guideline s: Oceanic or Pre Columbian collection Wide object

PAGE 19

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Object Label Text 1. Unknown Copy after Titian's The Penitent Magdalene 19 th Century Oil on canvas 40 x 30 in. (101.6 x 76.2 cm) F ramed: 55 1/2 x 45 1/2 in. (141 x 115.6 cm) PA 83 4 Gift of Jeannean Green The use of frames in Europe began with small panel paintings in the 12 th and 13 th century. Initially, the frames and the paintings were made from the same piece of wood. Over time, the more efficient method of the engaged frame e merged. This process attaches wooden custom fit molding to flat wooden panels for the artwork. Prior to the Renaissance, many frames in Europe were customized architectural elements. During the 14 th century, a rise in arts patronage necessitated frames with more portability. The portable, removable frame became an essential component in the display of painting on canvas. Most present day frames are still based upon this model a three dimensional border that accents the artwork it borders. 2. Eugene Atge t France, 1857 1927 Rue Boutebrie, Paris c 1900 Albumen silver print 8 1/2 x 6 7/8 in. (21.6 x 17.5 cm) 2004.40 Gift of Melvin and Lorna Rubin Diane Arbus American, 1923 1971 Child Teasing Another 1960 Gelatin silver print by Neil Selkirk, 1990s Mat: 20 x 16 in. (50.8 x 40.6 cm) Image: 8 7/8 x 6 in. (22.5 x 15.2 cm) 2005.42

PAGE 20

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Museum purchase with funds provided by the Melvin and Lorna Rubin Endowment The advent of photography in the late 19 th century introduced a new medium for fine art. Museums f rame photographs in simple frames regardless of the time period in which the photograph was taken. This presents a contrast to the various frames used for paintings of similar date. How does the style of frame influence the way you see the photograph? I f the photographs were placed in carved, gilded frames would it change the way you think about the image? 3. Andy Warhol American, 1928 1987 Soup Can, Vegetarian Vegetable 1964 Silkscreen Print mark: 32 x 18 3/4 in. Frame: 41 5/8 x 29 1/4 in. (105.7 x 74. 3 cm) 1989.12.1 Gift of Richard Anuszkiewicz Contemporary art challenges the need for frames. Some works benefit from a frame's appearance while others bypass the use of frames entirely. Pop art collapses the space between everyday life and art. It of ten uses commercial imagery as social commentary. Andy Warhol is known for his "factory" that produced hund reds of controversial silkscreened works. Warhol's Soup Can, Vegetarian Vegetable is both matted and framed. Does the frame intensify or weaken the commercialism of the image? Does it make the image a work of art? Notice how this painting has been hung high in the "skyed" position. By elevating Soup Can, Vegetarian Vegetable in con trast to the surrounding artwork, it disrupts the harmony of the wall. 4. Campbell's Vegetable Vegetarian soup can 2011 Aluminum, paper, soup Does displaying an object in an art museum automatically make it a work of art? Warhol changed the relationship between popular culture and art. Here the exhibition questions the connections between an infamous painting and the original object it depicts. By framing this common object behind glass in a museum, how are your perceptions of the can confr onted? Does this juxtaposition influence you to think differently about the Warhol painting? 5. Mende people, Southern Sierra Leone Hammock c. 1950 Cotton 26 in. x 7 ft. 3 in. (66 x 221 cm) 2002.31.8 Gift of Lewis Berner and family

PAGE 21

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 What happens when dec orated materials like canvas, wood, or paper are unframed? It simply becomes an object with a decorated surface. A picture frame hides the edges of such materials and disguises the fact that the image is applied to an object. Why then are the edges of t his textile exposed? What kinds of objects are unframed? These frames draw attention to specific parts of the textile. Frames create visual borders. The borders cut off the lines, colors, patterns, and textures of the painting, as well as help focus at tention on the enclosed spaces. 6. Yoshiyuki Japanese, active late 19th early 20th century Vase with Design of Goose by a Stream Meiji, Meiji period, 1868 1912 Silver, gold, and copper 8 3/8 in. (21.2 cm) 2003.44.1 Museum purchase, gift of Dr. and Mrs. D avid A. Cofrin with additional funds provided by the David A. Cofrin Art Acquisition Endowment Museums generally show objects at eye level. This case's altered proportions subvert viewer expectations by creating a new visual experience. Is it worse? Is it better? 7. Hu Wenming Chinese, active late 16th early 17th century Incense Tool Vase Ming Dynasty (1368 1644) 7 1/4 x 2 1/2 x 1 3/4 in. (18.4 x 6.4 x 4.4 cm) Bronze with gilding and inlaid silver wire 2005.21.1 Museum purchase, gift of private donors Katsushika Hokusai Japanese, 1760 1849 Okitsu, from an untitled series of views of the T™kaido Road station c. 1800 4 7/8 x 6 1/2 in. (12.4 x 16.5 cm) Color woodcut PR 00 23 Gift of Rudolph Weaver Display cases work the same way as picture fra mes by creating a discrete space for images. Placing these two objects together creates a single image that imposes a relationship on them. Would such a relationship exist if they were in separate display cases?

PAGE 22

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 8. Iatmul people, Papua New Guinea, Korogo village Canoe Prow 20th century Wood 39 1/2 x 15 1/4 x 8 in. (100.3 x 38.7 x 20.3 cm) S85 SPNG G204 Gift of Dr. Samuel Spring The edges of a pedestal restrict the area surrounding an object and create a frame for it. This display creates a visual tension by allowing the object to leave its designated space and intrude upon the viewers' space. How does this display violate the idea that frames form boundaries?

PAGE 23

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Langley Foyer Floor Plan

PAGE 24

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame Langley Foyer Layout and Design ! 1. Unknown Copy after Titian's The Penitent Magdalene PA 83 4 2. Eugene Atget Rue Boutebrie, Paris 2004.40 Diane Arbus Child Teasing Another 2005.42 3. Andy Warhol Soup Can, Vegetarian Vegetable 1989.12.1 4. Campbell's Vegetarian Vegetable soup can Aluminum, paper, soup 5. Mende people, Souther Sierra Leone Hammock 2002.31.8 6. Yoshiyuki Vase with Design of Goose by a Stream 2003.44.1 7. Hu Wenming Incense Tool Vase 2005.21.1 Katsushika Hokusai Okitsu, from an untitled series of views of the T™kaido Road station PR 00 23 8. Iatmul people, Papua New Guinea, Korogo Village Canoe Prow S85 SPNG G204

PAGE 25

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame 3 D Model of Layout ! !

PAGE 26

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame 3 D Model of Layout ! !

PAGE 27

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame 3 D Model of Layout ! !

PAGE 28

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Samuel P. Harn Museum of Art Langley Foyer Exhibition Proposal Framing the Frame 3 D Model of Layout

PAGE 29

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 FOR IMMEDIATE RELEASE April 20, 2011 Framing the Frame Exhibition to Open at the Samuel P. Harn Museum of Art Graduate students in the University of Florida's Museum Studies program created and designed a new exhibition for the Langley Foyer at the Harn Museum of Art. GAINESVILLE, Fla. -The relationship between fine art and framing devices is frequently accepted without serious examination. In an exhibition created and designed by University of Florida Museum Studies graduate students Framing the Frame will invite visitors of the Samue l P. Harn Museum of Art to engage critically with the use of frames in art museums. Picture frames have been in existence for centuries, hugging works of art as they barrier the picture plane from the wall upon which it hangs. Because the traditional frame is common, its presence is often received with little consideration if not dismiss ed entirely as being trivial to the viewing experience. It is when one questions the reason for frames that the persuasiveness of frames reveal themselves Framing the Frame will draw attention to the importance presentation plays in shaping the societ al appreciation for visual art. The exhibition will pose questions such as, "Why do we use frames?", "How do frames shape the ways we see art?", and "What are examples of non traditional frames?" in order to evoke analytical reflection from museum visitor s. Through the juxtaposition of conventional and unusual framing displays, curatorial methods will heighten contrasts between exhibits in order to visually reveal specific yet subtle framing suggestiveness. Located in the Langley Foyer, a small gallery space attached to the Harn's rotunda, Framing the Frame will also provide visitors the opportunity to witness framing techniques in other galleries of the museum Interactive educational activities such "Aimin g and Framing" and "Frame Quest" suggest visitors discover framing devices that could no t be shown in the petite Foyer. Unlike most art exhibitions, the specific works of art are not the main subjects of the Framing the Frame Rather, the exhibition high lights historical and curatorial art presentation decisions that influence public understanding of art. Framing the Frame will exhibit a selection of artworks from every department of the Harn museum in order to demonstrate the various framing practices c haracteristic of geographic location, time period, and medium. The mission of the Harn Museum is to promote the power of the arts to inspire and educate people and enrich their lives." The museum is located on the west side of the University of Florida's main campus at SW 34th Street and Hull Road. The museum offers free admission, and is open Tuesday Friday 11 a.m. 5 p.m., Saturday 10 a.m. 5 p.m., and Sunday 1 5 p.m. For more visitor inform ation, please visit the Harm Museum of Art's website at www.harn.ufl.edu or call the visitor services information line at (352) 392 9826.

PAGE 30

Exhibitions Seminar Proposal: Framing the Frame ; Kathleen Boyle, Laura Ferrante, Hannah Soh; April 20, 2011 Sources Bailey, W. H. Defining Edges: A New Look at Picture Frames New York: Harry N. Abrams, Inc., 2002. Derrida, Jacques. The Truth in Painting Trans. Geoff Bennington and Ian Macleod. Chicago: University of Chicago Press, 1987. Duro, Paul, ed. The Rhetoric of the Frame: Essays on the Boundaries of the Artwork New York, Cambridge University Press, 1996. Greenberg, Reesa, Bruce W. Ferguson, and Sandy Nairne, eds. Thinking about Exhibitions New York: Routledge, 1996. Oberhardt, Suzanne. Frames within Frames: The Art Museum as Cultural Artifact Washington, D.C.: Peter Lang Publishing, Inc., 2001. Putnam, James. Art and Artifact: The Museum as Medium New York: Thames & Hudson, 2009. Savedoff, Barbara E. Frames. The Journal of Aesthetics and Art Criticism 57.3 (Summer 1999): 345 356. Tate Britain. Frame Conservation. Tate Online. 19 April 2011. http://www.tate.org.uk/conservation/frames Wilner, Eli, ed. The Gilded Edge: The Art of the Frame San Francisco: Chronicle Books, 2000.