Framing and Installing: A Quick Guide to Presentation and Preservation
Framing and installing artworks is both an art and a science. Selecting the right frame and mode of installation is an important decision that can either enhance or diminish the art viewing experience. Beyond that, proper framing and installation are essential for the long-term preservation and protection of artwork. Whether for a gallery, private collection, or museum exhibition, attention to detail is key - to not only achieve the desired aesthetic, but also to safeguard the integrity of the art work over time.
Frame Selection
Framing, besides presentation - serves as the first line of defence against environmental damage. A carefully selected frame can enhance the visual impact of an art object while providing essential structural support and protection. Considering how the artwork will be displayed, stored and the frequency with which it will be transported should inform framing choices. When working with older works, it is best to retain original frame, as removing a period frame can reduce the value of the artwork. If a change of frame is necessary, preserving the original so it can be reinstalled in the future, can be a sensible approach.
Longevity
For an artwork to have the best chance of retaining its original condition, it is crucial that archival framing techniques are applied. This ensures that that all materials used in the framing process are non-damaging and - ideally - protective. This is especially important for works on paper. Key practices include using reversible mounting methods, archival-quality materials, and sealing techniques that shield against humidity, pollutants, and pests. Archival mats not only provide visual breathing room but also prevent direct contact with the glazing. Materials should be acid-free and lignin-free to avoid yellowing and degradation over time.
Glazing Options
The type of glass selected can also make a big difference: Standard glass is affordable but heavy and prone to glare, acrylic (Plexiglas) is more lightweight and shatter-resistant - a safer alternative, especially for traveling exhibitions.
Both glass and acrylic glazing can be treated to block harmful ultraviolet (UV) rays that contribute to the fading of pigments over time—though only to a certain extent. UV glass significantly slows the fading process by targeting the most damaging part of the light spectrum for fugitive pigments commonly found in works on paper and other sensitive materials. Because UV light is invisible to the human eye, filtering it out has little to no impact on the visual fidelity of the artwork.
To address reflections, non-glare glass is sandblasted on one side to diffuse reflected light, softening glare. However, placing non-glare glass in direct contact with the artwork can subtly its appearance. Alternatively, anti-reflective (AR) coated glass works by disrupting the energy of incoming light waves, causing them to scatter and cancel each other out. Under most lighting conditions, AR glass significantly reduces reflections without compromising the artwork’s appearance, although it does not eliminate all reflection entirely.
Installation: Placing with Purpose
Once framed, good installation considers aesthetics, safety, and environmental factors.
Fading
Light damage to sensitive materials is both cumulative and irreversible. To minimize harm to artworks on paper, museums carefully regulate light exposure. Each piece is assessed for sensitivity, then assigned a schedule outlining how long it can be displayed and at what light level. For instance, a durable piece might be shown for four months at a set light level and then rest for two years—or six months on view, followed by a three-year rest period. In home settings, these measures can be less stringent:
• Using UV-protective glazing for valuable works blocks the most harmful part of the light spectrum.
• Hanging artworks in low-light areas should be considered whenever possible.
• Installing UV-filtering covers on fluorescent lights can limit damage. Among common lighting types—fluorescent, incandescent, and LED—fluorescents emit the most UV for the same brightness and are therefore most damaging.
• Fading is most severe early in an artwork’s exposure; for example, an ink signature may fade rapidly at first before slowing down. Correctly assessing lighting and installing accordingly can make a big difference.
Lighting and Reflections
The effectiveness of AR coating is related to both the intensity and the direction of the light source.
When an artwork glazed with AR glass is illuminated more brightly than its immediate surroundings, most potential reflection sources are suppressed and may become imperceptible. Optimizing viewing conditions involves either increasing the luminance directed at the artwork or decreasing the ambient light levels around it. Overhead lighting is generally more effective at minimizing reflections than lateral lighting, as it reduces the incidence of glare at typical viewing angles.
Framing and installing fine art is as much about visual objectives as it is about a commitment to preservation and thoughtful presentation. Every choice—from materials and glazing to lighting and placement—affects both how an artwork is experienced and how well it endures over time.