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ONE HUNDRED YEARS ON THE EDGE: The Frame in America 1820–1920
T A T I S T C H E F F / R O G E R S GALLERY Santa Monica, CA, January – February 1996
LAGUNA ART MUSEUMOrange County, CA, June – August 1996
GILL & LAGODICH GALLERY New York City, January – March 1998
"An extraordinary exhibition of more than 60 empty picture frames provides a concise and detailed survey of American frame design from 1820 to 1920. This beautifully installed show traces a nation's changing tastes and aspirations. Transformations in frame design imply transformations in America's view of art's purposes." —David Pagel, Los Angeles Times, Art Review, January 1996
24-page photographically illustrated (black-and-white) catalogue. A selection of scholarly essays written by Tracy Gill.
FRAMES OF REFERENCE: From Object To Subject
January – March, 2000, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT
Photographically illustrated exhibition brochure with scholarly essays by exhibition curator Nina Felshin, and frames curator, Tracy Gill. One hundred 16th- to 20th-century European and American frames from the Gill & Lagodich Collection were hung with postmodern works of art. Participating artists include Renee Cox, Kathy Grove, Hans Haacke, Alfredo Jaar, Louise Lawler, Allan McCollum, Frank Moore, Jeanne Silverthorne, Carrie Mae Weems.
“Frames of Reference explores picture frames and the metaphor of ‘framing.’ Contextualized within a salon-style hanging of 16th- to 20th-century period frames are contemporary works—paintings, photographs, sculptural installations, and a video projection—that incorporate the frame or related ‘framing’ devices as formal element, context, content, and critique. By appropriating the frame thus, these contemporary works engage the most important characteristics of art since the late 1960s; that is, they explore, challenge and blur the exclusionary and elitist boundaries of modernism. ... The juxtaposition and integration of these contemporary works within the context of period frames reveals ... much about the history, culture, and politics of ‘framing.’” —excerpt from exhibition catalogue by curator Nina Felshin
BEAUX ARTS & CRAFTS: MASTERPIECES OF AMERICAN FRAME DESIGN 1890 – 1920
52-page, 4/color exhibition catalogue with essays by Tracy Gill and Virginia Couse Leavitt. Presentation of the exemplary frame collection of Edgar O. Smith, New York. American frame makers and designers include Stanford White, Eanger Irving Couse, Frederick Harer, Max Kuehne, Charles Prendergast, Foster Brothers, Carrig-Rohane, Hermann D. Murphy, Walfred Thulin, and Newcomb-Macklin.
note: more images to come, please check back for website updates.
This unique exhibition explored the inspiration and innovation of American frame design. A selection of 68 American and European frames from the Gill & Lagodich Collection explored the origin of ideas by American frame makers and demonstrated the evolution of designs and techniques across countries and centuries. Included in the show were frame designs of Stanford White, James McNeill Whistler, Charles Prendergast, Max Kuehne, Frederick Harer, and Hermann Dudley Murphy. The exhibit showed how frames document changes in American decorative arts history, and also represent the marriage of decorative art with fine art.
52-page exhibition catalogue, 4/color throughout, 80 frame images. The book is a compilation of scholarly essays with footnotes; 3-page glossary; selected bibliography; written by Tracy Gill.
The catalogue is available to order from Gill & Lagodich.
THE (UN)FAIR 2014
March 5th thru 9th 2014, Gill & Lagodich participated in what was described as a "surprising, inspiring, creative, and truly one-of-a-kind fun event."
Over one hundred artworks, artists, and performers gathered in a 19th-century Hell's Kitchen building for a guerrilla-style art show during Armory Arts week. Called THE (UN)FAIR, the free multi-faceted art event included paintings, installations, performance art, music, and empty period frames in a unique and thought-provoking installation.
A dramatic juxtaposition as a free-standing installation created by Gill & Lagodich, the "Gilded Frame Burn Pile" evocation and 27-foot picture gallery red "Salon Wall" of important 16th to 20th century period frames also served as an elegant backdrop for multiple live performances throughout the week.
GILDED FRAME BURN PILE & SALON WALL
"The destruction of fine gilded wood frames throughout the centuries is a lost footnote in art history. For hundreds of years, until the middle of the 20th century, an untold number of frames were burned to recover their gold. Recreated here with discarded flood-damaged frames and facsimiles, our Frame Burn Pile is an evocation of those acts. The charred remains represent the first stage of reducing gilded wood frames to ashes that would then be further fired to recover gold. Over centuries, countless frames were thus lost through the process of war and revolution, changing tastes and vagaries in fashion, and ignorance of the art form of the period frame. Here is transformation, alchemy of loss: a memorial to an art form mostly lost and still disappearing in our time. The Salon Wall displays a selection of gilded wood frames dating from the late 16th century up through the early 20th century. These empty frames, hung floor to ceiling in traditional “salon” style on a wall painted with historic “picture gallery red”, represent the “before” picture. Together, the Frame Burn Pile and Salon Wall evoke the destruction of our cultural heritage, the evolution of art and disregard for common history, the lost traditions of art and craftsmanship — a transformation of culture into currency."