Mariposa County Arts Council GALLERY
Visit the Mariposa County Arts Council Gallery, located at 5009 5th Street, Monday through Friday 9:00 – 5:00 pm.
Sally Owens shows at Ansel Adams Gallery
One of Mariposa County Arts Council’s artists, Sally Owens, winner of regional, state & national awards, will be featured in a solo exhibition of paintings in Yosemite National Park. Owens, a longtime park resident, is best known for her subtle & detailed portrayals of natural "found objects," meticulously rendered in watercolor. The exhibit, YOSEMITE: In Detail, will run from September 27th through November 7th at the Ansel Adams Gallery, located in Yosemite Village.
Sally invites you to come refresh your spirit after a long, hot summer, & welcome Autumn to Yosemite! The crowds are gone, the weather is cool, & fall colors will be starting to turn. Paint, hike, & enjoy the scenery, then swing by to meet Sally at the Artist's Opening reception, Wednesday October 6th from 4:00-6:00 p.m. For more information, or an update on the Fall color, call The Ansel Adams Gallery at (209) 372-4413, www.anseladams.com.
Become a Mariposa County Arts Council Gallery Artist!
Click here for Artwork Review Guidelines
The Gallery is open Monday through Friday 9:00 am – 5:00 pm. We are often asked why is the Gallery “not” open on the weekend? Although our Gallery is an important part of serving the arts community, economic influences over the past several years have necessitated a reduction in personnel hours. The staff that remains at the Art Council is charged with program development and fiscal management as a priority to serving the benefit of the whole organization. Your ongoing support of the Arts may influence State and County funding in the future.
MCACI Gallery Full Disclosure Practice
The term "original" implies a one-of-a-kind creation with an extraordinary, rare quality that is something new and previously unseen, and of higher collectable value than a reproduction. Ethical industry practices necessitate accurate and complete disclosure of the artists' intent to reproduce an original piece of artwork. In order to not seem disingenuous, it is now our practice to identify an artists' intent to reproduce original work. When you deliver artwork to our gallery, please indicate to our staff if you plan to make reproductions of original artwork.
In printmaking, an edition is a set of prints struck from one plate, composing a limited run of prints. One of the main reasons for the development of printmaking was the desire of artists to make more money from their work by selling multiple copies; printmaking satisfies this motive. Much early printmaking consisted only of copying existing works of art, and was considered then as posters are considered now: a downmarket version of a great work. From the 18th century on, though, artists commonly pursued printmaking as the primary medium for some or all of their work. "Limited edition" is a marketing phrase that generally carries a sense of urgency. Items marked limited edition are often (but not always) released for a shorter time and in a pre-defined quantity, often with a running number recorded on the product to boost the rarity feel.
In order to protect the value of original artwork and our professional reputation:
When you deliver reproduction prints to our gallery:
- Please indicate to our staff if you plan to make reproductions of the artwork.
- Please indicate if you plan to limit the number of prints, and the quantity to be released. Please mark artwork accordingly. Ex: 3/20 (three of 20)
- Please indicate if you do not plan to limit the number of prints: your reproduction will be unlimited.
Not All Glass Needs To Glitter
Wall Street Journal 10/05
"When I heard the price, I swallowed," says Fern Mills, a collector of antique Japanese woodblock prints who lives in Haddonfield, N.J. She was reacting not to the price of the art, but to the cost of framing it: up to $400 per print, much of it for so-called museum-quality glass.
This specially coated glass protects artworks from ultraviolet rays and minimizes reflections-and costs about 10 times as much as regular glass. Ms. Mills took the plunge and said she was "thrilled" by the results. She is now framing the rest of her print collection. "I'm doing it on the rolling plan because of the expense," she says.
Used for more than a decade by museums and galleries, professional-quality glass is now widely available to consumers. Two companies manufacture it: Tru Vue, based in McCook, Ill., and Denglas Technologies, based in Moorestown, N.J. The frame shops that offer the glass say demand has grown: At Aaron Brothers Art & Framing, a Dallas-based chain of 166 stores, sales of museum-quality glass have increased from 1% of its business two years ago to 25% today, says President Harvey Kanter. Marion Stroh, who owns Left of the Bank, a frame shop and gallery in Old Greenwich, Conn., says her sales of professional-quality glass have risen dramatically since she introduced it last year. "Nobody believes there's glass there," she says.
Lora Baier of Sammamish, Wash., says she used museum-quality glass to frame a 1920's newspaper article she wanted to hang in brightly lighted home office. The framed article is now protected from the sun and, best of all, she says she is able to read it clearly while seated at the desk several feet away. "Anything with print, I highly recommend it," Ms. Baier says.
How can I be sure that I am getting Conservation Quality?
Tru Vue ® site Let your framer know that you want Conservation Framing employed on your project, request the following:
- Specify UV Protection Glass
Ultraviolet light rays are one of the most dangerous elements that your artwork can encounter. It will not only cause your colors to fade to a mere shadow of their former glory, but will cause the materials themselves to begin to break down right in the frame. Conservation Quality picture framing glass is specially formulated to protect framed works of art from the damaging effects of ultraviolet light. By specifying a conservation Glass, you are insuring that at least 98% of these most damaging light rays are filtered out before ever coming into contact with your valuables.
- Specify Conservation Quality Artboard
Ordinary pulp-based matboard contains acids and lignins, which, over a period of time, damage the artwork they come in contact with. When going over your artboard options with your framer, ask him or her to show you only conservation quality artboard. Conservation quality artboard is free of all acids, lignins and other impurities found in ordinary "pulp" board. The result is an inert or pH neutral board which will cause no damage to the artwork it encases as time goes by.
- Request a careful adherence to proper conservation techniques for mounting the artwork (sometimes called "hinging") and sealing your artwork.
The framer you patronize should be fully versed in the specifics of conservation hinging. Be sure to impress upon him or her how much the piece means to you, and demand that proper conservation standards be upheld.
Even if a piece has value of a more personal nature, it may deserve Conservation Framing. Most pieces we bring to a framer should be framed with conservation in mind. As a rule of thumb, if the item you are framing is an irreplaceable, one-of-a-kind photograph, document or piece of memorabilia, or if it is an original work of art or a limited edition, it should be framed using conservation techniques and materials. |
