My hesitation with framing all the same is just as you said. It looks
cohesive, but often doesn't serve the artwork well. Since most my work is
already framed for the wall rather than for a single exhibit, it seems a
shame to trade out the perfect frame for a blah blond one. Not to mention
what I've paid over the years for custom framing.

I'm going for: reasonable expense, weight, safety and ease of travel. The
thought of 12 cartons of artwork going to Asia, Lynette, is scary! And
sounds expensive. One is sure to get lost or hung up in customs. I had a
similar experience getting my one piece back from Portugal. It travelled
around the US, lost, until it finally found its way home and then I had to
pay a ransom to get it from Fed. Ex.

I'm gathering all your ideas and information so I can make the best choice
in the end. Then I will send out a post of what not to do next time! I do
not have to ship anything until the end of the year...plenty of time...but
do have to let the hosting institution what my process and costs will be, so
keep your comments coming.

Thanks, Linda and Lynette. I'm going to look into the StrongBoxes.


On Wed, May 11, 2011 at 1:50 PM, Lynette Cook <[log in to unmask]>wrote:

>  If you wrap the wooden frames in either small bubble wrap, or just
>> cardboard to keep them from rubbing against the next, bind them up tight to
>> prevent a lot of rubbing. pack them in a box.... It would make a larger box,
> For the show I just had in MS, I used the StrongBoxes for shipping my 15
> paintings. I was able to get 3-4 in each 8" wide box if I packaged properly.
> Generally this meant wrapping each painting in a plastic bag, putting same
> size paintings together with a sheet of cardboard in-between, and then
> wrapping the group of paintings together on the ends and in the middle with
> the stretchy, clear "shrink wrap" type of tape that sticks to itself. This
> was so that each stack of 3 or 4 paintings was like one unit and would shift
> in the box as one painting rather than several rubbing back and forth
> against each other.
> On the paintings with wooden frames I also put a strip of the thin foam
> sheeting around both ends for further protection outside the plastic bag.
> (When space is at a premium the small bubbles are still too big. And they
> pop too easily.)
> It took 6 boxes to get all 15 paintings there - 4 large with 3-4 artworks
> each and 2 small boxes with 1 painting each. Don't know if this method would
> be best for an international show, but I feel confident that I shipped with
> the lowest weight, the smallest sized boxes possible for framed art, and
> with no damage. (As far as I know, anyway, as the unsold pieces arrive back
> tomorrow. There was no damage incurred on the trip *to* MS.)
> As for other matters, I remember when the Guild had an exhibit in Europe -
> was it Portugal? - I sent a painting. Followed all the directions and even
> went to downtown San Francisco to get an official stamp on some customs
> paperwork. Then a few weeks after return of the art saw a charge on my AmEx
> bill for some other charge that I'd never heard of before - something to do
> with my art entering the foreign country or leaving it (memory fades). And
> it was a hefty fee, too. AmEx disputed it and apparently never got any
> answer, for it was finally removed from my bill. But I was aware that there
> was still some bureaucracy that expected another fee to be paid. This is a
> long way of saying to do your homework in this area.
> Lynette
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Gretchen Halpert
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