David Rabkin

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David Rabkin

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Presentation
It should come as no surprise that printing (how, and on what paper) and framing are essential to the experience of these artworks.

I’m using two papers right now, Hahnemühle Photo Rag 308 and Hahnemühle Baryta Satin. The first is a matte paper offering a soft, almost silkscreen-like finish that lends itself well to the dreamy nature of many of my works. Baryta Satin is a more traditional photography paper the provides more contrast and saturation, and deeper blacks. It’s also tough compared to 308, which is easily scuffed and must be treated with great care.  That’s a particular issue because I prefer to avoid anything – glass, acrylic or otherwise – between the viewer and the art.

When it comes to framing, I tend to use float frames. Recently, though, I’ve been designing and making my own, which provides flexibility to deviate from traditional framing approaches and to experiment with new ways to present works.

Presentation
It should come as no surprise that printing (how, and on what paper) and framing are essential to the experience of these artworks.

I’m using two papers right now, Hahnemühle Photo Rag 308 and Hahnemühle Baryta Satin. The first is a matte paper offering a soft, almost silkscreen-like finish that lends itself well to the dreamy nature of many of my works. Baryta Satin is a more traditional photography paper the provides more contrast and saturation, and deeper blacks. It’s also tough compared to 308, which is easily scuffed and must be treated with great care.  That’s a particular issue because I prefer to avoid anything – glass, acrylic or otherwise – between the viewer and the art.

When it comes to framing, I tend to use float frames. Recently, though, I’ve been designing and making my own, which provides flexibility to deviate from traditional framing approaches and to experiment with new ways to present works.

(Any color-band imperfections seen in these images are due to browser- or display-related limitations.)

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