Tips for Varnishing? especially 40x60 ones

[Geraldo Garcia]

(...) "Seven words: Miracle Muck is ruined by freezing temperatures, and also by sustained temperatures over about 75F.
Elmer's White Glue from your local hardware or office supply will work in a pinch until warmer weather arrives on the highway." (...)

That is the main reason I avoid gluing. Right now (12:20pm) the thermometer outside my building is reading 40ºC (104ºF), a night it drops to something like 28ºC (82ºF). Only during the winter we stay below 23ºC (75ºF) and not for long. At least freezing is not an issue! 

[deanwork]

The L pins I was mentioning are these -

http://www.amazon.com/Moore-Exhibition-L-Pins-Pkg-20/dp/B0027A79FK/ref=sr_1_3?ie=UTF8&qid=1421504370&sr=8-3&keywords=l+pin

Not those big plastic things or the other fatter metal ones. This is what we used at the museum and they held matted 20x24 prints with no problem.

These are pretty much invisible.

Our blue chip photography gallery here in Atlanta, Jackson Fine Art, has begun within the last few years to fame work, but have it mounted to dibond and not use any glass or plexi.

I believe this started happening when the great totally reflection free museum plexi came on the market. It is super nice and super expensive, and even the best galleries selling prints for many thousands of dollars have  often refrained from using it for exhibition. Of course they would have the glass put in the frame if purchased. This is not a bad way to go. Shows are also put together that just mount on dibond with a hanger on the back and no frame or glass used. That looks great but edges are of course vulnerable.

[bill t.]

...but edges are of course vulnerable.

What I believe is slowly creeping into the art paradigm is that art is at some level disposable.  Or perhaps that art wears out and one simply replaces it as needed.  Have to think about this, but there does seem to be a different meme emerging in respect to physical aspects and longevity of art pieces.

[deanwork]

It's not new. There are now a couple of generations of photographers work, big names, whose work has totally deteriorated. Some of it I scan and reprint when collectors have returned it to the artist or gallery after 15-20 years.  I have to explain to museum curators and gallery people to this day that type C prints are junk. It is amazing how even now most of even the high-end galleries don't know the difference between dyes and pigments or good papers and bad ones. My friends who did a lot of color work in the 80s with C prints and 20x24 polaroids have seen entire decades of their work lost. There are some people who take the trouble to go back and have their color negs and chromes, or polaroids, scanned,  but most don't, they just move on.