Frame It Yourself

Tom Betthauser
6 Sessions »Tuesdays, February 20–March 27

6:30–9:30pm | Studio 105 | $295

Experienced woodworkers welcome but no prior woodshop experience required.

Framing your own work is an important component of the artistic process--the frame affects the perception and interaction with your work, as well as prevents damage and deterioration. Plus, the development of power tools and easy-to-procure woodworking materials put artists in a key position to frame their own work in a way that complements and enhances it for your audience. As an artist building your own frames, you will take into consideration the quintessential visual aspects of your work and make frames that engage these components. We will spend class-time learning and applying introductory and intermediate techniques for framing two-dimensional works from basic rabbet and staining work to fabric wrapping mats, marbling, incorporating sculptural moulding, non-traditional material use and experimental design. Demonstrative tutorials given during each class session will guide your technical understanding as you work independently or in small groups to produce frames. By the end of this course, you will walk away fully confident in your abilities to make traditional and experimental frames for your own work with common materials and universally accessible woodshop tools.

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Tom-Betthauser-bio.jpg

Since my graduate work at the Yale School of Art and my undergraduate work at SFAI, I have been maintaining a studio practice and exhibiting work in Los Angeles and the surrounding desert of the Eastern Sierras, acting as an adjunct instructor and living both in the desert and in the downtown Los Angeles area which has allowed me to make work influenced by both unique landscapes and their surreal proximity to one another. After my time living in New York and LA, observing the art world’s faults and strengths, my studio practice has become increasingly focused on embracing art as quotidian, primarily experimental, purely aesthetic, inherently rather than overtly political, and psycho-spiritually motivated. I am increasingly interested in exploring purely aesthetic art as a means of quietly fostering a dialogue about art’s changing role in the 21st century, and I am facing an imminent transition in the kind of art I make that will largely be determined by my surrounding community and location. In a pursuit to relocate to an area less entrenched in the art world status quo I have recently secured employment and temporary residence in the Bay Area, which I believe to be an ideal location for this transition due to its rich alternative political and cultural history.

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