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Billy Hassell “Lone Star Wild” at Davis Gallery in Austin Texas

My work is a symbolic and narrative response to nature and seeks a balance between realism and abstraction. My primary subject matter has been the flora and fauna of Texas and my influences include Mexican and American folk art, 19th and 20th Century Japanese woodblock prints, natural history, field guides and botanical studies. Over the years I have become increasingly concerned and involved with environmental issues and have received commissions from Audubon Texas, the Texas Nature Conservancy and the Texas Parks and Wildlife Foundation to produce color etchings and color lithographs featuring the flora and fauna of Texas that highlight those organizations’ conservation efforts around the state and the Gulf Coast.

Billy Hassell
September 2019
Billy Hassell MOCKINGBIRD    color lithograph     8.5” x 24”
Billy Hassell MOCKINGBIRD color lithograph 8.5” x 24”
Billy Hassell GRASSHOPPER color lithograph  8.5” x 24”
Billy Hassell GRASSHOPPER color lithograph 8.5” x 24”
Billy Hassell SKUNK color lithograph  8.5” x 24”
Billy Hassell SKUNK color lithograph 8.5” x 24”
Billy Hassell BISON color lithograph  8.5” x 24”
Billy Hassell BISON color lithograph 8.5” x 24”
Installation shot Davis Gallery 3 copy-1
Insatllation shot Davis Gallery 2 copy-1

About the artist

Billy Hassell has been making nature inspired paintings and lithographs for more than 25 years. His colorful and expressive art works, frequently featuring birds and indigenous plants and animals, have been exhibited nationwide and are included in the permanent collections of the Houston Museum of Art, the Fort Worth Modern, the Dallas Museum of Art, the Tyler Museum of Art and numerous other public and private collections. Articles on his work have appeared in ArtNews, Southwest Art and the New York Times.

Billy Hassell “Lone Star Wild”

October 19, 2019 – November 30, 2019

Davis Gallery Austin, Texas

Framing Specifications

Billy Hassell JACK RABBIT color lithograph 8.5” x 24”
Billy Hassell JACK RABBIT color lithograph 8.5” x 24”
Thin Gallery Frame
Thin Gallery Frame

METRO GALLERY FRAME

Profile: 102
Type: Thin Gallery Frame
Wood & Finish: ash frame with black finish
Purchasing Option: joined wood frame
Custom Wood Strainer: 3/4″ wood frame strainer
Custom frame mats/sized boards: white 8 ply mat & 4 ply backing
Custom Frame Acrylic:  UV acrylic cut to size
Custom frame backing boards: 1/8″ archival coroplast




R. J. Kern – The Best of the Best

“The Best of the Best” records champion animals at the 2018 Minnesota State Fair, one of the most competitive animal contests in the world. Animal breeding, like photography, has been an area of both technical and material evolution. This series explores the relationship between the present and the past, drawing parallels between early animal contests at agricultural fairs and the first major exhibition of photography at the 1851 World’s Fair in London.

“In The Best of the Best, I wanted to document an event in which 12 pairs of animal species are judged supreme champion- the best of the best. Using a digital camera, I photographed winning exemplars of domesticated animals then combined 19th-century salt printing techniques and contemporary inkjet technology into images that emphasize changes in breeds over time and advances in photographic technology. It is science and art; it renders both an objective typology of animal husbandry and commentary on animal contests at this time and place. The hand-crafted portraits reference similarities between the history and development of photography and the advent of animal contests.”

 

Supreme Champion Boer Goat Male / Female PairMinnesota State Fair, salt print over archival pigment print, 20 x 24 inches, 2019
Supreme Champion Boer Goat Male / Female Pair
2018 Minnesota State Fair, salt print over archival pigment print, 20 x 24″  2019
Supreme Champion Turkey Male / Female Pair, 2018 Minnesota State Fair, salt print over archival pigment print, 20 x 24 inches, 2019
Supreme Champion Turkey Male / Female Pair,
2018 Minnesota State Fair, salt print over archival pigment print, 20 x 24 inches, 2019

The color red is a unifying element and a nod to French photographer Nadar (Gaspard-Félix Tournachon, 1820–1910), who used the color in marketing his work. Historically, the color red has represented life, health, and victory. It also symbolizes a shared characteristic between the animals: the color of blood, whose principal ingredient is salt- an essential element for mammals and birds, that also propelled the evolution of photography.

Salt prints, a photographic process popular between 1839-1860, connects to photography’s historical roots; printing on them digitally connects to the present. The subtle tones of salt printing express mood and emotion, a contrast to the sharpness of a digital print. Subject, process, emotion, science, and combine to make both an immediate document and a comment on photography’s past, present, and future.

Supreme Champion Swine Male / Female Pair, 2018 Minnesota State Fair, salt print over archival pigment print, 20 x 24 inches, 2019
Supreme Champion Swine Male / Female Pair,
2018 Minnesota State Fair, salt print over archival pigment print, 20 x 24 inches, 2019

About the artist

R. J. Kern (b. 1978) is an American artist whose work explores ideas of home, ancestry, and a sense of place through the interaction of people, animals, and cultural landscapes.

His work has been exhibited in a number of notable exhibitions, including the Museum of Modern Art (Tbilisi, Georgia), the National Portrait Gallery (London, UK), the Yixian International Photography Festival (Anhui, China), and a solo exhibition at the Griffin Museum of Photography (Boston, MA). Awards and accolades include PDN’s 30 2018, Critical Mass 2018 Top 50, CENTER 2017 Choice Award Winner (Curator’s Choice, First Place), the 2017 Taylor Wessing Photographic Portrait Prize (Finalist), and two Artist Initiative Grants from the Minnesota State Arts Board (2016, 2018).

Public collections holding his work include the Center for Creative Photography, the Griffin Museum of Photography, the Leepa-Rattner Museum of Art, the Plains Art Museum, the Museum of Fine Arts, Houston, and the Museum of Fine Arts, St. Petersburg.

R.J. Kern – The Best of the Best
August 8 – 31, 2019
Burnet fine Art & Advisory
Wayzata, MN

Framing Specifications

kern geese a

Supreme Champion Goose Male/Female (wing detail)

2018 Minnesota State Fair, salt print over archival pigment print, 20 x 24 inches, 2019

102WA_maple splines_strainer

METRO GALLERY FRAME

Profile: 102
Type: Thin Gallery Frame
Wood & Finish: walnut frame with clear finish
Purchasing Option: joined wood frame – contrasting maple splines
Custom Wood Strainer: 3/4″ wood frame strainer
Custom Frame Mats/Sized Boards: 4 ply white mat
Custom Frame Backing Board:  3/16″ acid free foamboard cut to size




Andrea Pramuk framing in her studio

Andrea called to order some frames because she was working on an exhibition. Since she works in larger sizes, we thought it would be interesting to show her framing in her studio. She said she wasn’t a video expert but agreed to give it a try. She sent us videos of each different aspect of the framing and we edited them.

Pramuk works on large Ampersand Panels and frames them with our Metro Floater Frames. Although our frames and cradles can be purchased completely joined, she purchases them unassembled to save money on shipping.

Framing large oversize work requires that your studio layout is well organized. In addition you need to have the proper tools. Andrea shows some techniques on how to join a cradle with a crossbar as well as joining the floater frame and attaching the artwork that we think you will find useful.

Additional tip:
She did tell us that the adjustable sawhorses make all the difference in her workspace for both framing and painting big. They are not a huge investment ($35-$50/pair)  and they fold up when she’s not working in the big area of the space.

ABOUT THE ARTIST

Texas painter, Andrea Pramuk, creates organic, drawing-based abstractions. Her pictures may seem familiar at first glance, but on closer inspection, they are not things or places that exist, but rather lyrical subjects whose dialogue originates out of line, color and light. She looks to ephemeral subject matter that is constant throughout time, reminiscent of stone, sea, sky and botanical forms – all traditional painting subjects.

Andrea uses acrylic paint and dye-based pigments within a system that includes a carefully mixed color palette, paint pouring and drawing techniques, working both flat and at the easel. She arrived at this current method of working due to physical limitations with manual dexterity and also for technical reasons like drying times and limited time constraints. Pouring paint for Andrea is like building sediment layers in stone, creating wave patterns in sand and bringing about tree rings born out of drying paint puddles shrinking one ring at a time. Her process and subject matter, therefore, are both temporal and symbiotic. Poetry comes into play with her choice of titles, often borrowed from music lyrics, poetry or books, while also folding in themes from current events.

andrea exhibit 1
Andrea Pramuk
Nosotros
May 31- July 7, 2019
Georgetown Art Center, Georgetown, TX

FRAMING SPECIFICATIONS

andrea exibit 2A
Capture0018-402 122MP14 with cradleF_700A copy

METRO FLOATER FRAME

Profile: 121
Type: floater frame with cradle
Wood & Finish: maple with charcoal finish
Purchasing Option: cut to size with wedges




Helen Cantrell at The White Gallery in Lakeville Connecticutt

“I need lots of color in an image that strikes me. I use a lot of drips and flung slashes of paint. The result is expressive pieces in which swaths of yellow, orange, and violet evoke paths and fields and features a mix of abstraction and figuration, with vibrant bright hues, visible brushwork, and a sense of calm.”

Cantrell has been painting and making prints full time for the past 20 years, most recently large‐scale woodcuts and landscape paintings in an expressionist gestural  style.

 

"Rising Mist," 48"x48", oil on canvas
“Rising Mist,” 48″x48″, oil on canvas
"October Gold," oil on canvas, 36"x48"
“October Gold,” oil on canvas, 36″x48″
"Venice Violet" oil on canvas 36"x36"
“Venice Violet” oil on canvas 36″x36″

Helen Cantrell "March Snow Sunset," 48"x36" oil on canvas
Helen Cantrell “March Snow Sunset,” 48″x36″ oil on canvas
Helen Cantrell: A Sense of Place
May 24  – July 28, opening reception May 24 5-7 pm
The White Gallery, Lakeville, CT

FRAMING SPECIFICATIONS

"Harlem River Bridge, 36"x36" oil on canvas.
“Harlem River Bridge, 36″x36” oil on canvas.
121AH05A

METRO FLOATING FRAME

Profile: 122 and 124
Type: floating frame for 3/4″ and 1-1/2″ deep paintings
Wood & Finish: ash pickled white finish
Purchasing Option: joined frame




Richard Kirk Mills: Recent Paintings – Windows and Landscapes

“I paint directly from subjects in my familiar surroundings. The poetry of place arises from my own personal mythology: a longing for lost homes; a remembrance of water; of daydreaming looking out of windows: of silence. I occasionally make a pilgrimage, but for the most part, it’s just there, in front of me. From my observations and emotions I try to make good paintings.”

Known for his printmaking and for his distinguished work in public and eco-art, this exhibit at Blue Mountain Gallery is his first show in NYC since his return to painting.

"From a Granite Shelf, Stonington", 36" x 48" oil on canvas 2019
“From a Granite Shelf, Stonington”, 36″ x 48″ oil on canvas 2019
"Night Lights in a Granite Quarry", oil on linen, 30" x 38", 2019
“Night Lights in a Granite Quarry”, oil on linen, 30″ x 38″, 2019
"Winter Lights", oil on linen, 36" x 34", 2019
“Winter Lights”, oil on linen, 36″ x 34″, 2019

ABOUT THE ARTIST

After teaching for thirty-four years, first at Pratt Graphics Center then as professor of art at LIU/Post, Mills has returned to painting full time. He maintains studios in New Jersey and the Catskills.

Mills has been artist in residence at the Teaneck Creek Conservancy and a visiting Fellow at the Jentel Foundation, Ucross Foundation and the Virginia Center for Creative Arts. Mills has received grants from numerous arts foundations and state and federal agencies including the NJ State Council on the Arts, Puffin Foundation, Geraldine R. Dodge Foundation, USEPA, NJDEP and NJ TRANSIT.

Richard Kirk Mills: Recent Paintings – Windows and Landscapes
May 21, 2019 – June 15, 2019
Blue Mountain Gallery, New York, NY

FRAMING SPECIFICATIONS

"Earnest on the Lookout", oil on canvas, 24" x 24", 2019
“Earnest on the Lookout”, oil on canvas, 24″ x 24″, 2019
Capture0003-610_121CH00_700-2

METRO FLOATING FRAME

Profile: 121
Type: floating frame for 1-1/2″ deep paintings
Wood & Finish: unfinished cherry
Purchasing Option: cut to size with wedges




Jeffrey Vaughn at George Billis Gallery in New York

Vaughn has focused his energies as an artist working in landscapes for over thirty years. Vaughn approaches his work with a quiet contemplativeness that reflects the serene aspects of the natural world and reveals the underlying spiritual nature that can be found in the environments he portrays.

Crabapple Blossoms, 2019, oil on canvas, 30"x30”
Crabapple Blossoms, 2019, oil on canvas, 30″x30”
Last Light, 2018, oil and acrylic on canvas, 40"x40"
Last Light, 2018, oil and acrylic on canvas, 40″x40″
Sunlit Water Lily
2019, Oil and acrylic on canvas 40"x40"
Sunlit Water Lily
2019, Oil and acrylic on canvas 40″x40″

ABOUT THE ARTIST

Jeffrey Vaughn, from Alton, Illinois, received his Bachelor of Fine Arts degree in 1978 from Washington University, St. Louis, Missouri, and his Master of Arts degree in 1981, and Master of Fine Arts degree in 1983 from the University of Dallas.

His paintings have been published in New American Paintings, Fine Art Connoisseur, American Art Collector and reviewed in the American Arts Quarterly and the St. Louis Post Dispatch.

His work can be found in numerous public and private collections such as the U.S. Department of State, Washington, DC; Anheuser-Busch Inc., St. Louis, MO; Bernheim Arboretum and Research Forest, Louisville, KY; and Kentucky Public Radio, Louisville, KY.

Jeffrey Vaughn, reception 2A George Billis Gallery, 5_2_19
  Jeffrey Vaughn
April 30, 2019 – May 25, 2019
George Billis Gallery
New York, NY

FRAMING SPECIFICATIONS

New Blossoms, 2018, oil and acrylic on canvas, 40"x60"
New Blossoms, 2018, oil and acrylic on canvas, 40″x60″

METRO FLOATING FRAME

Profile: 121
Type: floating frame for 1-1/2″ canvas paintings
Wood and Finish: unfinished maple wood frame
Purchasing Option: unjoined frame cut to size with wedges




Evelyn Patricia Terry at Lynden Sculpture Garden in Milwaukee

Over the course of more than fifty years, Evelyn Patricia Terry’s work has made several bodies of work that address the “conundrum of co-existence that repeatedly occupies the news, my thoughts, and many conversations.” In America’s Favor/Guests Who Came to Dinner (and Stayed!), Terry brings together different bodies of work: an iconic table installation, artist books, and mixed media works that layer drawings and other forms of mark-making on sewn rag paper pieces. Terry has mined her five-decade history as an artist to create the exhibition by repurposing the torn and cut sections of etchings, screen-prints, monotypes, and randomly printed rag paper scraps that she has accumulated as a printmaker, and by referencing items in her personal collection, from ethnic dolls to the work of other artists.

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“In America, Wandering and Saving Souls”, 2018, Pastel, ink, thread, acrylic paint on paper, 21 x 9 ½ inches (framed)

In America, She Cared A Lot About Getting Her Hair Did, 2018 Pastel, ink, thread, watercolor on rag paper, 10 ¾ x 31 inches (framed)

In America, She Cared A Lot About Getting Her Hair Did, 2018 Pastel, ink, thread, watercolor on rag paper, 10 ¾ x 31 inches (framed)

America: Guests Who Came to Dinner (and Stayed) #25, 2018 Hand-made artist book
Ink, thread, hair  6 x 5 inches

America: Guests Who Came to Dinner (and Stayed) #25, 2018 Hand-made artist book Ink, thread, hair 6 x 5 inches

About the artist

Evelyn Patricia Terry is a full time professional visual artist, presenter, writer and art collector based in Milwaukee. She works across many media: printmaking, drawing, painting, installation, and public art. During her long career, she has garnered awards, fellowships, grants, and commendations for community work with students and other artists. Concentrating on printmaking, she earned both a BFA and an MS in Visual Arts from the University of Wisconsin-Milwaukee (UWM). She earned an MFA from the School of the Art Institute of Chicago after Ruth Milofsky, a UWM arts education professor and mentor, set up a fund to give her a deadline to go back to school so she might be better prepared as an artist.

In 2012, Terry received the Wisconsin Visual Artist Lifetime Achievement Award from a Wisconsin consortium of art and humanity organizations. In 2014 the Milwaukee Arts Board honored her with their Artist of the Year Award. Terry’s work is internationally exhibited and collected; over 400 private, corporate, and public collections own her artwork including the Milwaukee Art Museum, the Museum of Wisconsin Art, the Haggerty Museum of Art at Marquette University, the Racine Art Museum and the Wright Museum of Art at Beloit College. From 2016 through 2018, several universities—including UWM, the University of Wisconsin-Madison, and Duke University–acquired Terry’s hand-constructed artists’ books. In 2009, influenced by Dr. Margaret Burroughs, a visual artist, poet, and founder of the DuSable Museum of African American History, and by Chicago art consultant Susan Woodson, Terry founded the Terry McCormick Contemporary Fine and Folk Art Gallery, a home-based gallery, following the death of her partner, self-taught folk artist George Ray McCormick, Sr.

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Evelyn Patricia Terry: America’s Favor/Guests Who Came to Dinner (and Stayed!)

April 28 2019 – July 28, 2019

Lynden Sculpture Garden

Milwaukee, WI

Framing Specifications

Capture0047-584-101AH05C_700

METRO GALLERY FRAME

Profile: 102
Type: Thin Gallery Frame
Wood & Finish: ash frame with pickled white finish
Purchasing Option: joined wood frame




Daniel Ranalli at Gallery Kayafas in Boston

Provincetown and the Outer Cape have a long history of painting. The artist’s colony there is over 100 years old, and perhaps the oldest in the U.S.

As with such places, there are certain subjects or motifs that are painted many times over the years by many artists. There is also a great deal of similarity in how they are composed and painted.

This series is based on the Day’s Cottages in North Truro. I have used a search engine to look for “Day’s Cottages Paintings” on the Web and reinterpreted those paintings by hyper-pixelating the images. All began as paintings, though I have adjusted color at times

Day's Cottage Painting #1
2016
Archival Pigment Print
22"x22" and 30" x 30", editions of 6
Day’s Cottage Painting #1
2016
Archival Pigment Print
22″x22″ and 30″ x 30″, editions of 6
Day's Cottage Painting #3
2016
Archival Pigment Print
22"x22" and 30" x 30", editions of 6
Day’s Cottage Painting #3
2016
Archival Pigment Print
22″x22″ and 30″ x 30″, editions of 6
Day's Cottage Painting #4
2017
Archival Pigment Print
22"x22" and 30" x 30", editions of 6
Day’s Cottage Painting #4
2017
Archival Pigment Print
22″x22″ and 30″ x 30″, editions of 6

ABOUT THE ARTIST

Daniel Ranalli has been working as a visual artist for over 40 years. His work is in the permanent collections of over two dozen major museums here and abroad including the Museum of Modern Art (NY), Museum of Fine Arts Boston, San Francisco Museum of Modern Art and National Gallery of American Art (Smithsonian). He has been included in over 150 solo and group shows in the U.S. and abroad.
Although largely situated within the medium of photography, Ranalli’s work can also be characterized as formalist and/or environmental. The images are frequently rooted in the balance between control and chance – such as the unforeseen results in the photogram, the found scrawls on an unerased chalkboard or the path of a snail in wet sand.
In 1993 Daniel Ranalli founded the Graduate Program in Arts Administration at Boston University where he taught until 2015. He also wrote extensively on artist issues for several publications in the 1980s and 1990s. Daniel Ranalli lives in Cambridge and Wellfleet, Massachusetts with his wife the painter, Tabitha Vevers.

Daniel Ranalli Iconic Cape Cod Paintings (This Is Not A Photograph)

April 12, 2019 0- May 18, 2019
Gallery Kayafas, Boston,MA
image002

FRAMING SPECIFICATIONS

N1314 FLOATER FRAME

NIELSEN FLOATER FRAME

Profile: N1314
Type: Metal Floating Frame
Finish: German Silver




Michael Dixon “I, Too, Sing America” at David Richard Gallery in New York

I, Too, Sing America, is an exhibition of recent and new paintings by artist Michael Dixon at David Richard Gallery. This series is comprised of self-portraits that explore blackness; the value of black bodies in America; historic violence against those bodies; and the artist’s feelings as a bi-racial Black man.

The paintings are self-portraits and are oil on canvas. Dixon’s approach is reductive with no background or setting, thus emphasizing only the figure and how the artist is perceived by himself and viewed by others. The focus is on the brush stroke, minimizing the details and capturing only the essence of emotions, expressions and gestures. The broad and bold gestures are soulful, conveying tension, frustration, pain, horror, dismay and sorrow, the artist’s experiences on a regular basis.

Michael Dixon "We Have Not Ended Racial Caste in America; We Have Merely Redesigned It", Oil on canvas 20"x20", 2015

       Michael Dixon “We Have Not Ended Racial Caste in America; We Have Merely             Redesigned It”, Oil on canvas 20″x20″, 2015

Michael Dixon "I'm a Black Man in a White World", Oil on canvas, 36"x36", 2017

Michael Dixon “I’m a Black Man in a White World”, Oil on canvas, 36″x36″, 2017

Michael Dixon, "The New Jim Crow, Oil on canvas, 60"x48"' 2015

Michael Dixon, “The New Jim Crow, Oil on canvas, 60″x48″‘ 2015

dixon exhibiton shot
“MICHAEL DIXON
I, Too, Sing America”
April 7, 2019 – May 5, 2019
David Richard Gallery, New York, NY

FRAMING SPECIFICATIONS

"I have the George Zimmerman Blues, Jazz Hands", 2018, Oil on canvas, 48" x 48"
“I have the George Zimmerman Blues, Jazz Hands”, 2018, Oil on canvas, 48″ x 48″
Capture0001-330-124MP01b_700

METRO FLOATING FRAME

Profile: 124
Type: floating frame for 1-1/2″ deep paintings
Wood & Finish: maple clear finish with black interior
Purchasing Option: joined frame with matching splines




Joanne Ungar “PAIN RELIEF” at Front Room Gallery in New York

Front Room Gallery is proud to present “Pain Relief “ by Joanne Ungar.  This solo exhibition features pigmented waxworks which embed evidence of current available methods to relieve physical or mental suffering. All the artwork in this show contains boxes for products that deliver pain relief, items for either numbing ourselves or for altering our reality. Among these items are alchohol, OTC medications, Rx medications, confections, cosmetics, and digital toys. These poured wax paintings by Joanne Ungar are composed with the geometric forms of recycled packaging, and layered and infused with pigmented wax.  Ungar’s complex sense of color transforms base patterns through multiple luminous strata of graded hues, overlaid with controlled density to either obscure or reveal the accumulated layered color. Her luminous wax paintings are created with refined, purified beeswaxes and commercial grade paraffins with very high melting points, creating work that is archival and stable.

Sensodyne03 I wax and painted cardboard on wood I 11" x 9" I 2017
Sensodyne03 I wax and painted cardboard on wood I 11″ x 9″ I 2017
Neosporin I wax and painted cardboard on wood I 8" x 7" I 2018
Neosporin I wax and painted cardboard on wood I 8″ x 7″ I 2018
Wacom Stylus Holder I wax and painted cardboard on wood I 9" x 7" I 2018
Wacom Stylus Holder I wax and painted cardboard on wood I 9″ x 7″ I 2018

ABOUT THE ARTIST

Joanne Ungar is an alchemist. Her studio is a science lab. A visitor to her studio will meet Joanne, with her friendly self-deprecating Midwestern demeanor, and then immediately will be overwhelmed by the stovetop coils, high tech ventilation, vice wrenches, plywood molds, complicated presses and saws, and the carcasses of discarded experiments orderly stacked and categorized. Ungar’s father was a scientist. When she was growing up he talked about how art and science were really one and the same thing: a methodical exploration of ideas crossed with joyous creativity and some random surprises.  Built on these origins and continuing into an intense studio practice Ungar states: “I often set up “experiments” with variables and a control group in order to solve a problem of opacity or pigmentation, for example. I also like to push my materials beyond my understanding of them: seeing what happens when they melt; seeing what will stick to what and for how long; what happens to them at stupidly high temperatures. I am ridiculously methodically organized, and in addition to cataloging each piece, I sometimes catalog it through its various versions/changes.”  This highly dedicated and rigorous studio practice creates astounding results that have transformed modest materials into ‘gold’.

Ungar is originally from Minneapolis. After studies at Oberlin College in Ohio she moved to New York City and earned a BFA from the School of Visual Arts. Joanne Ungar is a New York Foundation for the Arts NYSCA/NYFA Artist Fellowship program Grant recipient. Ungar has exhibited extensively in New York and nationally. Ungar currently works in Brooklyn, New York.

Joanne Ungar "PAIN RELIEF"  Front Room Gallery March 1 - March 31, 2019
Joanne Ungar “PAIN RELIEF” Front Room Gallery March 1 – March 31, 2019
Joanne Ungar
PAIN RELIEF
March 1 – March 31, 2019
Front Room Gallery
New York, NY

FRAMING SPECIFICATIONS

METRO FLOATING FRAME

Profile: 122
Type: floating frame for 3/4 – 1″ paintings
Wood and Finish: maple with clear water based finish
Purchase Option: joined frame