![]() ![]() “It feels like a little artist community in there,” Eckstein says. ![]() He has since made some updates, like adding new materials to the inventory and hiring his own staff (who Eckstein says did an “incredible job” with an uneven painted metal sign by a Jamaican artist that he recently brought in). Collignon has owned the business since 2018, when he took it over from his mentors. “Frame shops in the city are going to charge double what Adam Collignon charges, and the quality will be sometimes worse,” says Eckstein, recalling a 30-by-20-inch piece that came in at a $300-to-$400 framing estimate at Greenpoint Frames and $1,000 in Manhattan. Eckstein has since moved out of the neighborhood, but the vintage-furniture and art dealer still heads back to Greenpoint for framing (for both his store and home) because of the shop’s excellent price-to-quality ratio. The Somerset House founder Alan Eckstein has gone to Greenpoint Frames for five years. Greenpoint Frames, 937 Manhattan Ave., Greenpoint Nakajima recently needed eight large, delicate Philip Guston works in frames with gold leaf applied by hand it would ordinarily be a six-week job, but Downing had them ready in a month. “Downing does everything for us,” says Yuta Nakajima, senior director at Hauser & Wirth, adding that the framer can pull off feats with remarkable turnaround. When multimedia artist Erin Shirreff wanted her pieces built inside the frame (think of a model ship in a bottle), she called the Long Island City framer. For artist Mariah Robertson’s geometric chromogenic prints, Downing created asymmetrical polygon frames. For Deana Lawson’s recent show at the Guggenheim, Downing incorporated mirrors, stickers, and holograms into frames for her interactive works. No request is too far-fetched for Downing Frames, which has been building pieces (from $200 to $38,000) for blue-chip artists, galleries, and museums like MoMA and the SculptureCenter for nearly 15 years. A winner of the 2013 Booth Family Rome Prize in Historic Preservation and Conservation at the American Academy in Rome, he is at work on a study of the buildings of the Italian engineer and architect Pier Luigi Nervi.Downing Frames, 4261 24th St., Long Island City ![]() He is the author of Chicago Skyscrapers, 1871-1934 (Champaign: University of Illinois Press, 2013), among other books. Thomas Leslie is the Morrill Pickard Chilton Professor in Architecture at Iowa State University, where he researches the integration of building sciences and arts both historically and in contemporary practice. His 2014 study, “Structure in Skyscrapers: History and Preservation” was the inspiration for the exhibition,“TEN & TALLER, 1874-1900.” Speakersĭonald Friedman, a structural engineer, is the president of Old Structures Engineering and author of several books, including Historical Building Construction (1995, rev. New Yorker Donald Friedman, a structural engineer and author of Historical Building Construction, and architect and historian Thomas Leslie, author of Chicago Skyscrapers, 1871-1934, reviewed the introduction and adoption of early steel skeletons in the 19th century’s two leading skyscraper cities. The second session featured two experts on the history of architecture and engineering who have researched and published extensively on the beginnings of metal-frame construction in New York and Chicago. ![]()
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