Untitled – Depot, Detroit, MI 2012
|60 × 75 in
While our recommended frame color and border or bleed choice is what we feel best complements the art and vision of the artist, by all means, choose a look that best complements your style and space.
Paper Size: Is based on Full Bleed and adding a border will change the aspect ratio, so paper size may adjust slightly smaller.
Glazing: To eliminate reflective glare, our biggest work (70″ to 80″ on the long side) is protected by an archival laminate in lieu of acrylic. Up to 60″ on the long side is protected by UV acrylic.
Border: If the framed image above is showing a white border, then clicking on Full Bleed will not show what full bleed looks like. We only show how a border will look. Your choice will appear on your order. The border on work up to 40″ x 60″ is about 2.5″ and about 3.5″ on our biggest work.
Frame Color: Clicking on Frame Color will not change the color of the frame, but your choice will appear on your order.
Frames: Our frames are custom made from robust solid wood Studio moulding, 2″ deep with a 3/4″ face width and joined at the corners with butterfly joints.
Orientation: Some work can be displayed either horizontal or vertical—should you wish to change orientation, please contact us and we’ll place the D-rings accordingly and confirm via email.
We print exclusively on Hahnemühle 100% Cotton Photo Rag Baryta paper and museum shadowbox frame in solid wood, Studio moulding handcrafted in a robust, contemporary profile preferred by galleries and museums worldwide.
Ask us should you need help or clarification. And please double check your (c)art to ensure your choices are correct.
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The Depot closed in 1988. A monumental structure, the Beaux Arts Classical station has become the iconic symbol of urban decline. It was purchased for back taxes in 1996 by billionaire shipping mogul Manuel (Matty) Moroun and left vacant for the past 20 years. Moroun, who also owns the Ambassador Bridge, has become one of the largest landholders in the city of Detroit strategically buying property and leaving buildings to decay to prevent projects that jeopardize his monopoly on the flow of semi-traffic between Detroit and Windsor over the Ambassador Bridge.
From ‘The Annihilation of Space by Just in Time Delivery’ by Joshua Akers
Jennifer Garza-Cuen is an artist concerned with the complex weave of social structures, with groups and sub-groups and the continued impulse to categorize and define.
Working in a constructed-documentary style she explores ideas of cultural memory and inheritance through the revision, reenactment and recounting of myths.
With a basis in the tradition of social commentary, Garza-Cuen creates histo-cinematic narrative re-tellings more focused on posing questions or setting the scene in which questions will naturally form than coming to conclusions or providing answers.
Finally, as a former expatriate American, Garza-Cuen is primarily interested in American themes: American mythology, empire, society, regions, sub-cultures and their norms and customs as well as the idea of ‘American-ness’ as it affects her own, continuing, self-defining process.