Tuesday, September 12, 2017

Guillermo Galindo at Huntington Library

Guillermo Galindo - PS 13 (pretiscarida carnosa), 2017
acrylic ink on acrylic and aluminum, 39 x 78 in.

Artist and experimental composer Guillermo Galindo recently created several innovative works at Magnolia Editions for Pacific Standard Time: LA/LA, this year’s Getty-funded exhibition series devoted to Latino and Latin American art. Galindo’s new works were commissioned by curator Josh Kun (as part of his multi-venue series "Musical Interventions") and will debut as part of an exhibition at the Huntington Library, Art Collections and Botanical Gardens, exploring “how the depiction of Latin American nature contributed to art and science from the late 1400s to the mid-1800s” and opening on Sept. 16, 2017. Galindo explains that these works will serve as a commentary and counterpart to the Huntington’s concurrent “Visual Voyages: Images of Latin American Nature from Columbus to Darwin” exhibit.

Guillermo Galindo - DL 7 (decolalienata misteriosa), 2017
acrylic ink on acrylic and aluminum, 9.5 x 48 in.

Each work in Galindo’s Human Nature: Sonic Botany series consists of a combination of printed aluminum and plexiglas panels, materials chosen for their austere, laboratory-like properties: Galindo notes that the plexiglas suggests the clear plastic slides used to view samples under a microscope. In the two largest works, a layer of translucent plexiglas is printed with manipulated images of microscopic insects or bacteria (and in one case, a secret message in Braille); beneath this layer, a sheet of aluminum is printed with patterns derived from cactus plants. The artist likens this visual strategy to the troubling tendency of corporations to combine plant, insect, and bacterial genomes, creating new species resistant to weather or disease. The paired layers of these works create a shifting, kaleidoscopic sense of movement and visual complexity; each piece appears to change, as if metamorphosing, as the viewer passes by.

Guillermo Galindo - NSV 11 (nososcarida viscosa), 2017
acrylic ink on acrylic and aluminum, 39 x 78 in.

The smaller works in the series employ Galindo’s signature graphic ‘scores,’ building on a tradition established by composers such as Sylvano Bussotti, Earl Brown, Cornelius Cardew and John Cage, all of whom blurred the lines between music and visual art. For Galindo, a musical score can be defined as “a set of symbols written on a piece of paper or any other readable surface, to be translated into sound events to be reproduced in real time.” The horizontal landscape format of these works also suggests pre-Columbian codices. One panel features a Braille tribute to environmentalist Ignacio Chapela, who discovered genetic pollution and corporate interference in species of Mexican maize.

Guillermo Galindo - MIB 17 (maizdelignacious benignus), 2017
acrylic ink on acrylic and aluminum, 9.5 x 48 in.


Guillermo Galindo - PF 8 (pataferocia dentada), 2017
acrylic ink on acrylic and aluminum, 9.5 x 48 in.

Galindo says that these works evoke “mutant jungles,” a comment on the colonization of the microscopic world by corporations. Just as the Spanish colonized the New World, he explains, assigning names to the “new” species they encountered, so do today’s corporate powers use patents to assert their dominance over a world of flora and fauna that is hidden from the naked eye. As the invisible becomes the domain of science – a turn Galindo links to the Greek concepts of mythos and logos, or the overtaking of religious or mythic concepts by reason and science – these works ask us to consider the ways in which contemporary corporations have taken advantage of this shift to manipulate and colonize the territory of the unseen.

Huntington Library, Art Collections and Botanical Gardens website

Guillermo Galindo - HPP5 (hormigopsycoticus poisonosa), 2017
acrylic ink on acrylic and aluminum, 9.5 x 48 in.

Friday, August 25, 2017

Public art: Alice Shaw at San Francisco International Airport


Installation view of Alice Shaw's No Other Lands Their Glory Know at SFO; photo by Allison Chapas

Congratulations to Alice Shaw on the completion of No Other Lands Their Glory Know, a 20 x 26 ft. work on panel created at Magnolia Editions and permanently installed this week at gate G-95 in the International Terminal at San Francisco International Airport (SFO).

Based on Shaw’s digital images of Mt. Tamalpais taken along the Dipsea Trail, No Other Lands marries the detailed textures and silvery palette of vintage landscape photography to an eye-catching background of hand-applied 22-karat gold leaf. The massive work comprises 25 plywood panels coated with gesso, printed with UV-cured acrylic ink, and gilded at Magnolia Editions.

Installation view of Alice Shaw's No Other Lands Their Glory Know at SFO; photo by Allison Chapas

Having grown up in Stinson Beach “in the last house on the route to Mt. Tam,” Shaw says she has loved this particular forest since childhood. The work’s title is taken from “The Redwoods,” a 1932 poem celebrating the beauty of Northern California’s forests and written by Joseph B. Strauss, the chief engineer of the Golden Gate Bridge. In addition to its historical connection to the California Gold Rush and the 'Golden State,' Shaw’s use of gold leaf was partially inspired by Byzantine icon paintings.

Installation view of Alice Shaw's No Other Lands Their Glory Know at SFO; photo by Allison Chapas

As the grisaille tones of the forest suggest the silver gelatin print process commonly used by black-and-white photographers, No Other Lands represents a symbolic pairing of two precious metals, gold and silver, in homage to this national treasure.

Installation view of Alice Shaw's No Other Lands Their Glory Know at SFO; photo by Allison Chapas

Tuesday, August 15, 2017

Donald & Era Farnsworth at Peters Projects opens Sept. 8


Donald & Era Farnsworth - Deer Deity, 2017
cotton Jacquard tapestry, 88 1/2 x 49 inches

Please join us at Peters Projects in Santa Fe, NM for the opening of "I Forget I'm Human," an exhibition of new work by Donald and Era Farnsworth on view from September 8 through November 4, 2017. An opening reception with the artists will be held Friday, September 8th from 5-7 pm.

Donald & Era Farnsworth - Extinction, 2017
mixed media on linen canvas, 63 x 40 inches

In "I Forget I’m Human," the Farnsworths address the relationship between humanity and the environment, investigating how myth and science have shaped human values from ancient times to the present day. Nearly all of the compositions in "I Forget I’m Human" include multiple layers of both hand-painted and digitally generated elements, creating a palimpsest-like effect that echoes the layers, patinas, and weathered wabi-sabi of works that have survived from ancient times while also incorporating contemporary digital processes. A selection of the works included in the show can be viewed online at Peters Projects' website.

Donald & Era Farnsworth - Bulwark, 2017
mixed media on linen canvas, 70 x 46 inches

The exhibition includes tapestries which use a medium older than oil on canvas – weaving, albeit updated by 19th-century Jacquard and 21st-century digital color matching technologies. Meanwhile, the Farnsworths' Art Notes series ‘recycles’ and re-imagines one dollar bill notes, re-envisioning the “Almighty Dollar” as a site wherein to celebrate heroes of creativity and conservation and to light-heartedly castigate polluters and oligarchs. A series of works depicting therianthropic (animal-human hybrid) deities harkens back to those appearing in the earliest surviving human artworks while also incorporating elements from Buddhist, Hindu, Judeo-Christian, Islamic and Jungian iconographies.

Donald & Era Farnsworth - Aulos Echo, 2017
mixed media, 42 x 31 inches

From ancient gods with the heads of animals to living, breathing endangered species; from the capitalistic fever for accumulated wealth to precious natural resources like clean air and water, what we value is evident in the symbolic and visual output of our species: our myths and sacred images. In "I Forget I’m Human," the Farnsworths trace this output, offering a glimpse of the hubris of humanity matched with an optimistic appeal for spiritual and ecological balance.

Donald & Era Farnsworth - In the Moonlight (I Forget I'm Human), 2017
cotton Jacquard tapestry with acrylic paint, 96 1/2 x 64 1/2 inches

For inquiries, please contact Eileen Braziel, Director of Peters Projects at eileen@petersprojects.com or (505)954-5801.

Monday, August 7, 2017

Kiki Smith at Thomas Cole House, Catskill, NY

click to enlarge invitation

"Kiki Smith: From the Creek" opens this Saturday, August 12, 2017 at the Thomas Cole House, a National Historic Landmark that includes the home and the studio of painter Thomas Cole, founder of the Hudson River School of American painting.

In "From the Creek," Smith worked with curator Kate Menconeri to site over 25 artworks inside and outside of the 200-year-old home, including recent prints, life-sized bronze sculptures, and Jacquard tapestries published by Magnolia Editions.

A reception and preview with the artist will be held August 12 from 5 to 7 pm; please RSVP by August 8 to info@thomascole.org.

Thursday, July 20, 2017

Chuck Close tapestries at St Cuthbert's Chapel, Ushaw College


Time-lapse video showing installation of Chuck Close tapestries at St Cuthbert's Chapel, Ushaw College

From June 30th through September 30, 2017, visitors to the ornately designed St Cuthbert’s Chapel at Ushaw College in County Durham, England will be able to experience tapestries by Chuck Close in the very first exhibition of contemporary art at St. Cuthbert's.

Chuck Close tapestry installed at St Cuthbert's Chapel, Ushaw College; photo by Mark Pinder

Published by Magnolia Editions, the selection of ten-foot-tall, black-and-white Close portraits depicts figures including Barack Obama, Kiki Smith, Cindy Sherman, Ellen Gallagher, Lyle Ashton Harris, and Close himself.

Chuck Close tapestries installed at St Cuthbert's Chapel, Ushaw College; photo by Mark Pinder

The dramatic contrast of the black-and-white tapestries with the colorful, high Gothic architecture of the chapel makes for a uniquely powerful installation.

Chuck Close tapestry installed at St Cuthbert's Chapel, Ushaw College; photo by Mark Pinder

For more photos, please visit Magnolia Editions's Exhibitions section; for visiting information, please see the Ushaw website.

Friday, April 7, 2017

Exhibitions: Aziz + Cucher, Kiki Smith, Don & Era Farnsworth

Donald and Era Farnsworth - Shadow (Cinderella), 2017
pigmented inkjet on Hahnemuhle photo rag paper, 58 x 40 inches

Curator Randy Rosenberg's Art Works for Change will present "The True Stories Project" from May 1 through May 31, 2017 at the Patan Museum, a Unesco World Heritage site in Kathmandu, Nepal.

"The True Stories Project" began as a series of interactive workshops over a six-month period, as Art Works for Change, in collaboration with the Kathmandu-based Siddhartha Gallery, used the arts and storytelling activities to help empower victims of sex trafficking and those at risk for exploitation in Oakland, CA and Nepal.

The project has since grown into an exhibition that combines artwork produced in the project with artworks created by invited artists whose work resonates with the show's themes of exploitation and empowerment.

Participating artists include Donald & Era Farnsworth, Hung Liu, Lin Tianmiao, Parastou Forouhar, Thomas L. Kelly, Ang Tsherin Sherpa, Grassroots Girls Book Club, Hit Man Gurung, Stacy Leigh, AWARE/OWARE Game for Female Empowerment, Natalie Naccache, Sheelasha Raibhandari, The Ugly Truth Campaign, Gabriela Morawetz, Girls Inc, Siddhartha Gallery, and others.

Aziz + Cucher with curator Mizuki Takahashi at MILL6 in Hong Kong

In other international news, Brooklyn-based artist duo Aziz + Cucher recently exhibited four tapestries created with Magnolia Editions in a show titled Line of Times at the MILL6 Foundation's Pop-Up Space at the Annex in Hong Kong, alongside works by Yin-Ju Chen and Morgan Wong.

Curator Mizuki Takahashi with work by Aziz + Cucher at MILL6 in Hong Kong

The works in Line of Times explore various perspectives on the concept of time in both the metaphysical and physical sense. MILL6 Senior Curator Mizuki Takahashi writes: "the multi-disciplinary artworks exhibited resonate with the fluidity of interpreting the subject, a universal yet subjective experience, with immeasurable impact on human existence, shared knowledge and evolutional civilization."

Aziz + Cucher tapestries at MILL6 in Hong Kong

For this exhibition – the artists' first in Hong Kong – Aziz + Cucher produced four large-scale Jacquard tapestries with Magnolia Editions, three of which were commissioned and will become part of MILL6's permanent collection.

Aziz + Cucher tapestries at MILL6 in Hong Kong

Aziz + Cucher tapestry at MILL6 in Hong Kong

Finally, Kiki Smith tapestries published by Magnolia Editions are currently on view at Robischon Gallery in Denver, CO from March 16th through May 6, 2017.

Tapestries by Kiki Smith at Robischon Gallery in Denver, CO

"Kiki Smith: Selections from the Jacquard Tapestry Series" includes four tapestry editions by Smith, installed so that they can be seen from the street and at night.

Tapestries by Kiki Smith at Robischon Gallery in Denver, CO

Tapestries by Kiki Smith at Robischon Gallery in Denver, CO

Tapestry by Kiki Smith at Robischon Gallery in Denver, CO

More art by Donald & Era Farnsworth from Magnolia Editions

More art by Aziz + Cucher from Magnolia Editions

More art by Kiki Smith from Magnolia Editions

Tuesday, January 17, 2017

Ceramic tile works by Chuck Close in Second Ave subway

Work by Chuck Close created at Magnolia Editions, installed at the 86th St station. Photo by George Etheredge for The New York Times

The first phase of New York City's Second Avenue Subway opened on January 1st, 2017 in an event billed by Governor Andrew Cuomo as the "largest public art installation in NY history." Artworks by Chuck Close, Vik Muniz, Jean Shin and Sarah Sze were permanently installed at four stations (including three new stations at 72nd, 86th and 96th Streets).

Chuck Close - Subway Portraits (2017). Ceramic tile portrait of Lou Reed created at Magnolia Editions. Photo by Allison Meier for Hyperallergic

At the Second Ave-86th Street station, Chuck Close created twelve large-scale works depicting subjects including Philip Glass, Zhang Huan, Kara Walker, Alex Katz, Cecily Brown, Cindy Sherman, and Lou Reed, as well as two self-portraits.

Tallulah Terryll with ceramic tile portrait by Chuck Close at Magnolia Editions

Close's ceramic tile portraits of Philip Glass and Lou Reed were created at Magnolia Editions; the technique used was gradually developed and perfected at the studio over the last several years.

To read more about the process, please check out this press release at Magnolia's website (click thumbnail below):


For more installation photos, please check out this review at Hyperallergic; for full highlights of the Second Avenue line opening, please see the New York Times' coverage.

Congratulations to Close, the MTA, Mosaika and all those involved in this project!