Showing posts with label George Miyasaki. Show all posts
Showing posts with label George Miyasaki. Show all posts

Wednesday, October 30, 2013

In memory of George Miyasaki

George Miyasaki at Magnolia in 2009

It is hard to believe and difficult to report, but our friend and teacher George Miyasaki passed away this week. He was 78 years old.

George was a role model to all who knew him – an extraordinarily humble and soft-spoken man whose grace, patience, and good humor were matched only by his incredible work ethic. Having studied painting and printmaking with Richard Diebenkorn, Leon Goldin, and Nathan Oliveira in the 1950s, George immediately began winning awards for a highly innovative body of printmaking work that continued right up until this year. His signature mix of collograph textures, expressionistic forms, and unpredictable colors made his work instantly recognizable. It would be a disservice to George to say that his work simply reflected his personality when he was so unquestionably gifted and worked so admirably at his craft – yet it is true that his prints balanced a gentle, lyrical elegance with a bold physicality in a way which mirrored the quiet strength that seemed to radiate from George himself.


A young George Miyasaki, second from right, with (from left) Harold Rosenberg, John Coplans, and Wilfrid Zogbaum

One can read all about George's storied career in the biography available from his galleries or the numerous major museums that collected his work; to list his various Guggenheim and NEA grants, to speak of his work at Atelier 17 in Paris or his decades of teaching at UC Berkeley, while extremely impressive, somehow still does not seem to do him justice. George was a lion. It is hard to put into words how generous he was with his brilliance, how dedicated he was to his work, and how fortunate we are to have learned so much from him. We love you, George.

John Mass, Era Farnsworth, George Miyasaki, and Brian Caraway at Magnolia in 2010


George Miyasaki - Composition 18, a lithograph from 1957


Miyasaki (far left) with family in the 1950s


Guy Diehl, Donald Farnsworth, George Miyasaki, Enrique Chagoya, and Dean Smith at Magnolia, 2010


Miyasaki (at right, ever the instructor) at a wedding in Hawaii, 2006


Miyasaki with family in front of a painting in progress, 2005


A 2005 drawing by Miyasaki commemorating his parents


Squeak Carnwath and George Miyasaki with collagraphs in progress at Magnolia, 2010


Miyasaki at Magnolia, 2008


Printer Rick Dula and George Miyasaki wiping a collograph plate at Magnolia, 1999

Dula and Miyasaki pull a print at Magnolia, 1999

George Miyasaki - Dog Days of Summer III (v.4), 2005
collagraph and mixed media, 31.5 x 25 in.

Miyasaki at Magnolia, 2008

Wednesday, August 24, 2011

Rob Keller, Amy Ernst, Squeak Carnwath, George Miyasaki at the studio

Rob Keller at Magnolia Editions

Artists Rob Keller and Amy Ernst worked on print projects at Magnolia today; Squeak Carnwath also stopped by with her dog Vermeer, and George Miyasaki pulled some collagraph proofs.

You may remember Keller's tapestry of mummified bees, which numbers among the earliest tapestry editions published by Magnolia. Keller continues to make art involving (or perhaps in collaboration with) his bees; his most recent series of prints depict an experiment in which he released a feral colony of bees into a Victorian dollhouse.

Art by Rob Keller: feral bees in a dollhouse!

Art by Rob Keller

Art by Rob Keller

Keller also created some bee-inspired wallpaper, printing directly on a specially coated roll of wallpaper from Magnolia's large-format inkjet printers:

Bee wallpaper by Rob Keller

Bee wallpaper by Rob Keller


Meanwhile New York-based artist Amy Ernst managed to miss the East Coast earthquake (and catch the West Coast quake!) by spending this week working at Magnolia with printer Tallulah Terryll.

Amy Ernst at Magnolia with one of her artist's books

This visit finds Ernst (granddaughter of famed Surrealist Max Ernst) incorporating more imagery printed on the flatbed acrylic printer and mixing media with great aplomb.

Ernst is using the flatbed printer to enlarge, modify, and re-work imagery from various sources, including an extraordinary artist's book she finished earlier this year:

Artist's book pages by Amy Ernst

Artist's book pages by Amy Ernst

Cover of artist's book by Amy Ernst

Detail of art in progress by Amy Ernst

Detail of art in progress by Amy Ernst

Art in progress by Amy Ernst


Squeak Carnwath also came by to make a poster for her upcoming show at Sylvia White Gallery.

Donald Farnsworth, Squeak Carnwath, and Carnwath's dog Vermeer


Amy Ernst and Carnwath's dog Vermeer quickly became friends:

Squeak Carnwath's dog Vermeer and Amy Ernst

Vermeer and Ernst


A delicious lunch of Salvadoran food followed, after which Keller and Carnwath returned to their respective studios.

Later, George Miyasaki arrived to proof one of his signature collagraph plates with printers Brian Caraway and Nicholas Price.

Brian Caraway (back to camera), Donald Farnsworth, George Miyasaki, Amy Ernst, and Tallulah Terryll


Miyasaki and Farnsworth consider Miyasaki's latest print (with a woodcut by Rupert Garcia in the background)

No, Miyasaki Dark is not a band name -- it's the special blend of ink for Miyasaki's collagraph plates

Caraway and Price pull a proof

Miyasaki and Caraway compare notes