Showing posts with label donald and era farnsworth. Show all posts
Showing posts with label donald and era farnsworth. Show all posts

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.

Tuesday, May 10, 2016

Kiki Smith, Magnolia Editions at Peters Projects this weekend

Kiki Smith - Congregation, 2014
Jacquard tapestry with hand painting and gold leaf, 116 x 76 in. Edition of 10

"Kiki Smith: Woven Tales" opens this Friday, May 13th at Peters Projects in Santa Fe, NM. This spectacular exhibition features all of Smith's tapestries to date (nearly a dozen), hanging together in one room!

There will be an artist talk with Kiki Smith and Donald & Era Farnsworth at Peters Projects on Saturday, May 14th at 11 am.

Kiki Smith - Visitor, 2015
Jacquard tapestry, 116 x 76 in. Edition of 10

Also opening Friday at Peters Projects is a traveling adaptation of the "Magnolia Editions: Innovation and Collaboration" exhibition first presented at the Sonoma County Museum of Art earlier this year.

"Magnolia Editions: Innovation and Collaboration" is curated by Randy Rosenberg and includes work from the last three decades by artists such as Robert Arneson, David Best, Enrique Chagoya, Chuck Close, Bruce Conner, Lewis deSoto, Donald & Era Farnsworth, Guillermo Galindo, Mildred Howard, Robert Hudson, Deborah Oropallo, Mel Ramos, The St. Petersburg Travelers, and Richard Wagener.

Bruce Conner - ANGEL WALL, CANYON DE CHELLEY, 2003/1976
Archival pigmented inkjet on Rives BFK white, 17.75 x 23.5 in. Edition of 10

Peters Projects is located at 1011 Paseo De Peralta, Santa Fe, NM. If you can't make it to the opening, check out the shows on the Peters Projects website!

More work by Kiki Smith from Magnolia Editions

Friday, April 29, 2016

Openings and Events: SF Art Fair, "PAPER" in Point Reyes, and more

Mixed-media works by Deborah Oropallo (created at Magnolia Editions) featured at artMRKT San Francisco.

Magnolia Editions is pleased to announce various events and exhibitions in the Bay Area this weekend and beyond:

As pictured above, the international SF Art Fair, officially known as artMRKT San Francisco, will be held April 27 - May 1, 2016 at the Festival Pavilion at Fort Mason Center in San Francisco.

This Saturday April 30, from 1 - 4 pm please join us for the opening of PAPER, an exhibition curated by Inez Storer and featuring work by Storer, Enrique Chagoya, Donald & Era Farnsworth, Heather Peters, Tallulah Terryll, Andrew Romanoff, Carrie Lederer, and more! PAPER is happening at Toby's Gallery: 11250 State Route One, Point Reyes Station, CA 94956.

Selections from Donald & Era Farnsworth's Art Notes project, included in the PAPER exhibition in Point Reyes.

Then on Sunday May 1 from 3 - 5 pm, Natalie Ng's "Maasai Women and Four Legged Friends" exhibition of oil paintings opens at the Robert Mondavi Winery with a reception and wine tasting: Robert Mondavi Winery, 7801 St. Helena Highway, Oakville, CA 94562.

Monday, December 9, 2013

Chuck Close at Housatonic Museum; Storer/Romanoff/Farnsworth at Yuma Fine Arts

Chuck Close with students and faculty from Roosevelt School participating in the President's Turnaround Arts Initiative at Housatonic Community College in Bridgeport, CT; photo by Christian Abraham.

Besides having been hand-picked to serve on President Barack Obama's Committee on the Arts and Humanities and in addition to his extensive fundraising and charity work, Chuck Close is also a force to be reckoned with in the field of arts education.

After volunteering to participate in the President's Turnaround Arts Initiative, which helps provide students in struggling schools with much-needed arts education and exposure, Close was asked to spend the past year mentoring students at the Roosevelt School in Bridgeport, Connecticut.

As one of eight high-profile creative talents who volunteered for the program, developed in cooperation with the U.S. Department of Education and the White House Domestic Policy Council, the artist worked closely with Roosevelt students, faculty and surrounding communities.

In early November an exhibition opened in the Burt Chernow Galleries at Bridgeport's Housatonic Community College, showcasing work by the students mentored by Close alongside five of Close's large-scale watercolor prints published by Magnolia Editions over the last two years.

Chuck Close at the Burt Chernow Galleries at Housatonic Community College in Bridgeport, CT; photo by Christian Abraham.

Chuck Close addresses students and faculty in the Burt Chernow Galleries at Housatonic Community College in Bridgeport, CT; photo by Christian Abraham.

Portrait of Chuck Close by a Roosevelt student at the Burt Chernow Galleries at Housatonic Community College in Bridgeport, CT; photo by Christian Abraham.

Chuck Close's print Kara I (2012) at the Burt Chernow Galleries at Housatonic Community College in Bridgeport, CT; photo by Christian Abraham.

Chuck Close's 2013 print Cindy (Smile) at the Burt Chernow Galleries at Housatonic Community College in Bridgeport, CT; photo by Christian Abraham.

For more great photos by Christian Abraham from this event, please see this article at the Connecticut Post.

Meanwhile, "Grand Narratives," Donald and Era Farnsworth's collaborative exhibition with Inez Storer and Andrew Romanoff at the Yuma Fine Arts Association, enjoyed a successful opening this month.

Before the opening: tapestries by Donald & Era Farnsworth, prints by the Farnsworths, Storer, & Romanoff, and mixed-media works by Storer & Romanoff at the Yuma Art Center.

The show features artwork inspired by the quartet's recent trip to St. Petersburg, Russia; visitors are encouraged to learn more at the Yuma Art Center website.

Mixed-media works by Inez Storer at the Yuma Art Center

Finally, East Bay residents might notice a familiar, colorful tree appearing in newspaper kiosks around town -- Donald and Era Farnsworth's collaborative tapestry Reflection III (2004) graces the cover of the Monthly, "the East Bay's premier magazine of culture and commerce," this December. Congratulations, Farnsworths!

Donald & Era Farnsworth's 2004 tapestry Reflection III on the cover of the December 2013 East Bay Monthly

Watercolor prints by Chuck Close from Magnolia Editions

More art by Donald & Era Farnsworth from Magnolia Editions

More art by Inez Storer from Magnolia Editions

Thursday, August 29, 2013

New Media Combinations at Berkeley Art Center

Image: Lia Cook, Facing Touch (detail), 2011. Cotton rayon hand woven, 54 x 51 inches.

Magnolia directors Donald and Era Farnsworth and longtime Magnolia collaborator Rupert Garcia are among the artists featured in "New Media Combinations: Traditional - Digital," opening September 6, 2013 at the Berkeley Art Center.

Other participating artists in this promising show, which "showcases compelling work by contemporary artists investigating multiple solutions to mine and combine the potential of traditional and digital technologies," include Kim Anno, Rebeca Bolinger, Lia Cook, Bella Feldman, Talia Green, Elisabeth Sher, and Jeannie O'Connor.

An opening reception will be held from 6-8 pm on Friday, September 6th. Two weeks later, Rupert Garcia will hold a public dialogue with professor John Zarobell about "art, process, and the Bay Area's contemporary creative climate" on September 21st at 4 PM.

Donald & Era Farnsworth - Reflection III 2004. Jacquard tapestry, 75 x 54 inches.

Artists in the show will also participate in a panel on October 26 where attendees will have more opportunities to hear about the inspiration and processes behind each work.

For more details on this show and visiting information, please check the Berkeley Art Center website. Admission to the non-profit Art Center is always free, so don't miss this show!

Art by Donald and Era Farnsworth from Magnolia Editions

Art by Rupert Garcia from Magnolia Editions

Wednesday, February 20, 2013

Pres. Obama signs new Chuck Close editions


Era Farnsworth in the White House Map Room with Chuck Close's tapestry Obama 2012 (II), waiting for the president to arrive. Photo by Donald Farnsworth.

Magnolia directors Donald and Era Farnsworth traveled to the White House recently to oversee the signing by Chuck Close and President Barack Obama of Close's recent print and tapestry portraits of the president. These editions, published by Magnolia Editions, were sold to raise funds for the president's re-election effort. Only official White House photographers are allowed to take pictures of the president in the White House, but Era Farnsworth sent these images and a first-hand account of signing prints with the nation's leader:

Hi friends and family,

It turns out there were no national emergencies and our meeting at the White House with Chuck Close and President Obama went extremely well.

We were picked up by Chuck, Sienna and Chuck's nurse at our meeting place, the Willard Hotel. Then we drove across the street to the White House, where we had to pass thru about 5 different security gates. At the first gate, Chuck's nurse was turned away: she couldn't even drive the van onto the grounds since she had not been previously cleared. So Sienna took over and we drove to the next gate, which was maybe 10 yards further. There a guard came out with a German Shepherd and walked a rotation around the van, the Shepherd sniffing it from all angles.


Chuck Close passing in front of the Treasury Department and one of the gates. (It's really cold in Washington!)

We passed the dog test and another gate slid down into the road, allowing us to drive through. At that point we were able to park with a number of other vans and SUVs, some of them with Obama stickers. We got out of the van into the DC cold, where we waited patiently at another gate while the guards checked our credentials once more. We walked down a path next to the Treasury Department and turned into another guardhouse, which then, after more checking of papers, scanning, etc, led directly into the White House.


Chuck and Meaghan, one of the people running the re-election fundraiser campaign, in a beautiful waiting room.


"Our" room is ready ("The Map Room").


Sienna, Chuck's partner, is an excellent photographer and talented artist. We were told in emphatic terms that we were not allowed to photograph the president in the White House.


After unpacking we had a bit of a wait until the great man arrived.


Don enthroned in a replica of a chair once owned by George Washington. They had some of the original chairs in the room; same red damask, slightly faded.


Manny, Chuck's right-hand man, and Chuck. Beth, Chuck's other irreplaceable assistant, had to hold down the fort in NY and could not be with us at the White House.

After a couple of false alarms ("We have movement; he's on his way" -- it turns out he was moving somewhere else), Obama walked into the room with a few secret service agents. Famous big smile, he seemed like an old friend. He greeted Chuck, whom he knows, and came over to me. I told him that we were from Oakland. He replied, "I love Oakland." Good response, but I bet he says that to all the home towns. I said everybody in Oakland and all of the artists, when I told them I might be meeting the president, said, "Give him a hug from me. We love Obama." He said, "Well, you better give me a hug, then." So I hugged Obama from all of you (in my mind, everybody who is receiving this update) and he hugged me back. Awesome!

He very efficiently signed all the prints he was supposed to sign and all of the tapestry labels. He made a couple cracks about the new Treasury Secretary Jack Lew's signature and said Lew is going to have to do something about changing it. Obama has a great signature, by the way, and so does Chuck, so the signatures look wonderful on the prints and on the labels. They don't devalue them, as Obama has joked Jack Lew's signature might do to the currency.

Generally, a respectful silence was maintained while Obama was signing. It's difficult for anyone to try to field questions and carry on a conversation while signing a number of pieces which have to be signed perfectly. It was so tempting to pull out an iPhone and snap a photo. Too bad it makes that ostentatious clicking sound. 

After signing, I did manage to tell him that we drive a Volt which we power with solar panels. And Don mentioned that we have not filled up in over 2,500 miles, which is true. In fact, we have not filled up that car yet. I thanked him for the federal tax credits. He seemed pleased. Don told him that the artists loved him. Manny got a hug, too; something about his grandmother wanting to give Obama a hug. Apparently, this is the path to an Obama hug. Actually, Manny's grandmother wanted him to give Obama a hug and a kiss. Obama said he'd hug him, but declined the kiss. And that was it; he was out the door to his next important meeting or task. We found him to be absolutely charming. 


Didn't manage to get a photo of Don with Obama, but did get one of Don cuddling up to Bo, the family dog. This photo was taken right after Bo had been licking Don's face. So Don must have some Obama family DNA now.

We may get some photos from the official photographer. If so, we will certainly share them!

Love from DC,

Era and Don

Previously: Chuck Close Obama tapestries in the news

Prints and tapestries by Chuck Close from Magnolia Editions

Artwork by Donald and Era Farnsworth from Magnolia Editions

Friday, February 1, 2013

Opening: Donald & Era Farnsworth at Red Barn Gallery

Bob Yogura is moved by 3-D prints by Donald and Era Farnsworth

Donald and Era Farnsworth's Specimens & Glass Houses recently opened at the Red Barn Gallery at the Pt. Reyes National Seashore Visitors Center in Pt. Reyes, California.

The glass houses of the exhibition's title refer to diatoms, single-cell organisms found in nearly every body of water on Earth that build delicate shells for themselves out of silica. Diatoms are major sources of oxygen in our atmosphere and are estimated to be responsible for 25% of the carbon fixation (conversion of carbon dioxide to organic compounds) in the ocean.

William Wiley with Donald and Era Farnsworth

By enlarging these microscopic life forms and rendering them using an eye-catching, stereoscopic 3-D process, the Farnsworths invite us to consider both the beauty and the ecological importance of these otherwise invisible creatures.

Mildred Howard, Margo Hackett, Bob Yogura and others enjoy the Farnsworth's 3-D prints

Specimens & Glass Houses runs from January 25 through April 1, 2013. Please visit the Pt. Reyes National Seashore website for visiting information.

William Wiley, Donald Farnsworth, and Hung Liu

Mary Webster with 3-D prints by the Farnsworths

Mary Webster, Barbi Anne Reed, William Wiley, Donald & Era Farnsworth (photo by Dallas Saunders)

Donald Farnsworth and Kevin Rowell with the irresistible Hung Liu (photo by Dallas Saunders)

More art by Donald & Era Farnsworth at Magnolia Editions

Friday, October 28, 2011

"What Kind of Buddhist was Steve Jobs?"

...That's what Wired reporter Steve Silberman asks in an absorbing and well-researched blog post over at the Public Library of Science NeuroTribes blog this morning.

Silberman's inquiry is a fascinating read and includes an image of Donald and Era Farnsworth's Tree Thangka I tapestry hanging at Greens restaurant in San Francisco.

The restaurant's aesthetic, says Silberman, was inspired by the same Zen principles that later informed the look of Apple products.

Read the full blog post here.

photo by Donald Farnsworth - click to enlarge

More art by Donald and Era Farnsworth at Magnolia Editions