INSIDE MAGNOLIA EDITIONS: COLLABORATION AND INNOVATION
Opening Sunday December 13
Under the direction of Don and Era Farnsworth since 1981, Magnolia Editions has been on the front lines of innovation, collaboration, and advocacy for timely and pressing social and political issues.
Known primarily as a top-notch printmaking studio, their collaborative and signature experimental style has them working shoulder to shoulder with renowned artists from the San Francisco and New York regions, as well as other national and international contemporary artists eager to push their artistry and technical capabilities to new heights. Artists with a political voice find a simpatico home in Magnolia, collaborating to visually articulate important social messages, as can be seen in almost every work in this exhibition.
Magnolia's innovative output is visible through its experimentation with etching and intaglio printing, digital printing onto unusual and surprising substrates, digital photogravure methods, and projects merging painting and printmaking. Beginning in the 90's, Magnolia furthered its reputation for invention through its Jacquard tapestry editions, bringing a spirit of creative vigor and fresh energy to an old-world tradition. A unique set of proprietary color matching techniques developed by Magnolia digitally direct electronic looms in Belgium, putting an industrial technology in the service of contemporary fine artists.
Magnolia's embrace of technology encompasses much of human ingenuity over the last 20,000 years. Within the exhibition, a chart created by Don Farnsworth shows the genealogy of artistic genius that has informed Magnolia's innovative mark-making possibilities.
Exemplifying the creative spirit of Magnolia, Don Farnsworth states, "Often the mistakes are the most exciting. We can get swept away and stay there for weeks at a time: one wave catches the next, inspires the next; the influences of one artist spill over to another - like a creative riptide influencing other artists at the studio." The result has led to a sea change in how artists think about printmakers: as collaborators, even magicians, not mere operators of presses.