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Donald Sheridan Farnsworth (born 1952, Palo Alto, California) is an American artist and inventor.〔(【引用サイトリンク】url=http://patents.justia.com/inventor/donald-farnsworth )〕〔(【引用サイトリンク】url=http://www.nevadaart.org/exhibitions/detail?eid=189 )〕〔 He is currently the director of Magnolia Editions in Oakland, California.〔〔 ==Artworks and Collaborations at Magnolia Editions== In 1981, Farnsworth founded fine art press and publisher Magnolia Editions in the San Francisco Bay Area with co-founders David Kimball and Arne Hiersoux. Farnsworth now publishes artworks at Magnolia's 8,000-square-foot Oakland, California warehouse location, both under his own name and in collaboration with his wife, artist Era Hamaji Farnsworth.〔(【引用サイトリンク】url=http://westoaklandworks.com/index.php?option=com_k2&view=item&id=9:article-1&Itemid=66 )〕〔("Tapestry of Imagination." ) Hennig, Wanda. Oakland Magazine. Retrieved 2009-04-13.〕 Farnsworth's own work often draws from his interest in the intersection of art and science. Early works on paper combined precise architectural renderings of classical Greek and Roman columns and archways with "the addition of unusual textures and designs" such as abstract patterns or fragments of antique Japanese script.〔(【引用サイトリンク】url=http://www.imageconscious.com/resultsbio.php?aid=153 )〕 His ''Origin: Specimens,'' a suite of prints depicting hyper-realistic, digitally captured images of insect and bird specimens from the California Academy of Sciences in San Francisco overlaid onto the complete text of individual chapters from Charles Darwin’s ''On the Origin of Species,'' was exhibited at the Fresno Art Museum in 2007 and at the Nevada Museum of Art in 2011. The Nevada Museum curator writes: "..()he raw data of Darwin’s text reveals Farnsworth’s admiration for the epistemology of science. By subtly locating the specimens within a scientific context, Farnsworth reminds viewers that a considerable wealth of observation-based research informs the development of scientific theories like evolution."〔 In the catalogue for the ''Origin: Specimens'' exhibition, Farnsworth writes: "Regardless of our religious beliefs, we all inhabit a work where most of the images we encounter on a daily basis are designed by corporations to sell us something. The art world is not immune to the rise of the corporate state () Ultimately, my goal with this series is to create images divorced from this commercial context, which instead emphasize observation, literacy, and aesthetics." In his capacity as director of Magnolia Editions, Farnsworth also works with a wide variety of contemporary artists to produce works on paper, multiples including Jacquard tapestries, public art commissions, and other fine art projects. Describing her experience creating an edition at Magnolia, painter Inez Storer writes: "The collaborative process at Magnolia involved working directly with Farnsworth who is himself an artist and therefore understands the artist mentality." Some of the artists who have worked with Farnsworth since Magnolia's inception include William Wiley, Squeak Carnwath, and Rupert Garcia. The latter's work at Magnolia has taken a variety of experimental forms, indicating the unorthodox nature of the studio's projects: for example, Garcia's earliest collaborations with Farnsworth were a series of automated CAD pencil drawings which allowed the artist to create a series of editioned multiples of a hand-drawn graphite portrait of Robert Motherwell; later publications with Garcia have included collography, woodcut, Jacquard tapestries, and digital inkjet prints on paper, panel, and fabric.〔 In the foreword to the catalogue for ''Rupert Garcia: The Magnolia Editions Projects 1991-2011'', Achenbach Foundation for Graphic Arts curator Karin Breuer compares Farnsworth and Garcia's drive to find new means of expression, writing: "For Farnsworth it is a search for new ways for artists to make art through the creative utilization of digital tools that he has adapted to media including printmaking and tapestry weaving." In his introduction to the catalogue, Farnsworth writes: "Our place at the crossroads of analog and digital demands that we consider both the artist's hand and the mark of the media. Every media has its own mark: as media grows more complex, increased care must be taken not to let the heavy hand of technology dominate the hand of the artist." 〔 Between 2002 and 2006, Magnolia Editions published numerous print and tapestry editions by Bruce Conner under his own name and various pseudonyms. During this period Farnsworth introduced Conner to the possibilities of digital media. In a 2008 interview, Farnsworth recalls: “For the first year, he warmed up to the computer by watching me; then I helped him pick out a computer, which he left (Magnolia Editions ) for six months, using it only when he came to the studio. Finally he took it home. Once he became familiar with Photoshop, he could easily spend 50 hours editing a single piece.” Conner used the digital techniques Farnsworth showed him to meticulously re-edit a series of collages which were then translated into Jacquard tapestries, and he soon warmed to the creative potential of editing software and inkjet printing. When asked by a camera crew at Magnolia Editions what the difference was between his previous methods of working and these newer digital methods, Conner replied, "I hadn’t noticed a difference."〔(【引用サイトリンク】url=http://www.magnoliaeditions.com/wp-content/uploads/2012/05/MagnoliaNewsletter151.pdf )〕 Since 2006, Farnsworth has been artist Chuck Close's main collaborator on an ongoing series of editioned tapestries and prints.〔("You Can Buy Chuck Close's Tapestry Portrait of Barack Obama for $100,000" ) artinfo.com. Retrieved on 2013-02-13.〕〔("Chuck Close, President Obama, and an Art Sale" ) newyorker.com. Retrieved on 2013-02-13.〕 Farnsworth and Magnolia have been instrumental in developing the technique behind Close's series of watercolor prints, which have been called "the artist’s first in-depth experimentation with the possibilities of digital technology."〔(【引用サイトリンク】url=http://www.pacegallery.com/newyork/exhibitions/12548/chuck-close )〕 In a 2014 interview with Terrie Sultan, Close named his "two great collaborators" as the late Joe Wilfer and Farnsworth, saying: "now I’m working with Don Farnsworth in Oakland at…Magnolia Editions: I do the watercolor prints with him, I do the tapestries with him. These are the most important collaborations of my life as an artist." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Donald Farnsworth」の詳細全文を読む スポンサード リンク
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