Recently, we had artist Casey Niccoli up @farringtonpress to create a new body of work. Casey’s practice has evolved over decades. In the early ’90s, her artwork helped define the visual identity of Jane’s Addiction, shaping not just the band’s aesthetic but influencing the broader visual culture of Los Angeles at the time. Her work also left a lasting impression on a young Dr. Farrington, playing a pivotal role in informing his own artistic path. After learning Casey was living nearby in the desert, we invited her up to the workshop, sparking a new collaborative chapter. Together, we are exploring work that draws from the past and inventing new methods to realize Casey’s vision. This is a desert redemption story. Join us this weekend at the High Desert Art Fair to experience these new pieces, alongside works from a range of other artists. 📸 @ericminhswenson 📸 @kylecanal @highdesertartfair

Printmaking has long been a space where artists experiment, take risks, and expand their practice. One artist who has continually pushed those boundaries is Tara Donovan (@tadodonovan ) , a longtime Farrington collaborator and true innovator. Known for transforming industrially produced common objects into immersive sculptures, Tara approaches printmaking with the same keen attention to materiality.  Many of the same objects that comprise her sculptural works are utilized as print matrices—including CD-R foil, aluminum screen, rubber bands, pins, glass, string, and Slinky coils—blurring the boundary between object and image. Like many print processes that reverse the image, her works on paper act as mirrors of her sculptures. Frequently created as unique iterations, they eschew longstanding traditions in printmaking and become a testing ground for ideas: sometimes the work evolves into a sculpture; other times the sculpture comes first, and the printed impression follows. In this way, her impact on printmaking recalls visionary artists such as Robert Rauschenberg and John Cage, who redefined what their mediums could be. Tara continues that spirit of experimentation as a true pioneer and explorer of print. @pazdabutler @pacegallery @paceprints @krakowwitkin 🙏 Cheers to all our extended printer family! 1-3. Untitled, 2024 Reflective foil from CD-Rs embedded in Oil-based ink on Arches Cover paper 36 1/8" × 28 1/8" in. Published by Farrington Press 4-5. Untitled, 2023 Relief print from aluminum screen matrix 23 ⅛ x 23 ⅛ in (58.7 x 58.7 cm) Published by Farrington Press and Josh Pazda Hiram Butler 6. Untitled (Rubber Bands), 2006 Relief print from rubber band matrix Published by Pace Prints 7. Untitled (2010) Relief print from pin matrix Published by Pace Prints 8. Broken Glass, 2009 ink on paper Published by Pace Prints 9. Untitled 2015 Relief print from a Slinky® matrix on paper with deckled edges

It almost felt like a summer night 🌕

More on aquatints! Developed in the mid-18th century, aquatint gave printmakers a way to work in tone instead of just line, building soft washes, subtle gradients, and velvety textures that feel closer to drawing or painting than engraving. While Francisco Goya wasn’t the first to use aquatint, he expanded its possibilities, layering rich blacks and smoky gradients to create the dark, charged atmospheres his prints are known for. Mary Cassatt and master printer Modeste Leroy layered etching and aquatint to create flat planes of color beneath delicate lines, giving her domestic scenes a soft intimacy influenced by Japanese woodblock prints and everyday life. For a deeper dive into how the process works, check out our last post. Print info: Francisco de Goya y Lucientes When Day Breaks We Will Be Off (Si amanece; nos vamos), 1797–1798. Etching and aquatint on laid paper Mary Cassatt The Bath, 1890-91 Drypoint, soft ground etching, and aquatint in color Kenny Rivero I’m Missing, 2025 Four-plate etching (hard-ground, soft-ground, aquatint, and spit-bite) with pochoir and colored pencil, printed on Rives BFK 25 x 20 in. (63.5 x 50.8 cm.) Co-published by Farrington Press and Charles Moffett Gallery #aquatint #marycassatt #franciscogoya #kennyriveroart #farringtonpress

Aquatint is one of the more confusing techniques in printmaking it often feels magical, to me it is straight magic. It is a printmaking technique used with copper etching to create areas of tone rather than lines. It works by forming a dpi or dot pattern of tiny dots on a metal plate, which are etched for different lengths of time to build light to dark shading on a single plate. Short etches create pale tones, while longer etches produce deep, rich tones of whatever color of ink is applied. Artists like Francisco Goya, Mary Cassatt, and David Hockney used aquatint for its unique effects to tone a single plate or add color to multiple plates. We will post some examples of aquatint in prints in the coming posts. 📸 @ceciliacanodaly and @sarah_chance

New Year, New Release! Farrington Press is pleased to announce a new edition created in collaboration with Bronx-based artist Kenny Rivero a.k.a @champaint_papi and @charlesmoffettgallery The edition features two multi-plate etchings—I’m Missing and Portrait As a Self—each incorporating hand-applied pochoir elements. . . . Slide 1: Kenny Rivero Portrait as a Self, 2025. Two-plate aquatint with one relief roll plate and pochoir, printed on Rives BFK 25 x 20 in. (63.5 x 50.8 cm.) Edition of 20 Co-published by Farrington Press and Charles Moffett Gallery Slide 2 Kenny Rivero I’m Missing, 2025. Four-plate etching (hard-ground, soft-ground, aquatint, and spit-bite) with pochoir and colored pencil, printed on Rives BFK 25 x 20 in. (63.5 x 50.8 cm.) Edition of 20 Co-published by Farrington Press and Charles Moffett Gallery

Little teaser, new @champaint_papi aka Kenny Rivero prints coming at you early in the new year! Keep your eyes open 👁️🔥👁️ Co-published with @charlesmoffettgallery

Farrington field guide research trip: Mono Lake Mono Lake is ancient lake where researchers study extremophiles. Organisms that can live in the harshest conditions. The tufa towers at Mono Lake formed when calcium-rich freshwater from underwater springs mixed with the lake’s alkaline, carbonate-rich water. This chemical reaction caused calcium carbonate (limestone) to precipitate out of the water, gradually building the tall, porous tufa structures the lake is famous for. Calcium carbonate also plays a role in intaglio printmaking. In this context, it’s commonly used as a gentle abrasive and degreasing agent for cleaning copper plates both before applying an aquatint and after etching. Printmakers may also use it on their hands while wiping a plate, since it helps reduce oils and allows for a cleaner, more controlled wipe. Featured print: @honortitus “Black Rimbaud” Co-published with @timothytaylorgallery

Today we celebrate 1/2 of Farrington . @sarah_chance is the glue that keeps this place together. We love you and appreciate all you do. Happy birthday ❤️❤️❤️‍🔥

Dr. Farrington has left the wildlands to participate in a print Salon at the @hoteldudanube @paris.danube.print.salon in Paris. We’re listening to John Lewis and drinking cafe with warm 🥐, come and sit with us, everything is Bon. With works by @matt_kleberg @marthatuttlestudio @champaint_papi @tadodonovan @lilystockman @emma._._mcintyre @honortitus @kylecanal @pazdabutler

Featured available prints now live on our website! We’ll be rotating this page every now and then with all of the incredible work we’ve got over here. Please be in touch with any questions.

Farrington is headed to Paris! 🇫🇷 Hide your croissants... We’re very excited to be taking part in the inaugural Paris Danube Print Salon (@paris.danube.print.salon ) 🗓️ November 21–23, 2025 📍 Hôtel du Danube, 58 rue Jacob, Saint-Germain-des-Prés, Paris Admission is free with registration — 🔗 link in bio. Stop by after you visit the Mona Lisa.