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Richard Marquis has had an extraordinary influence on the development of contemporary studio glass in America and around the world. Studying at the University of California at Berkeley during the 1960s, he explored ceramics and was introduced to glassblowing. Unsatisfied by the limited techniques practiced in American studio glass at that time, Marquis went to the island of Murano, near Venice, to observe and work with the masters of a glassblowing tradition acknowledged as the best in the world. Freely sharing the techniques he learned in Venice, Marquis has demonstrated and taught throughout the U.S., Europe, Japan, Australia, and New Zealand. The effect of Venetian glassblowing techniques on American studio glass enabled glass artists to expand their technical vocabularies and, combined with new and experimental approaches, led to the redefinition of glass as an artistic medium. As an artist, Marquis is admired for his sophisticated understanding of color and form as much as for his humor and willingness to experiment. As a glassblower, he has influenced an entire generation of artists working in glass who aspire to his technical mastery and the originality of his voice. He lives on an island in Puget Sound.
Richard (Dick) Marquis (b. 1945, Arizona; resides in the Pacific Northwest) is a towering figure in the Studio Glass movement. For fifty years he has been invigorating the art world with works embodying a rare combination of finesse, intellect, and whimsy. The recipient of four NEA fellowships and numerous other national and international awards, he embodies, according to curator and author Vicki Halper, the sacred and the profane.Marquis has been a lifelong collector of mostly odd objects. Among them are bowling balls, tin coffeepots, anvils, and ceramic dogs. It is no surprise, then, that he also amassed his own work- Marquis calls this private stash his "keepers." It is from his idiosyncratic collection, which represents all periods in his career, that the selection of objects for Richard Marquis: Keepers is drawn. Halper worked with Marquis to select works for this retrospective project, then invited a miscellany of his friends, family members, artists, and art historians-including Suzanne Frantz, Dante Marioni, Josiah McElheny, Tina Oldknow, Laura deSantillana, Lino Tagliapietra, and many others-to choose pieces to discuss. Their highly varied commentaries form the body of the book. Also included is an extensive chronology written by Marquis that gives his perspective on a prolific career and well-lived life. Richard Marquis: Keepers serves as the catalog to an exhibition of the same name that will open at Museum of Glass, Tacoma, in September 2019, then travel to Wichita Art Museum and other venues. The exhibition is originated by Museum of Glass and Wichita Art Museum.
This thought-provoking collection of essays and photographs gives us an inside look at the life, art, home, and collections of legendary glass artist Richared Marquis. Photographs capture his glass work and the collections of cast-off objects that fill his home--bowling balls, oil cans, fishing poles.
The Way of the Artist is a thought-provoking collection of essays and photographs by Barry Behrstock, who gives us an inside look at the life, art, home and collections of legendary glass artist Richard Marquis. This eclectic journey of the eye and mind takes the reader from Melville to Proust, math to physics, metaphor to fantasy, while exploring Marquis’s way of life as representative of “a life well lived,” which the author characterizes as filled with creativity, lived in the present, and in tune with the rhythms of nature. Artist Marquis is an apt avatar of the creative life, as seen in the photographs of his glass work and the exquisite collections of ordinary objects in his home, including bowling balls, oilcans, fishing poles, and other cast-off items. Behrstock brings the reader into the game as he muses on Marquis’s creativity and shares thoughts from Eastern philosophy, quantum physics, and his own experience to highlight and celebrate each individual’s unique importance in the creative human equation.
Objects: USA 2020 hails a new generation of artist-craftspeople by revisiting a groundbreaking event that redefined American art. In 1969, an exhibition opened at the Smithsonian Institution that redefined American art. Objects: USA united a cohort of artists inventing new approaches to art-making by way of craft media. Subsequently touring to twenty-two museums across the country, where it was viewed by over half a million Americans, and then to eleven cities in Europe, the exhibition canonized such artists as Anni Albers, Sheila Hicks, Wharton Esherick, Wendell Castle, and George Nakashima, and introduced others who would go on to achieve widespread art-world acclaim, including Dale Chihuly, Michele Oka Doner, J. B. Blunk, and Ron Nagle. Objects: USA 2020 revisits this revolutionary exhibition and its accompanying catalog--which has become a bible of sorts to curators, gallerists, dealers, craftspeople, and artists--by pairing fifty participants from the original exhibition with fifty contemporary artists representing the next generation of practitioners to use--and upend--the traditional methods and materials of craft to create new forms of art. Published to coincide with an exhibition of the same title at the renowned gallery R & Company, and featuring essays by some of the foremost authorities on craft at the intersection of art, including Glenn Adamson, curator and former director of the Museum of Arts & Design; James Zemaitis, curator and former head of twentieth-century design at Sotheby's; and Lena Vigna, curator of exhibitions at the Racine Art Musuem; an interview with Paul J. Smith, the cocurator of Objects: USA; archival photographs of the original exhibition and important historical works; and lush full-color images of contemporary works, Objects: USA 2020 is an essential art historical reference that traces how craft was elevated to the status of museum-quality art, and sets its trajectory forward.
What is craft? How is it different from fine art or design? In A Theory of Craft, Howard Risatti examines these issues by comparing handmade ceramics, glass, metalwork, weaving, and furniture to painting, sculpture, photography, and machine-made design from Bauhaus to the Memphis Group. He describes craft as uniquely blending function with a deeper expression of human values that transcend culture, time, and space. Craft must articulate a role for itself in contemporary society, says Risatti; otherwise it will be absorbed by fine art or design, and its singular approach to understanding the world will be lost.
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A Compilation of all the Government and General-Government-General-Brigade and Garrison Orders-Minutes of Council-Commands of the Hon. Company-or Regulations, from whatever authority promulgated, from the year 1750 to the 31st of July 1801, that are now in force and operating on the discipline or expenditure of the Bombay Army ... To which are added a supplementary head, comprizing orders issued between the 31st July and 30th November 1801 ... and a copious index ... Compiled ... by Captain Edward Moor

BOMBAY, Presidency of. Army

Published: 1801

Total Pages: 536


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