Download Free Richard Marquis Objects Book in PDF and EPUB Free Download. You can read online Richard Marquis Objects and write the review.

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.
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.
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.
Here is the first comprehensive survey of modern craft in the United States. Makers follows the development of studio craft--objects in fiber, clay, glass, wood, and metal--from its roots in nineteenth-century reform movements to the rich diversity of expression at the end of the twentieth century. More than four hundred illustrations complement this chronological exploration of the American craft tradition. Keeping as their main focus the objects and the makers, Janet Koplos and Bruce Metcalf offer a detailed analysis of seminal works and discussions of education, institutional support, and the philosophical underpinnings of craft. In a vivid and accessible narrative, they highlight the value of physical skill, examine craft as a force for moral reform, and consider the role of craft as an aesthetic alternative. Exploring craft's relationship to fine arts and design, Koplos and Metcalf foster a critical understanding of the field and help explain craft's place in contemporary culture. Makers will be an indispensable volume for craftspeople, curators, collectors, critics, historians, students, and anyone who is interested in American craft.
South Florida is home to some of the world's premier private collections of studio glass, collections whose abundance, diversity, and quality are celebrated in Fire and Form. This volume features more than 100 works by 31 of the best-known American and European glass artists of our time, including Jaroslava Brychtova, Dale Chihuly, Dan Dailey, Stanislav Libensky, William Morris, Tom Patti, Lino Tagliapietra, and many others. William Warmus identifies four prominent themes in the relatively recent development of studio glass (since 1960) that provide a framework for exploring the rich variety of works presented in this book. The first theme is what Warmus has called the particular affinity between nature and the making of glass: Where nature creates a heart, the glass artist creates a heart-felt vessel. The second is the ability of glass, equally to that of painting and sculpture, to convey the power of abstraction and color. A third theme is the prevalent use of glass - sometimes called the new bronze - to depict the human figure and animal forms. The final section deals with the theatrical nature of installations and environmental sculptures, demonstrating the surprising capability of glass to impose itself physically and emotionally on the space we inhabit, altering our very perception of it. ancient Egypt, and places contemporary glass within the context of contemporary art and theory at large. In addition, the book includes selected artists' bibliographies and a chronological bibliography of contemporary glass that lists key historical events, general trends and developments, and important publications. Fire and Form offers a unique perspective on this vital and intoxicating medium, and its publication is a welcome event for all lovers of glass - those who make it, those who collect it, and those who admire it.
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.