Quotes and excerpts must be cited as follows: Oral history interview with Richard Marquis, 2006 September 16. Archives of American Art, Smithsonian Institution.
An interview of Joel Philip Myers conducted 2007 May 1, by Daniel Klein, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's home, in Marietta, Pennsylvania.
Joel Philip Myers (1934- ) is a glass artist from Milton, West Virginia. Daniel Klein (1938- ) is an art consultant from London, England.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 15 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Paul Marioni (1941- ) is a glass artist from Seattle, Washington. Mija Riedel (1958- ) is a curator and writer, from San Francisco, California.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 8 hrs., 18 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
An interview of William Douglas Carlson conducted 2009 June 24-25, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Carlson's home, in Miami, Florida.
Carlson discusses his move to the University of Miami in 2003 after 27 years at the University of Illinois in Urbana-Champaign; his recent site-specific installation Procellous Wall at the Lowe Art Museum in Coral Gables, Florida; the change in his work since his move to Miami, finishing a series of pieces that began in 2000 dealing with language, and his sense of being in a transitional period with his work; growing up in a small town in Ohio, and his early use of adhesives, the field his father worked in, as the spur for his later work in laminating glass; classes at the Art Students League in New York City and Woodstock, New York; attending the Cleveland Institute of Art; spending the summer of 1971 in Stanwood, Washington, helping set up the Pilchuck Glass School, then returning to set up a glass program at the Cleveland Institute of Art with Christine Federighi; the lure of glass, and the danger that its beauty can overshadow artistic substance, which led in part to his decision to mix it with other materials; the influence of minimalism and of Russian constructivism, architecture and modern design; graduate studies at Alfred University, Alfred, New York; accepting a teaching job at the University of Illinois in 1976; work with lamination and expanding scale in his work; use of Vitrolite; large-scale installation work, beginning in the early 1980s, including Optional Refractions and Allele; reflection on the deliberate, design-focused nature of his work; his language series beginning in 2000; the series Pragnanz; philosophy of teaching; the value of intensive learning environments such as craft schools compared with the cross pollination of ideas available at a larger university; the imperative for craft to integrate new materials, technology, and ideas while retaining the importance of the hand; the role of galleries and collectors, and involvement in larger art and craft venues, including the May Show and SOFA; his stint as a judge in a barbecued rib cook-off; the effect of seminal exhibitions such as like "Objects: USA," [1969] and "Poetry of the Physical" (1986) in setting a standard of professionalism for and providing visibility to makers; impact of his international travel; a turn away from pure design and towards a more poetic ambiance in the language series; the use of projected light and his use of cast prismatic shadows in his installation The Nature of Things in Jacksonville, Florida; the issue of scale in his work; artists whose work he admires, including Frank Stella, Richard Serra, Michael Heizer, Tony Smith, Gordon Matta-Clark, William Daley; studio glass as an international movement; involvement with various craft organizations, and wrestling with the definition of a craft artist; preparations to move to Massachusetts and spend some contemplative time thinking about and working on new directions. He recalls Brent Young, Dale Chihuly, Jamie Carpenter, Christine Federighi, Richard Marquis, Eric Hilton, Andre Billeci, Dan Dailey, Doug Heller and Bonnie Marx.
Biographical / Historical:
William Douglas Carlson (1950- ) is a glass artist and educator in Miami, Florida. Carlson was educated at Alfred University.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 4 hr., 6 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
An interview of Richard Marquis conducted 2006 September 16, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio, in Freeland, Washington.
Marquis speaks of his childhood spent moving around Arizona, Colorado, and California; his lifelong affinity for collecting objects; attending University of California, Berkeley; the influence of seeing the shows "Abstract Expressionist Ceramics" at the University of California at Irvine in 1966 and "American Sculpture of the Sixties" at Los Angeles County Museum of Art in 1967; receiving a Fulbright grant to study glassblowing in Murano, Italy; experiences at Venini Fabbrica Glass Factory in Murano; teaching experiences at University of Washington, Seattle and UCLA; traveling throughout Australia to set up glass workshops; working as artist-in-residence at Tasmanian School of Art in Hobart, Tasmania, Australia; establishing Marquis Deluxe Studios; large-scale installation collaborations with Therman Statom; the importance of teaching and sharing knowledge; the cyclical progression and diversity of his work; future plans to work less with glass and focus instead on daguerrotypes. Marquis also recalls Peter Voulkos, Ron Nagle, Marvin Lipofsky, James Melchert, Harvey K. Littleton, John Eubanks, John Pearson, Ludovico de Santillana, Lino Tagliapietra, Bob Naess, Fred Bauer, Nick Mount, Les Blakebrough, Jack Wax, Jody Fine, Therman Statom, Kenneth Price, Dante Marioni, Jerry Spagnoli, and Bill Concannon, among others.
Biographical / Historical:
Richard Marquis (1945- ) is glass artist and educator from Freeland, Washington. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 57 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
The papers of glass artist and educator Richard Marquis measure 0.8 linear feet and date from 1967 to 2004. The collection comprises biographical materials including resumes and photographs of Marquis in his studio; correspondence with Scott Benefield, Susanna K. Frantz, Audrey Mann, Benjamin Moore, Anna Venini, and others; professional files containing correspondence, price lists, consignment forms, invoices, appraisals, exhibition forms, goblet lists, and other material from Marquis's professional activities; and printed materials.
Scope and Contents:
The papers of glass artist and educator Richard Marquis measure 0.8 linear feet and date from 1967 to 2004. The collection comprises biographical materials including resumes and photographs of Marquis in his studio; correspondence with Scott Benefield, Susanna K. Frantz, Audrey Mann, Benjamin Moore, Anna Venini, and others; professional files containing correspondence, price lists, consignment forms, invoices, appraisals, exhibition forms, goblet lists, and other material from Marquis's professional activities; and printed materials.
Arrangement:
The collection is arranged as four series.
Series 1: Biographical Materials, 1967-2004 (0.2 linear feet; Boxes 1)
Series 2: Correspondence, 1973-2004 (10 folders; Box 1)
Series 3: Professional Files, 1983-2004 (0.2 linear feet; Boxes 1-2)
Series 4: Printed Materials, 1970-2004 (0.3 linear feet; Box 2)
Biographical / Historical:
Richard Marquis (1945- ) is a glass artist and educator in Freeland, Washington. He is considered a pioneer of American glass art.
Marquis was born in Bumble Bee, Arizona. He attended the University of California in Berkeley where he received both his bachelor's and master's degrees. In 1969, he traveled to Italy on a Fulbright-Hays fellowship to work as a guest designer at the Venini glass factory where he mastered Venetian glass techniques. Marquis is a collector of a wide variety of objects and often uses found objects in his work. He has taught at the University of California in Los Angeles, the Penland School of Crafts, Pilchuk Glass School, and Haystack Mountain School of Crafts.
Related Materials:
Also in the Archives of American Art is an oral history interview with Richard Marquis conducted on September 16, 2006 by Mija Riedel for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America at the artist's home and studio in Freeland, Washington.
Provenance:
The Richard Marquis papers were donated in 2004 by Richard Marquis as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
The Sybaris Gallery records measure 11 linear feet and date from 1966 to 2010, with the bulk of the records dating from 1986 to 2003. The collection sheds light on the gallery's operations through administrative records, artist files, exhibition files, and gallery and museum files.
Scope and Contents:
The Sybaris Gallery records measure 11 linear feet and date from 1966 to 2010, with the bulk of the records dating from 1986 to 2003. The collection sheds light on the gallery's operations through administrative records, artist files, exhibition and event files, and gallery and museum files.
Administrative records include advertisement records, collector lists, material relating to the gallery's dealings with corporate collections and art consultants, press releases, newspaper and magazine clippings, and a scrapbook. Artist files consist of price lists, artist statements, agreements, photographs and negatives of artwork, sales records, inventories, packing and shipping instructions, as well as correspondence with artists, collectors, and other museums and galleries. Artist files found in the collection include Nick Cave, Barbara Cooper, Philip Cornelius, Patrick Dougherty, Jack Earl, Viola Frey, William Hunter, Ferne Jacobs, Marilyn Levine, Joan Livingstone, Myra Mimlitsch-Gray, Ron Nagle, Ken Price, Ed Rossbach, Jane Sauer, June Schwarcz, Joyce Scott, Kiff Slemmons, and Lenore Tawney.
Exhibition and event files include press releases, artist resumes, artist statements, correspondence, photographs of artwork, and printed material such as newspaper clippings, catalogs, and announcements. Files related to events held by other organizations include correspondence, checklists, printed material, and agreements. Gallery and museum files contain invoices, consignment records, correspondence, pricelists, invoices, agreements, scattered artist resumes, and some printed material.
Arrangement:
The collection is arranged as four series.
Series 1: Administrative Records, 1988-2003 (Box 1; 1 linear feet)
Series 2: Artist Files, 1966-2010, bulk 1986-2003 (Box 2-10; 8.2 linear feet)
Series 3: Exhibition and Event Files, 1990-2003 (Box 10-11; .7 linear feet)
Series 4: Gallery and Museum Files, 1989-2003 (Box 11; .8 linear feet)
Biographical / Historical:
Sybaris Gallery was founded in Royal Oak, Michigan, in 1989 by Linda Ross and Arlene Selik. Ross and Selik were both private art dealers and curators before establishing Sybaris in 1989, operating under the name The Sybaris Group. The gallery established an international reputation for exhibiting contemporary crafts in all media, including fiber, wood, metal, and ceramics. Among its notable exhibitions was the gallery's annual basketry invitational. Other notable group and solo shows displayed the work of artists Nick Cave, Viola Frey, Joan Livingstone, Myra Mimlitsch-Gray, Ed Rossbach, and June Schwarcz. The gallery closed in 2003. Selik and Ross continued their careers as dealers, curators, and art consultants.
Provenance:
The collection was donated in 2014 by Linda Ross and Arlene Selik, founders of Sybaris Gallery.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Sybaris Gallery Records, 1966-2010. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
Includes two photographs signed by the Mondales to Marquis.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence with Benjamin Moore: Authorization to publish, quote or reproduce requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
This folder is publication restricted. Authorization to publish, quote or reproduce correspondence between Marquis and Benjamin Moore requires written permission from Richard Marquis. Contact Reference Services for more information.
Collection Citation:
Richard Marquis papers, 1967-2004. Archives of American Art, Smithsonian Institution.
