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.
Originally recorded on 4 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 57 min.
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.
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Tapes and transcripts of interviews with North Carolina glass artists conducted by Mary Douglas as part of her research for a paper, "Rural Esthetics in the North Carolina Glass Community," delivered at the 1995 Glass Art Society (GAS) Conference in Asheville, N.C. Interviewees include: Rick and Valerie Beck, William Bernstein, Gilbert C. Johnson, Rob Levin, Joe Nielander, John and Sharon Nygren, and Kate Vogel and John Littleton.
Topics covered include "craft culture': whether there is a rural esthetic in North Carolina glass; the idea of community around Penland School and the surrounding region of the Southern Highlands; the significance of the region's craft history on contemporary glass artists; and the distinctive qualities of North Carolina glass.
Biographical / Historical:
Art historian; Statesville, N.C.
Donated 1997 by Mary Douglas. The paper for which these interviews was conducted was subsequently published in the Glass Art Society Journal (1995, p. 34-41). Each of the artists interviewed agreed to donate their interviews to the Archives, with the exception of Harvey K. Littleton.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Art historians -- North Carolina -- Statesville Search this