Mark Lindquist
Mark Lindquist has been an innovator and leader in the field of woodturning/sculpture since the late 1960s. Lindquist's thirty-plus years of contributions to contemporary art have altered the direction of woodturning and sculpture worldwide.
Mark Lindquist's sculpture has evolved out of his art historical studies and his mastery of, and experimentation with, the craft of woodturning. He developed many of the techniques and aesthetic concepts which underlie the current studio woodturning movement, including the use of flawed materials (especially spalted wood), the application of modern abrasive technology, and the integration of Japanese ceramic sensibilities.
Through exhibiting, writing and teaching, Lindquist was instrumental in bringing about the acceptance of the craft of woodturning as a serious art form, and inspired and nurtured the followers of this fledgling movement. Echoes of Mark's innovative turning concepts -- the natural top bowl, the celebration of the tool-mark on the surface of the bowl, the captive bowl, the bowl as landscape, and many others -- continue to reverberate throughout today's turning world. In the late 1970's, having achieved national acceptance for his work (including acquisition by the Metropolitan Museum of Art in New York City), Lindquist withdrew from active participation in the craft world, and began a broader exploration into contemporary and historical sculptural themes, such as the totem, Japanese Heian wood sculpture, and the woodblock print.
Lindquist developed a system for coupling the chainsaw to the lathe, and began producing massive, yet lyrical, sculptures that, while speaking directly of our machine age, make a timeless statement about the relationship between man and nature. Using retrofitted obsolete machinery from the height of the industrial revolution, Lindquist celebrates the "accidental" rhythms and patterns created by each machine's idiosyncrasies, just as he celebrates the aesthetic value of the flaws in his material.
Using his lathe/chainsaw and other innovative technologies as well as traditional sculpture methods, Lindquist has developed several continuing series of sculptures, including his "Totemic Series", "Captive Series," "Ichiboku Series," and polychromed wall relief series.
PERMANENT MUSEUM AND PRIVATE COLLECTIONS
· the metropolitan museum of art
· the smithsonian museum of american art, renwick gallery
· museum of fine arts, boston
· fine arts museums of san francisco
· yale university art gallery
· museum of art + design, nyc
· detroit institute of arts
· l.a. county museum of art
· long beach museum of art
· mint museum of craft + design, charlotte
· minneapolis institute of arts
· woodturning center, philadelphia
· arizona state university museum
· arkansas arts center
· mobile museum of art
· the delaware art museum
· dallas museum of art
· the art institute of chicago
· fuller museum of art, brockton
· greenville county museum of art, sc
· high museum of art, atlanta
· university of michigan museum of art
· philadelphia museum of art
· racine art museum
· the schenectady museum
· virginia museum of fine art
Mark Lindquist's sculpture has evolved out of his art historical studies and his mastery of, and experimentation with, the craft of woodturning. He developed many of the techniques and aesthetic concepts which underlie the current studio woodturning movement, including the use of flawed materials (especially spalted wood), the application of modern abrasive technology, and the integration of Japanese ceramic sensibilities.
Through exhibiting, writing and teaching, Lindquist was instrumental in bringing about the acceptance of the craft of woodturning as a serious art form, and inspired and nurtured the followers of this fledgling movement. Echoes of Mark's innovative turning concepts -- the natural top bowl, the celebration of the tool-mark on the surface of the bowl, the captive bowl, the bowl as landscape, and many others -- continue to reverberate throughout today's turning world. In the late 1970's, having achieved national acceptance for his work (including acquisition by the Metropolitan Museum of Art in New York City), Lindquist withdrew from active participation in the craft world, and began a broader exploration into contemporary and historical sculptural themes, such as the totem, Japanese Heian wood sculpture, and the woodblock print.
Lindquist developed a system for coupling the chainsaw to the lathe, and began producing massive, yet lyrical, sculptures that, while speaking directly of our machine age, make a timeless statement about the relationship between man and nature. Using retrofitted obsolete machinery from the height of the industrial revolution, Lindquist celebrates the "accidental" rhythms and patterns created by each machine's idiosyncrasies, just as he celebrates the aesthetic value of the flaws in his material.
Using his lathe/chainsaw and other innovative technologies as well as traditional sculpture methods, Lindquist has developed several continuing series of sculptures, including his "Totemic Series", "Captive Series," "Ichiboku Series," and polychromed wall relief series.
PERMANENT MUSEUM AND PRIVATE COLLECTIONS
· the metropolitan museum of art
· the smithsonian museum of american art, renwick gallery
· museum of fine arts, boston
· fine arts museums of san francisco
· yale university art gallery
· museum of art + design, nyc
· detroit institute of arts
· l.a. county museum of art
· long beach museum of art
· mint museum of craft + design, charlotte
· minneapolis institute of arts
· woodturning center, philadelphia
· arizona state university museum
· arkansas arts center
· mobile museum of art
· the delaware art museum
· dallas museum of art
· the art institute of chicago
· fuller museum of art, brockton
· greenville county museum of art, sc
· high museum of art, atlanta
· university of michigan museum of art
· philadelphia museum of art
· racine art museum
· the schenectady museum
· virginia museum of fine art