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2010 Mark Lindquist Mark Lindquist Pioneer of the Unexpected Terry Martin Mark Lindquist at the age of 10, upstate AAW’s 2010 New York Adirondacks, circa 1959. Honorary Lifetime Early turned bowl with purposeful imperfections, Member 1969–71, Spalted maple burl, 5¼" × 11¼" (13cm × 29cm) he choice of Mark Lindquist as award is an appropriate time to remind development of the woodturning the 2010 recipient of the AAW people of the profound influence this field, then disappeared from the T Lifetime Membership award intensely private man has had on the radar again. In 2008, he resurfaced may surprise some members because field of woodturning. again as the creative force behind Mark’s history with the AAW is not Mark is often seen as an enigma the landmark “Icons” exhibition at as well known as it should be and his because he disappeared from the SOFA, Chicago, sharing the limelight place in the wider history of wood- view of most turners during the with other turning legends David turning has become blurred over time. 1980s. He briefly reappeared in Ellsworth, Giles Gilson, Gary Stevens, Relatively few turners today have met 2001 at the Minneapolis launch of and Stoney Lamar. This 2010 award Mark and even fewer know much the exhibition “Woodturning in will, at the age of sixty-one, bring about what he has been doing for the North America Since 1930” and Mark back into the fold of the AAW last thirty years. The occasion of this gave a remarkable speech about the for the first time in twenty-five years. 42 American Woodturner June 2010 Copyright 2010, 2016, American Association of Woodturners. All rights reserved. F e a t u r e Beginnings Melvin Lindquist (left) and Mark Lindquist at american Craft Council (aCC) craft fair, circa 1979. The foundation of Mark’s lifetime of working in wood was his relation- ship with his father Mel, so this year’s award is further acknowledgment of Mel Lindquist’s impact on the field. Mel was the fifth person to be given a Lifetime Membership award (1994). From his earliest years, Mark absorbed his father’s know-how in metal technology, machining, and woodcraft. In later years, the power- ful combination of these skills would be his mainstay. More important, he soaked up his father’s sense of curios- ity and willingness to try new ideas. Mel once said, “When Mark was two he was already quite interested in woodturning, so I’d sit him downstairs it forged his personality in a unique in my wood shop and he’d watch me.” way. Mark recently revealed a deeply Mel also made a child-sized work- personal insight into the impact of bench where Mark could use real tools his experiences with his father, “In and work with scrap pieces of wood. many ways, I’m still following Mel Mel was a fervent outdoorsman from when I was a kid.” This relation- and shared his love of nature with ship was to have a deep and enduring his son. Mark remembers, “When I influence on the development of the was young Mel taught me everything woodturning field in general, and on I could imagine about being in the the AAW in particular. woods, about forestry and wood lore, and about working with wood.” His Early days childhood was filled with woodsman In 1971, when Mark graduated from adventures of a kind that no longer his studies of art and sculpture at New seem possible. With his father, Mark England College in New Hampshire explored the woods, built log cabins, and finished training with a studio hefted enormous chainsaws, and learned the value of a hard day’s work. Together they harvested wood for turning, and Mark was with Mel when Lapping Wavelet Bowl, 1977, elm burl, 6" × 8" he recognized the potential of spalted (15cm × 20cm), turned and carved wood for turning. Collection of the Metropolitan Museum of art, NYC Mark began turning around 1959 when he was only ten years old, the same year he started using chainsaws. Unlike the “old days,” it is very rare these days to meet anyone who Brancusi Cup, 1976, Spalted elm burl, has been turning for fifty cherry burl, soapstone, 8½" × 4" years. Mark’s childhood (22cm × 10cm) was like an early and pro- Collection of the Metropolitan tracted apprenticeship and Museum of art, NYC woodturner.org 43 Copyright 2010, 2016, American Association of Woodturners. All rights reserved. commonplace, so it is hard to appre- ciate that when they first showed bowls and vases with natural edges, cracks, or other irregularities, many were shocked at their use of “flawed” materials. In 1972, visitors and exhibitors at the prestigious craft show in Rhinebeck, New York, were astounded by the Lindquists’ offer- ings. Their nonfunctional vessels made from wood with arrested decay, holes, and bark inclusions created controversy. Some even asked if they were seconds. However, in the newly liberated atmosphere of the time when the object was seen as more important than the rules of David Ellsworth (left) and Mark Lindquist (right) during Mark’s demonstration at the craftsmanship, others were drawn “Woodturning Vision and Concept” conference, Arrowmont School, 1986. to this idea. When Mark began pro- moting their work nationally as a serious art form, they helped trigger potter, he and his now-retired father a new turning movement. started working together as a team Mark guided his father through when they sold their turnings at craft the process of becoming more pro- fairs. The confident young Mark was fessional in his woodcraft and pre- overflowing with ideas and there was senting their work as art. In 1973, a an unexpected reversal of roles. Instead time when craft shows were domi- of Mel teaching a willing son, Mark nated by an atmosphere of rustic became Mel’s mentor, sharing the simplicity, the Lindquists shocked aesthetic approach he had developed everyone with track lighting and through his academic studies and his gallery-standard displays. Then in exposure to eastern ceramic ideals. 1974, they further surprised every- The approach that Mark and Mel one by distributing catalogs, posters, brought to their turning is now and brochures, sometimes drawing criticism for being too commercial and self-promoting. The Lindquists’ most significant move—one that has entered the folklore of the wood art community—was pricing their work as art, perhaps long before the Unsung Bowl Ascending #3, 1982, market was ready for it. Today, when Spalted maple burl, such professionalism is seen as a 17" × 16½" (43cm × 42cm) minimum standard of presentation for artists and craftspeople alike, and Collection of the Currier Museum of Art, Manchester, NH everything they introduced has been vindicated, it is hard to appreciate just how new these ideas seemed and Nehushtan, 1982, Cherry burl, the impact they had. 14" × 14" (36cm × 36cm) As the woodturning movement took Collection of Robert A. Roth, Chicago off, the Lindquists became unexpected Photo: Paul Avis celebrities, taking part in exhibitions, 44 American Woodturner June 2010 Copyright 2010, 2016, American Association of Woodturners. All rights reserved. F e a t u r e Photo: John McFadden/Lindquist Studios Evolutionary Bowl (Proto-Captive), 1982, Spalted maple, 18" × 18" (46cm × 46cm) Collection of Mr. and Mrs. richard Winneg, NH Photo: Paul avis museum shows, and symposiums. In 1978, the Metropolitan Museum of Art acquired two pieces each from Mel and Mark. In the same year, the Renwick Gallery of the Smithsonian Institution presented its first exhibition of woodturning, showing the work of Ed Moulthrop, Bob Stocksdale, and the two Lindquists. This was unprec- Ichiboku Series Sculptures, Polychromed hardwoods, 49"–70" (124cm–178cm) edented acknowledgment, not only of woodturning but of the influence Private collections of Mark and his father on the field. At only twenty-nine years old, Mark was the driving force behind the accep- tance of their work at such a venue. woodturning.” This is true and the the course together. Interest was reason is that in 1980 Sandy Blain, growing in woodturning, but it cer- Mark and the AAW director of Arrowmont, asked Mark tainly hadn’t ‘arrived’ yet.” Typically, In the section of the AAW website Lindquist to establish a woodturning Mark didn’t want to do things the dealing with the organization’s program at the school. Mark had been way others always had, “I was intent history and its links with the Head of Woodworking at the Craft upon creating a Studio Woodturning Arrowmont School of Arts and Crafts, Center in Worcester, Massachusetts program similar to those offered in there is the following: “In 1985, the (1978–1979), and his woodturning clay and glass, where the courses were Arrowmont School of Arts and Crafts, program at the Haystack Mountain focusing on contemporary approaches in Gatlinburg, TN., was one of the few School of Crafts was only a year to craft, and not along traditional places in the country where old. Mark explains further, “Sandy lines that had already been done, it was possible to teach or study agreed that Melvin and I would teach or that were a part of local heritage. woodturner.org 45 Copyright 2010, 2016, American Association of Woodturners. All rights reserved. Dogmatism often prevented experi- mentation. Really, the idea of the course was to begin by introducing my and Mel’s philosophy of woodturn- ing and sculpture without dwelling in the past.” A 1981 flyer for the program touts the Lindquists as “Self-employed woodworkers specializing in spalted woodturning.” The self-employed is a hint to how people viewed such activ- ity at the time. The idea that you could actually make money at such work was very attractive.
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