The history and evolution of Lindquist Studio - New Hampshire to Florida


Based on the pioneering work of woodturner Melvin Lindquist and the artistic goals of his son, Mark Lindquist,
Lindquist Studio was established by Mark and Kathy Lindquist in 1969.

In 1967 Mark was studying art, art history, photography and sculpture at New England College in
New Hampshire, while Kathy was studying the Humanities at Wellesley College.
Mark and Kathy were married in 1968, and they began developing plans to create a multi-disciplinary studio
to include photography, black and white fine art printing, drawing, painting, sculpture, woodturning, and metalworking.

After a brief sojourn in Brooklyn, New York, where Mark attended the Pratt Institute MFA program,
Mark and Kathy began building and operating Lindquist Studio in Henniker, New Hampshire.



They built the house and studio, beginning in 1969, and continued to develop the studio until 1986
when they sold the property, choosing to consolidate in Gadsden County, Florida,
where they had established a studio space in 1983.

Photography was a requisite for documenting artwork, and Mark and Kathy
shared a passion for photography. Photography become a concomitant pursuit.



Kathy Lindquist studied photography with Ron Rosenstock (See R. Rosenstock).
In addition to running Lindquist Studio, Kathy was responsible for the Lindquist Studio darkroom,
producing archival fine art black and white prints.




Mark Lindquist, an avid camera enthusiast and photographer, studied photography with Charles Sawyer
and Darr Collins at New England College. Mark earned a BA degree in painting and sculpture,
involving special studies with painter Marilyn Frasca and ceramist/photographer, Darr Collins.

  
He went on to study photography and ceramics at the Pratt Institute MFA Program, Brooklyn, NY. 


Mark Lindquist's photography professor Charles Sawyer (left) and Ansel Adams (right)
Photo: Peggy Sealfon (copyright) Published by permission of Charles Sawyer



Lindquist Studio, Henniker, NH. Studio on left, solar house on right. The house and studio were built by
Mark Lindquist with the help of local craftsmen and tradesmen, beginning in 1969 and continuing through 1985.

Lindquist Studio NH, circa 1983. The studio housed a special black and white darkroom,
gallery, wood turning studios, office and library archives. Guest rooms were on the top floor. 




The solar house was collaboratively designed by Duncan McGowan, Architect, and Mark Lindquist.
Originally, it served as a residence for the Lindquists’ parents, but became part
of the New Hampshire studio complex once the Florida studio opened in 1983.



Interior, ground floor main studio, Henniker, NH. Mark Lindquist began making large scale turned sculptures circa 1980.
Mark had a minimalist approach to working and brought only the tools required for his current purpose into the main studio
so that in-progress work could be viewed as in a gallery.
The studio often doubled as a natural light photo studio since it had a large skylight in the ceiling.



Mark began focusing on the vessel as sculpture after his work was acquisitioned by the Metropolitan Museum of Art.
Once the Florida studio opened, his customized lathes were moved seasonally between the studios.



The upper floor, above the studio, held a gallery, office, and archives. 
Mark Lindquist in the gallery, with his Zone Line Series Photos, and wood art.

Replication of the Resolute Desk Project, Oval Office, White House, Washington, DC

Robert Whitley, Master Craftsman, asked Mark Lindquist to assist him with a project to replicate
the Resolute Desk in the Oval Office of the White House. Lindquist photographed, measured and made rubbings
of the details for Mr. Whitley who subsequently recreated the desk for the JFK Memorial Library.
The two worked as a team photographing and analyzing the desk for three days and two nights.



Robert Whitley (left), and Mark Lindquist (right), circa 1978, Oval Office, White House, Washington, DC.
Photo (Copyright Lindquist Studios) by Mark Lindquist with his Nikkormat on self timer.



Mark Lindquist preparing to pattern a side panel of the Oval Office Desk.
By rubbing a soft lead pencil over the rice paper, he transferred the outlines of the carvings to the paper.
Robert Whitley, who received the commission, and Lindquist spent three days and two nights
working in the Oval Office taking numerous photographs, rubbings and measurements.
This was the first time the desk in the Oval Office was replicated.
The black and white photos were processed by Kathy Lindquist at Lindquist Studios in New Hampshire.
Photo (Copyright Lindquist Studios) by Mark Lindquist using his Nikkormat on self-timer.



Lindquist, left, Whitley, right, working at night on the Resolute Desk in the Oval Office of the White House.
The two worked three days and two nights, photographing, measuring and patterning the desk, which was
subsequently replicated by Master Cratfsman, Robert Whitley for the JFK Memorial Library.




Mark Lindquist making a sketch of a drawer pull and carved panel for the replication project.

"Working on the Resolute Desk with Robert Whitley was an honor and one of the most challenging photographic projects
I have worked on. It involved intense concentration and the application of many skills. Working with Bob was not easy;
he required exactitude and precision. I was thrilled to be involved, and remember this project as a highlight
of my photographic career. Working together on this project was the beginning of a long friendship
and ongoing sharing of ideas for Whitley and me."
 

John Gonser Movie, Micah Productions, Switzerland.

In 1980, John Gonser came to the US and made a movie called "The Good Life" that dealt with the subject of
Craftsmanship and Christianity in the US.  Mark Lindquist was chosen as a subject, and Gonser and his film
crew worked at Lindquist Studio for weeks shooting the film.



Mark Lindquist, turning a large bowl at Lindquist Studio during the filming of Gonser's movie.




Lindquist and Gonser discussing a filming sequence that was just shot.

The MacDowell experience, a step in a new direction for Mark Lindquist

At the urging of NYC sculptor Will Horwitt, Mark Lindquist applied for a residency and fellowship
at The MacDowell Colony in Peterborough, NH.  The  two month residency afforded Mark time to reflect on his work
and to build an environmental sculpture The MacDowell Woodpiles, which he created
on the MacDowell property by stacking forty cords of firewood into sculpturally related forms.

The experience and the artwork would be life changing for Mark Lindquist and Lindquist Studio




A MacDowell Colony rule states that no one can visit an artist unless invited. Outdoor spaces sometimes
become studio spaces, as in the case of Lindquist’s woodpile sculpture, so the Colony furnishes signs
to prevent passersby from interrupting an artist.

Writers, poets, and composers “coincidentally” jogged by
the developing sculpture, and Mark enlisted their help. Once he managed to convince a writer
to spend an entire day helping to stack the logs.




Side view of "Entry Gate" leading into the sculpture at MacDowell Colony. While the sculpture was
being created during the early spring, no grass was growing, and it was great "working weather"
to stack wood in. Forty cords is a lot of wood: a cord is 4 feet high, 4 feet deep, and 8 feet long.




A major part of creating The MacDowell Woodpiles was photography.
Both Mark and Kathy Lindquist used 35mm, 2 1/4, and 4x5 cameras during the
two month process. Here, Mark Lindquist loads his Mamiya M645 film camera.



Will Horwitt, a close friend, visited the sculpture. Will had urged Mark to become a MacDowell Fellow
and was pleased to see the work. Will Horwitt was a Guggenheim Fellow.

Lindquist Studio, Gadsden County, FL

In 1983, Mark Lindquist began looking for a southern studio possibility. He was living in Atlanta, Georgia,
during the winter and scouting potential sites. A student and friend, Terry Kori, introduced Mark to
Gadsden County, Florida.  When Mark saw this "compound" of brick packing house, wooden manufacturing annex
and tobacco barn, it became a marriage made in heaven. The property was purchased from William G. Crawford Co.
and Lindquist added additional acreage until at the height there were 50 acres. Subsequently, some acreage
was sold off as people began to develop the surrounding land.



Aerial view of Lindquist Studio, Gadsden County, Florida, circa 1984.




Lindquist Studios Main Studio Building (right) after cleanup, prior to renovations - 1983.

State Archives of Florida, Florida Memory, http://floridamemory.com/items/show/3300




Lindquist Studio, FL, circa 1987.

The tobacco packing house, where once workers graded and sorted, then packed shade leaf tobacco for rolling
cigars, ultimately became Lindquist Studio, where the Lindquist family created decades of artwork.  Much of the
packing house has been rebuilt or refurbished, and is an ongoing project still.



Street side view of Lindquist Studio, Gadsden County, FL circa 1995




The Lindquist Studio Shade Leaf Tobacco Barn, Gadsden County, FL.

One of 24 tobacco barns left on the 500 acre tobacco plantation, 50 acres of which became the site of
Lindquist Studio, FL.  Farmers grew shade leaf tobacco (or shade tobacco) in Gadsden County, Florida. 
They used Mules to work the soil under shade canopies, which enabled the tobacco to grow
protected from direct sunlight (See below).
The shade tobacco leaves were hung in the barns and were "fired" (barns were heated)
to dry the leaves quickly and thoroughly for making cigars.

Mark Lindquist began storing wood and burls in the barn beginning in 1984

The barn was resided in 2007 with cypress boards from a Georgia sawmill.



Plowing under the shade with mules - 1939 Photo

State Archives of Florida, Florida Memory, http://floridamemory.com/items/show/151856




Worker harvesting shade tobacco for the Florida Cigar Company in Quincy, Florida circa 1959

"The tobacco crop is never in the sun. Cheesecloth shields the growing plants from the direct rays of the sun.
The crop is harvested in the shade and carried to the drying barns in covered wagons."

Image from the State Library and Archives of Florida
http://floridamemory.com/items/show/262413

Read about Cigar making in Gadsden Florida here:

Lindquist Studio - Front Studio



An early photo of Mark Lindquist, with son Ben Lindquist in background, working in the Front Studio.
The front studio underwent many iterations, changing shape as needed.
Sometimes it was used for woodturning - sometimes it was used as a photo studio, machine shop, or wood shop.
The studio window walls faced north for grading and sorting tobacco leaves.
Mark installed 8 foot by 8 foot industrial sliding glass doors which created perfect light for Lindquist Studio.



The Lindquists’ sons, Ben (left) and Josh (center) frequently helped with cleaning the studio. Circa 1988.
Considering the size of the pieces being made, the sawdust could become difficult to deal with.



Kathy Lindquist applying finish to Mel Lindquist's pieces, circa 1985, in Lindquist Studio "Front Studio"
Kathy was a miracle worker with certain finishes and she did almost all of the final finishing
on Mel Lindquist's pieces. Mark generally finish-sanded them, since Mel's eyesight was failing,
and Kathy applied the oil finishes. The Lindquist finishes were known as the best in the field at the time.




The Florida Studio, (Lindquist Studio) offered Mark unparalleled access to outdoor workspace during
the winter.  Here, Mark is spraying water on a newly turned sculpture made from walnut.
The  water helped to slow the drying of the wood, and exposure to
sunlight gave the pieces and exquisite patina.




Works made in Lindquist Studio, FL.  Lindquist's Totemic Series pieces displayed in the first Lindquist Studio FL gallery.

The Wreck.  A new era for Mark Lindquist and Lindquist Studio




In 1986, Mark Lindquist suffered a near fatal automobile accident. He was traveling to the ACC
Baltimore Winter Market, riding in the back of the van, asleep, on top of boxes of artwork when
the studio assistant who was driving fell asleep at the wheel, veered off the highway hitting a mile marker.
The driver awakened, attempted to correct and the van flipped over and over down an embankment traveling 70 mph.
The crash occurred in the median of a weigh station in Georgia. The van had flipped 5-7 times and landed upside down.
Luckily, many saw the accident happen and Lindquist was quickly cut out of the vehicle with the Jaws of Life by EMTs.

Miraculously, Lindquist was still alive, and underwent subsequent surgeries.
Unfortunately, he suffered head trauma and dealt with intractable daily migraines for 20 years.

Thankfully, the migraines have diminished and Mark is enjoying life more, mostly migraine free.


"I'm lucky to be alive. Life is never the same after head trauma. You can put a broken glass back together,
but it doesn't necessarily hold water the way it was meant to. I relive the accident less frequently now,
than years ago. The headaches come and go. There is life before an accident, then life after an accident.
Wonderful things still happen in life, yet they are perceived differently, as though through a photographic filter
that you can't get rid of. Head trauma is difficult to live with. Life goes on, yet one is changed, but to most,
appears the same on the outside. On the inside looking out, the world is a changed place.
Ultimately, one figures out how to do things differently, to compensate, just as the brain does, from right to left."

The Back Studio, Lindquist Studio, Florida, and robotics.

After the accident, Mark realized he couldn't use the work methods he had been employing prior to the accident.
He began building robotic "helpers," which enabled him to sit in a chair or would multiply the force
for him. Just as he had been always interested in a certain type of mechanics as a child, he reverted, post-accident,
to becoming a "gadgeteer," creating machines for holding and positioning work, and for applying linear motion.
Ultimately, his robotics would influence his photography in addition to his wood sculpture.



Lindquist Studio, Back Studio, Quincy, FL - circa 1995
Mark Lindquist with his patternmaker's lathe and his robot ASTRO (Assigned Specific Task Robotic Operative
[extreme right], designed and built by Mark Lindquist). Lindquist uses protective suit and breathing apparatus
while working to minimize exposure to dust and fumes during the chain sawing process.
 

Renwick Gallery 25 Year Retrospective Exhibition, Smithsonian American Art Museum, Washington, DC.

Mark Lindquist: Revolutions in Wood (1995), twenty-five year retrospective curated by Robert Hobbs,
opens at the Renwick Gallery of the Smithsonian Institution and is exhibited through July 1996.

"This period of intense growth and discovery was capped off by the retrospective of Mark Lindquist's work in 1995,
probably the first single artist retrospective for the second generation of wood artists. 
Accompanied by an attractive, substantive catalogue with numerous color illustrations and an essay
tracing Lindquist's creative story in the context of modern sculpture, it set the bar for other single-artist
shows to come for the next 15 years.  The bar had clearly been raised for wood artists, too."

Jennifer Komar Olivarez, Curator of Decorative Arts and Design, Minneapolis Art Institute

From: “Wood Art’s Rise to Fame: Developments to 1996,”
in Conversations with Wood: The Collection of Ruth and David Waterbury
(The Minneapolis Institute of Arts, 2011), pp. 25-31.



Mark Lindquist (center) and Studio Assistant Roger Paph (right), discussing Lindquist's 25 year retrospective
exhibition with a collector in the front of the James Renwick building, located across from the White House



Ms. Julia Munroe Woodward, a staunch supporter of the arts in Gadsden County, Florida,
traveled to Washington and posed next to the 40' banner advertising the exhibition 




Mark Lindquist, with Akikonomu, in the Renwick Gallery, Smithsonian American Art Museum.
Akikonomu was accessioned by the Smithsonian American Art Museum in 2005.

Lindquist Studio, Gadsden County, FL, spaces.

From the beginning, Lindquist Studio has had a philosophy based on the Japanese concept
called "changeable use", whereby one room may have many different functions at different times.

Lindquist Studio has many spaces, for living, working, meeting, showing artwork, and conserving archival objects.

Although Lindquist Studio is 15,000 square feet, and an additional 10,000 square feet of the barn,
there is often not enough room for certain projects.  Any space may be called upon to morph, or do double duty.




Lindquist Studio living, meeting, exhibiting space, ground floor, circa 1987.




Mark Lindquist discusses his work during the filming of a movie - Blakely Burl Tree Project.
The gallery houses artwork from several disciplines.




Lindquist Studio Gallery, essentially a New York City loft in farm country setting.
Mark Lindquist discusses his work during the filming of the Blakely Burl Tree Project.



Lindquist Studio, second floor photo studio, varies depending on photographic requirements.



Lindquist Studio, FL - "The Back Studio"
Renovated to include metal I-beams for hoisting large logs and finished sculptures.
The Back Studio is where Mark spends most of his time making wood art.  The machines
have been retrofitted, with robotic controls, and Lindquist built several robots to enable safe
working practices.  Additionally, the robots are employed in the making of his
motion blur abstract photography.  This studio is furnished with computer and sound system.
 

Mark Lindquist Photographer - Lindquist Studio

Since the beginning of Lindquist Studio, Mark Lindquist has concomitantly photographed,
his and other artists’ work. From the beginning, Lindquist has had a keen interest in the
development of his photographs as art. Once film photography began to wane,
Mark began working seriously in the realm of digital photography and use of the Studio’s
film equipment (35mm, 2 1/4, 4x5) began to dwindle.
Mark has been a Photoshop user beginning with Adobe Photoshop 1.0 (1990).

Photoshop provided a way to manipulate film images, in the "Digital Darkroom."
Mark’s initial digital cameras were the Polaroid PDC 1,000 and 2,000 and the first
Minolta DSLR. The second DSLR was a Canon 10D that was modified to accept Nikon Lenses.
Soon, Mark was able to come back to shooting Nikon cameras using his original lenses,
beginning with the Nikon D2H, the Nikon D2X, the Nikon D3s, and currently the Nikon D810,
all of which Mark still has and uses to this day.




Mark Lindquist, shooting the Nikon D3s during the Blakely Burl Tree Project.

Much of Lindquist Studio's photography is project oriented.  Mark Lindquist has participated in numerous
projects over the years, in addition to his own fine art photography.
Below are a few examples of various projects Mark has been involved in.


Bricks and Burls

Mark Lindquist at the School of Architecture, Florida A&M University, Tallahassee, Florida,
with his environmental sculpture installation, "Bricks and Burls."
The installation, on two levels of courtyards and walkways that link the school together,
included 10,000 bricks and over 100 burls. Lindquist created the installation
with the help of the School of Architecture students.







Technical photography - photo illustration

In 1993, the renowned scholar Penelope Mason, while writing her History of Japanese Art, requested
permission from a rival publisher in Japan to use rare photos of the process called “cord marking,”
which was used in the making of Jomon pots.
Permission was denied and Professor Mason came to Mark Lindquist for help.
Applying his background in pottery, he was able to come up with a system to replicate the markings.
He photographed the results, which were published in her book.
Mason’s History of Japanese Art was the first volume in thirty years to present a detailed
explanation of the subject, and it remains the only comprehensive survey of its kind in English,
according to the publisher, Abrams.




Mark Lindquist illustrates the techniques used for producing cord markings in Jomon pottery.
The page shows Lindquist's photos (copyright Lindquist Studio) in the book:
History of Japanese Art, by Penelope Mason.

Precious Metals Photography




In 1999, Lindquist took on a client who became one of the most distinguished precious metals dealers
in the country. Lindquist was commissioned to photograph precious metals coins and historical bullion.
Developing techniques for shooting in natural light, many of his images are in use today,
illustrating gold and silver bullion and historical collector coins.
 

Design and Project facilitation

ICONS: A Tribute to Melvin Lindquist

Mark Lindquist was the project facilitator, photographer, and artist participant in the ICONS Project

He designed the exposition booth, and was responsible for the photography for the catalogue.



Booth Design, ICONS Exhibit, SOFA Chicago

For RakovaBrecker Gallery by Mark Lindquist, Lindquist Studio




Final booth install with artist's works, SOFA Chicago.

Photo: J. McFadden




Booth setup just prior to main opening  |  Photo: J. McFadden




Ken Browne of Ken Browne Productions, NYC, (center) filming Mark Lindquist during the exhibit at SOFA Chicago.
Photo: J. McFadden


ICONS: A Tribute To Mel Lindquist - Photography Project



Mark Lindquist (left) with former Lindquist Studio assistant John McFadden working on images for the catalog:

ICONS: A Tribute To Melvin Lindquist

Lindquist and McFadden temporarily repurposed the Rakova Brecher Gallery in order to do the shoot.
The two worked 3 weeks shooting in Ft. Lauderdale, FL, then 3 weeks editing at Lindquist Studio.
The catalog was subsequently published in Hong Kong, and the exhibition was held at
SOFA chicago, where it was well received by all.

ICONS from LucieHall on Vimeo.

The Blakely Burl Tree Project

In 2009, Mark Lindquist became the Project Director of the Blakely Burl Tree Project.



The Blakely Burl Tree Project was sponsored by the Charles and Catherine B. Rice Foundation
of Atlanta, GA.  As a building was torn down in Blakely,GA, a pecan burl tree was revealed.
Mark Lindquist was contacted to become the project manager to excavate the tree and
document the process.  People were flown in from all over the United States and Australia
to work on the project.  Lindquist not only directed but also photographed the project
along with others including Gregory Andracke, Ken Browne, John McFadden, and Terry Martin.



Mark Lindquist, foreground left, photographing the burl tree during the morning's glory light.
Much photography of the tree was done before excavating it for the project.

Photos: John McFadden, Terry Martin

Gadsden Arts Center

For many years Mark Lindquist has been involved with the Gadsden Arts Center where a 40 year
retrospective of his work was held.  Lindquist Studio has been actively involved with GAC since the
early eighties.  Gadsden Arts Center is a local arts organization in Gadsden County, Florida.

The photos below show some of the work that was on display during Lindquist's
40 year Retrospective exhibition at GAC.  Photos: Mark Lindquist, and John McFadden,










The above photos illustrate some of the work that was on display during Lindquist's 40 year Restrospective exhibition.
Photos: Mark Lindquist, and John McFadden,

Wine Cabinet

Mark Lindquist does special product photography, such as this wine chest he designed,
with landscape sculpture.  Chris Smith built the casework and drawer.



Photo: Mark Lindquist, Lindquist Studio

The Dowel Bowl

A work of art created by Mark Lindquist for a special project begun by Ethan Lasser,
Harvard Art Museums’ Margaret S. Winthrop Associate Curator of American Art., when he was curator
of the Chipstone Foundation, Milwaukee, WI.  The piece was shown at the Milwaukee Museum of Art,
and traveled throughout the US.  Lindquist's photo, below, was extensively published.



Photo: Mark Lindquist, Lindquist Studio

Mark Lindquist Photographs at Lindquist Studio - The Later Years

Mark has worked on many photographic projects over the years, professionally, and for his own
fine art photographic pursuits.  At this point, Lindquist Studio is focused more on photography than
wood art, as Mark has aged and has had several health problems over the years.



Lindquist photographing in Apalachicola, Florida  |  Photo: J. McFadden

Mark Lindquist's Abstract Photo Art

Mark began a series of photographic abstract art based on his fascination with the images
resulting from winding to the end of a film roll while exposing the film.
Once digital photography became equal to (or better than) the quality of film, Lindquist began
a series of abstract photography based on motion blur.
He has continued to work in this direction for over ten years.

These images and more can be seen on robogravure.com




Examples of Mark Lindquist's abstract photography - images from 2005- 2015