Robert C. Marsh
EDUCATION:
University of Mississippi, Oxford, MS – M.F.A. 1968
University of North Alabama, Florence AL – B.S. 1967
SOLO EXHIBITIONS: (selected listing)
Hodges Taylor Gallery, Charlotte, NC 1982,84,87,89,91,93,95,97 & 2001
UNC –Pembroke, Pembroke, NC 1996
Lithographs from Winstone Press, RJR Gallery, Raleigh, NC 1990
University of North Alabama, Florence, AL 1988
Heath Gallery, Inc., Atlanta, GA 1986
Gilliam & Peden Gallery, Raleigh, NC 1984
High Point Theater, High Point, NC 1983
Waterworks Visual Arts Center, Salisbury, NC 1983
Danville Museum of Fine Arts, Danville, VA 1973, 1978,1983
Roanoke Fine Arts Center, Roanoke, VA 1976
Garden Gallery, Mint Museum of Art, Charlotte, NC 1976
SELECTED GROUP EXHIBITIONS:
Two-person Exhibition, the Marlborough Galleries, Boston, MA 1990
Two-person Exhibition, Marita Gilliam Gallery, Raleigh, NC 1989
“Charged Places and things,” Sherry French Gallery, New York, NY 1988
“The Crayon Show,” Southeastern Center for Contemporary, Winston-Salem, NC 1988
Winstone Lithographs, North Carolina Museum of Art, Raleigh, NC 1988
Contemporary Landscape, Heath Gallery, Atlanta, GA 1987
Group show, Gilliam & Peden, Raleigh, NC 1986
Ninth Artist Invitational, Waterworks, Visual Arts Center, Salisbury, NC 1986
Group show, Sawtooth Center, Winston-Salem, NC 1985
Two-person Exhibition, Appalachian State University, Boone, NC 1985
“Works on Paper,” Weatherspoon Art Gallery, Greensboro, NC 1985
Group Exhibition, Quadrum Gallery, Boston, MA 1985
Group Exhibition, Quadrum Gallery, Boston, MA 1984
Seventh Annual Eastern United States Printing Exhibition, North Carolina
Printing and Drawing Society, Charlotte, NC (Two Purchase Awards;Juror, Kenneth Tyler) 1983
“Contemporary American Prints,” Mint Museum of Art, Charlotte, NC 1983
Ninth Annual Juried Exhibitions, Shelby NC (First Award: Juror, Milton Bloch) 1983
“Realism Group Invitational Exhibition,” Southeastern Center for Contemporary Art, Winston-Salem, NC 1982
Miller Brewery Juried Exhibition, Green Hill Gallery, Greensboro, NC (Purchase award; Juror, John Arthur) 1982
Southern Graphics Council Touring Exhibition in the Soviet Union 1982
Graphics Invitational, Mint Museum of Art, Charlotte, NC 1981
“Virginia Printmakers 1981,” Virginia Museum, Richmond, VA (Two year traveling exhibition; Juror, Sylvan Cole) 1981
“Twenty-second National Exhibition of Prints and Drawings,” Oklahoma Art Center, Oklahoma City, OK (Juror, Andrew Stastick) 1980
“Miller Brewery Exhibition,” Green Hill Center for NC Arts, Greensboro, NC (Purchase Award: Jurors, Walt Hathaway and Aladar Marburger) 1979
Lauren Rogers Museum of Art Print and Drawing competition, Laurel, MS (Two purchase awards: Juror, Ted Potter) 1979
“1979 National Print Exhibition in Texas,” Austin, TX (Jurors, Sylvan Cole and Bill Weege) 1979
“Thirteenth Dulin National Print and Drawing Exhibition,” Knoxville, TN (Juror,Warrington Colescott) 1979
“National Print Competition and Exhibition,” Edinboro State College, Einboro,PA (Second Place and Purchase Awards: Jurors, James McCormick and John Sirica) 1979
“National Print Exhibition,” Trenton State College, Trenton, NJ (Juror, Judith Goldman) 1978
Southeastern Center for Contemporary Art Print Exhibition, Winston-Salem, NC (Purchase awards Juror, Gene Thornton)
“Sixteenth Bradley National Print and Drawing Exhibition,” Bradley University, Peoria, IL (Two purchase prizes: Juror, Fritz Scholder) 1978
“Twenty-fifth National Exhibition of Prints,” Library of Congress and the National Collection of Fine Arts, Smithsonian Institution, Washington, D.C. (Jurors, Wayne Thiebaud and Alan Schestack) 1977
Southwestern Center for Contemporary Art Print Exhibition, Winston-Salem, NC (Purchase award: Juror, Harold Altman) 1976
“Virginia Printmakers,” Virginia Museum of Art, Richmond, VA (Certificate of Distinction – awarded solo show; Juror, Alan Schestack) 1976
“Realist Invitational Exhibition,” Southeastern Center for Contemporary Art, Winston-Salem, NC 1975
“Contemporary American Genre,” Adams Davidson Gallery,Washington, D.C. 1974
“New Talent in Printmaking: 1974,” Associated American Artist, New York, NY 1974
SELECTED COLLECTIONS:
Cabot Corporation, Boston, MA
R.J. Reynolds, Inc., Winston-Salem, NC
Bank of America Charlotte, NC
Leggs Corporation, Winston-Salem, NC
First Charter National Bank, Charlotte, NC
Bank of Virginia, Roanoke, VA
Lauren Rogers Library and Museum of Art, Laurel, MS
Southeastern Center for Contemporary Art, Winston-Salem, NC
Lake View Center for the Arts, Peoria, IL
Equitable, Inc., New York, NY
Miller Brewery, Eden NC
Wake Forest University, Winston-Salem, NC
Edinboro State College, Edinboro, PA
Mint Museum of Art, Charlotte, NC
Danville Museum of Fine Arts, Danville, VA
Duke Power Company, Charlotte, NC
Marriott Corporation, Greensboro, NC and Richmond, VA
IBM, Raleigh, NC
Hunter Museum, Chattanooga, TN
U.S. State Department, Washington, D.C.
S.C. Bradley Corporation, Columbus GA
Stouffers Winston-Salem Plaza, Winston-Salem, NC
Interstate Securities Johnson Lane, Charlotte, NC
Trammell Crow Company, Charlotte, NC
Southern Progress Corporation, Birmingham, AL
Phillip Morris, Inc. Richmond, VA
Omni Hotel, Charlotte, NC
SELECTED HONORS AND AWARDS:
W.C. Bradley Fellowship/Residency Program, Columbus, GA
SELECTED COMMENTS FROM REVIEWS OF VARIOUS EXHIBITIONS OF ROBERT C. MARSH, JR.
“He has it all – emotion and logic, discipline and abandon. He has something to say and he says it with clarity, grace and precision.”
“Litt, Steven. “Draw Plays and A Tie Score.”
The News & Observer/The Raleigh Times, 6 October 1989 page 4.
“Robert Marsh’s large canvases vibrate before the eye. Hundreds of strokes of oil cohere into a shimmering surface that guides the viewer gently but rapidly across the world, as though swept by a breeze of color. Marsh brings the familiar world alive…”
White, Patrick. “An Exhilarating Exercise For Eye.” The Salisbury Post, 27 January 1986 Section B1 and 12
“Agitated strokes scurry across the paper surface… A matter-of-fact process of storytelling… Variously detailed, beautiful and elusive. Marsh knowingly includes only essential ingredients to convey that particular reality.”
Romero, Rubel. “Light and shadow” Spectator Raleigh, NC 19 September 1984.
“Three cheers for Robert Marsh… His bright colors vibrate and blend on the surface of his drawings, in the way that the pure colors of Seurat and Money blended to form resonant hues of shade and sunlight… Marsh might be criticized as a conservative artist who exhumes ideas from the past. But who cares? He’s good at what he does.”
Litt, Steven. “Little Southern in ‘Abstractions’ at NCSU Gallery.” The News and Observer, Raleigh, NC 23 September 1984 sec. E page 5.
“Feeling of total control over color; tremendous energy; fearless organization of negative space.”
Bloch, Milton Director, Mint Museum, Charlotte, NC. Juror’s comment, Shelby Exhibition 27 October 1983.
“They possess a rate of beauty and they are visually seductive… These works have a quiet violence, a majesty that supersedes anything trite or mundane. Frenzy of Hues – Undercurrent of Tension.”
Warren, Cathy. “Oil Crayon Works by Robert Marsh” the Charlotte Observer, 21 March 1982 sec. F page 3.
“Tensions, particularly evident n the voids between objects, are often created by effective lighting and mitigated by subtle, but beautifully rich surfaces… solidly anchored in the geometry of architecture and organic shapes, the images are stark, static, and intense… Our response is not to an emotional energy, but rather to a compelling experience or enormous concentration.”
Weinstein, Ann. “Numerous Exhibits Fascinating” Roanoke times and World News. 19 December 1976 sec. F page 5.