Warren MacKenzie Quotes - Page 3

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I followed [Shoji] Hamada, because I guess Alix [MacKenzie] and I, we both saw the danger that lay in planning things out on paper and then simply executing them. And with Hamada there was a much more direct sense that the piece had happened in the process of making on the wheel, and that was what we wanted to do with our work. We weren't always able to do it, though.

Warren MacKenzie

Pieces, Paper, Able

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I think back to some of the pots we made when we first started our pottery, and they were pretty awful pots. We thought at the time they were good; they were the best we could make, but our thinking was so elemental that the pots had that quality also, and so they don't have a richness about them which I look for in my work today. Whether I achieve it all the time, that's another question, because I don't think a person can produce at top level 100 percent of the time.

Warren MacKenzie

Thinking, Quality, Looks

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We benefited from living with [Bernard] Leach, because suddenly all of his friends became our acquaintances.

Warren MacKenzie

Acquaintance

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Since your time is your main involvement here - I mean, the clay doesn't cost very much. Even the glaze and the firing doesn't cost a great deal. But your time is the cost, and if you can keep your time to a minimum and still come out with the results you want, that means the pots can be sold for an economic price.

Warren MacKenzie

Mean, Clay, Cost

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In the Leach Pottery we did most of our work on the wheel. [Bernard] Leach did a little work in the studio, which was press-molded forms, plastic clay pressed into plaster forms to make small rectangular boxes and some vase forms, which he liked to make. These were molds which had been made to an original that he had modeled in solid clay, and during our work there, sometimes I would be pressing these forms as a means of production.

Warren MacKenzie

Mean, Pottery, Littles

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In school we did all sorts of things, molds, slab building. We were not very proficient on the wheel because the woman who taught was not proficient on the wheel. And so we learned from her assistant who had learned from her assistant the year before and so on, and that was not very good training.

Warren MacKenzie

School, Years, Training

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And as far as I know about Alix's [MacKenzie] work, I don't believe she ever did any sculptural work at all. It was always pottery.

Warren MacKenzie

Believe, Pottery, Don't Believe

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[Sculpturing] didn't stick with me. I never felt I wanted to go on with that.

Warren MacKenzie

Goes On, Sticks, Wanted

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[My pots ] are not like [Hans] Coper's at all, but the idea came from seeing catalogue of his work, although at the time we knew Hans, his work was nothing like that.

Warren MacKenzie

Ideas, Pot, Seeing

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These narrow-footed forms I was making, I thought, gosh, I could push those further, not to construct them the way [Hans] Coper did but to work in my own manner but push it more toward that form. And I learned to do that and enjoyed it for a number of years.

Warren MacKenzie

Years, Numbers, Way

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Some years ago I was working on some forms which were vase forms with a fairly narrow base, and it was after [Hans] Coper had died that I saw an exhibition of his, a catalogue from an exhibition, and he was showing some forms which were made by cutting and joining a lot of different parts together to create what he called a spade form, which you can imagine looks a little bit like a shovel upside down.

Warren MacKenzie

Cutting, Years, Together

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I've been influenced by someone or [English artists] work. I mentioned Hans Coper as an example.

Warren MacKenzie

Artist, Example

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If you take Lucie Rie and Hans Coper, their work didn't even relate to what we were trying to do, because they were moving in a different direction, both of them coming out of Europe and the Viennese school of design, which Lucie came from, and Coper learning from Lucie and then springing off on his own when she encouraged him to explore more widely. So he created his own work instead of just working for her and doing her forms. So that was a wonderful thing.

Warren MacKenzie

Moving, School, Europe

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When I was in school in the Art Institute, we had several problems during the course of the time we were taking ceramic classes where we had to do a sculptural piece. And when I say a sculptural piece, it's nothing like what we conceive of now as a sculptural piece.

Warren MacKenzie

Art, School, Class

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I don't know, it's very difficult if you're in a strange country to just barge in and say, "Hello, I'm Warren MacKenzie, and aren't you happy to have me as a guest," you know? But artists did accept us and we remained friends for many, many years, many of them as long as they lived; like Lucie Rie and Hans Coper were very good friends, and it was wonderful.

Warren MacKenzie

Country, Good Friend, Artist

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We got a great benefit from our contact with those people [Lucie Rie, Hans Coper, Richard Batram] and met people that we wouldn't have probably met if we had simply worked at the pottery.

Warren MacKenzie

People, Benefits, Pottery

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[St. Ives] is a wonderful place to live. It's a small fishing town and one can live there inexpensively. There's a sympathetic population of other artists, where you can exchange ideas, and it's quite rich in artistic thought.

Warren MacKenzie

Artist, Fishing, Ideas

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There were a lot of artists in St. Ives. In fact, since the time of Whistler, St. Ives has been noted as an artist colony.

Warren MacKenzie

Artist, Facts, Whistler

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Bernard [Leach] knew Ben Nicholson, Barbara Hepworth, Terry Frost, Peter Lanyon, Johnny Wells. I can think of a number of people that we met there just because we were living with Bernard. Some of them became our friends, particularly the younger artists, but we were privileged to at least meet and talk with the older artists also. And they would come to dinner, and we would simply be included in the conversation, which was quite fascinating.

Warren MacKenzie

Thinking, Artist, Numbers

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Every pot is not going to be a masterpiece.

Warren MacKenzie

Pot, Masterpiece

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I was born in Kansas City, Missouri, and I do know from what my parents tell me that I was always interested in art, although not very good at it.

Warren MacKenzie

Art, Cities, Kansas City

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Robert von Neumann taught painting, and when I finally got into a painting class of his, he reacted in much the same way.

Warren MacKenzie

Class, Way, Taught

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[Kathleen Blackshear] just said, "Have you thought of looking at this?" and so on and so on and so on. And it was a discussion group where everyone had a say, and it was a tremendous learning experience.

Warren MacKenzie

Groups, Said, Learning Experience

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Remember, this is back in the '40s, and the idea of a museum being a place where interested people could come in direct contact with works hadn't arrived on the scene yet. That, I think, I first ran into at the Freer Gallery in Washington, D.C., where a man named Marty [Martin] Amt decided that he really felt his job - part of his job, as an assistant [to the] director was to make the collection available to interested people.

Warren MacKenzie

Jobs, Men, Thinking

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We thought [with Alix MacKenzie], if those are the kinds of pots from every culture that interest us, why would we think that it should be any different in mid-North America 20th century? And we decided then that our work would center around that sort of utilitarian pottery, and that's what I've done ever since.

Warren MacKenzie

Thinking, America, Culture

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Latest quotes from interviews

"Here is this ability to explore ideas, but with minute changes, and then look at the results. Often you get so excited about what you're doing that you think, "Oh, wow, this is just great." And you look at it a week later and you realize you'd been excited by the act of creation, but what you've created is not really exciting when you look at it in cold blood. And so that, to me, is a valuable lesson also."

- Warren MacKenzie,

www.aaa.si.edu, added Mar 22, 2017

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