A Quote by Warren MacKenzie
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.
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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.
I do remember that when we left [Bernard Leach] after two and a half years, we went home on a boat again - this was before air travel became really easy - and Alix [MacKenzie] turned to me and she said, "You know, that was a great two years of training, but that's not the way we're going to run our pottery."
Alix [MacKenzie], on the other hand, found that her painting would translate much more readily into decoration, and she could play with the spacing and the intensity of imagery on the form in a way which I could not. So that when we established our pottery, I was most unhappy with my decoration.
Finally if I had a pot that needed decoration, I would hand it to Alix [MacKenzie] and I would say, "Can you do something with this?" And she'd look at it for a while and then proceed with a brush to embellish the form and enhance the form, and it was wonderful. She could bring the pot to life, whereas if I did it, it was a disaster.
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.
Alix [ MacKenzie] had stopped teaching because we had a child and she stayed home to take care of the baby, and I taught.
We [with Alix MacKenzie] had decided we needed further training, and certainly Leach was the one we turned to. So we went to England this summer and we took examples of our work along with us and showed them to Bernard Leach and told him what we were trying to do. And of course he took one look at our work and he said - very quickly he said, "I'm sorry, we're full up," and this was his way of politely saying, you just don't make the cut.
In fact, [Bernard Leach] was several generations removed from us. At that time we were there, I think Alix [MacKenzie] and I were 26 and 28, and Leach was about 63, and we thought he was a very old man. I used to always want to help him up the stairs in the house for fear he'd fall. Actually, he was in excellent condition and lived to be much, much older than we ever expected.
Ariana Grande is a billionaire before she's been an artist. You have to work to be able to appreciate what you have... what work did she ever have to do in her life?
My mom didn't run for mayor until she was 65 years old - it was like a second and third career.... The way I've always thought about it is that I don't believe you run for office because you want a job. I believe if you run for office, it's because you have a vision for change. And if I ever came to that point, that's what would lead [me to run]. And right now I'm happily in a position where I believe I can work to deliver impact and work for change.
Well, Kajol's a lovely lady! She's a pleasure to work with and I really enjoy her company! She has the ability to make someone feel so important...she herself is really cheerful and she makes others around her feel cheerful too. I don't believe I've ever seen her cry...except in front of the camera of course! I believe she has the potential to go so far.She is such an insipiration to everyone around her.....including me!
There was a school in Chicago called the School of Design. This was started by [Laszló] Moholy-Nagy, and it was a wonderful school, but we [with Alix MacKenzie] didn't go to that school. We did have friends who went to that school and we would visit there often, and I'm sure it pushed me in my painting direction very strongly just by association.
I would say to any young black , if you get a job and you're asked to work 100%, then you work 125% and don't complain about it. The moment you complain about it, then you don't really want to work. Always do more than you're asked to do and you'll get far in life - and that applies to all youth.
Most of the earth's inhabitants work to get by. They work because they have to. They didn't pick this or that kind of job out of passion; the circumstances of their lives did the choosing for them. Loveless work, boring work, work valued only because others haven't got even that much, however loveless and boring - this is one of the harshest human miseries. And there's no sign that coming centuries will produce any changes for the better as far as this goes.
A line from one of my 1997 columns - 'Do one thing every day that scares you' - is now widely attributed to Eleanor Roosevelt, though I have yet to see any evidence that she ever said it and I don't believe she did. She said some things about fear, but not that thing.
The first time I had work in a public space it felt very strange to see people that I didn't know looking and, and presumably commenting on, my work. Nowadays, I'm a bit more fatalistic - they either like the work or they don't and there's not a lot I can do about that. The trick seems to be not to get too pissed on open nights so that I can answer any questions without making a fool of myself. Doesn't always work!
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