A Quote by Warren MacKenzie

The two teachers that I had in the Art Institute who affected me the most were Kathleen Blackshear and Robert von Neumann; Kathleen Blackshear because she taught a class called design - I can't remember, design something, and in this class - it met once a week - we would do work centered around some theme, word or subject or technique or whatever, and bring it in for a three-hour discussion. And Kathleen was able, in watching and looking at our work, to direct us to all kinds of things which might relate to what we were trying to do, but she never attempted to tell us what to do.
Those two teachers [Kathleen Blackshear and Robert von Neumann] were just fantastic, I thought. They never directed you in a single direction, but they just encouraged you to think for yourself.
I started to do silk-screen in the early days of my painting training, due to a woman who taught art history at the institute, Kathleen Blackshear. She was interested in silk screen and taught a class that I took.
[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.
It was a figure painting class, where you had a model, and [Robert von Neumann ] would wander around and he'd come up behind someone and say, "Well, what are you trying to do?" And if you told him what you were trying to do, he would then proceed to discuss this with you and suggest things that you might look at and ways in which you could improve what you were attempting to do, etc - never worked on your painting, never touched your painting but talked extensively about what you were trying to do.
If you didn't know what you were trying to do, [Robert von Neumann] wouldn't say a word. He would just turn and walk away. So you very quickly learned to think that you'd better be attempting to do something in that painting class.
Peggy Noonan is not as good a columnist as my colleague Kathleen Parker, in my opinion, but they share something related to their Pulitzers. Kathleen won in in 2010. They won it for a similar reason. They broke from their crowd, and sprinted away. They delivered the politically unexpected take, at some peril to their readership.
I was raised by drag queens, practically ... my mother died when I was four-years-old, so I was effectively raised by a bunch of different people. A lot of those people were friends of my sister, Kathleen, who had all these gay friends. She would baby-sit me everyday, and she would take me over to her friend's houses with all kinds of things going on: tucking, and eyebrow drawing, waxing, all sorts of things. I was literally raised by gay men.
THE HERETIC'S DAUGHTER is raw, honest and completely captivating. Kathleen Kent takes what would seem to be a familiar subject and gives it a fresh, new perspective-moving us through a wrenching gamut of emotions as she does so. A searing look at one of the worst periods in our history.
You feel like people are looking at you like, 'I wanted the old Kathleen. Where's the old Kathleen?' I felt that way in the beginning of Le Tigre. I felt people were like, 'You're not angry enough anymore.' People still ask me that. 'Are you still angry?' I'm like, 'About what? About that question? Yes.'
My mother was very passionate about life and she would do anything for us. And she had to fight alone to raise us. We never had a lot of money for extras or anything. She had to work six days a week, and then she would do breakfast, lunch and dinner. She was a super-woman! For me, I don't know how she did it with three kids.
I optioned a book called "Rare Objects" by Kathleen Tessaro and I'm adapting it . It takes place in the 1930s and it's about two women and that's what I'm working on to direct.
Her parents, Austin Taylor and Kathleen Taylor, were big deals in Vancouver - they were civic leaders, and he raced horses in the Kentucky Derby - and my mother grew up a debutante. And when she and my dad were married, there were about a thousand guests at that reception.
There was a seminar for advanced students in Zürich that I was teaching and von Neumann was in the class. I came to a certain theorem, and I said it is not proved and it may be difficult. Von Neumann didn't say anything but after five minutes he raised his hand. When I called on him he went to the blackboard and proceeded to write down the proof. After that I was afraid of von Neumann.
What if at school you had to take an 'art class' in which you were only taught how to paint a fence? What if you were never shown the paintings of Leonardo da Vinci and Picasso? Would that make you appreciate art? Would you want to learn more about it? I doubt it..........but this is how math is taught and so in the eyes of most of us it becomes the equivalent of watching paint dry. While the paintings of the great masters are readily available, the math of the great masters is locked away.
Years ago I was in a band called Two Lane Blacktop - we deliberately named ourselves after the 'Two-Lane Blacktop' movie, 'cuz it's a car chase movie. All our songs were based on movies, every single song. I love movies, and that was something that me and the singer in Two Lane Blacktop bonded over - we were design students together, we did a film-class together, so we became obsessed with movies. It's followed me around ever since then, it's a constant theme.
My mom was a model. She met my dad when he was building the Ritz-Carlton in Colorado and she was modeling there. Although we were very blessed, my parents never wanted us to believe we didn't have to work. They didn't want us to think that our situation would get us through life.
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