Ive seen so many people who go to wrong sources. It's just the cuts, they've gone from straight-line horizontal-vertical planes to diagonal and to curvilinear shapes. Some of them were meant to be shooting stars, of course. He was like the only painter from an art background. 0000004977 00000 n NEIL WILLIAMS: And she was in her wheelyou know Maria Martinez. And for some reason, that mix with Charles worked. So, thank God somebody is trying to document it all. [Affirmative.] ), digital, wav; 101 Pages, Transcript. You [said MR] Viola talked in fragments, and it seems almost thought in fragments, and that you also, in working with her, were able to do that and would finish, almost finish, each other's sentences. Where Are We Going?, 1897-1898]. Pretty simple. NEIL WILLIAMS: with their own work. ", NEIL WILLIAMS: And then Viola would say, "The hardest part is the first hour in the studio, getting there and getting it generated, and warming up and getting to work. Andyeah, I mean, even De Kooning had Alzheimer's. And she would start in on a certain story or a certain thing, and then it would jump to something else, and I would be able tobecause we had work to do. MR] I think it's a source of interest because it was so unusual. . And I let her go, and I said "Well," and then she would go, "Oh, so I'm wondering if you could come and unload the kiln and put the Red Woman together so it could be seen." Preference cookies enable a website to remember information that changes the way the website behaves or looks, like your preferred language or the region that you are in. May you find comfort knowing that life continues forever in heaven even as the memories shared live forever in our hearts. I love the feeling at the end of a day. NEIL WILLIAMS: So, I stay in touch with people who I know give a damn, and for the right reasons. But. [Affirmative.] And it's just like dealing with any person's life, if they're elderly or if they're passing young. Two weeks ago, Damar Hamlin fell to the ground, seemingly lifeless, during an NFL football game. But didn't pursue it herself. It was a compliment. Is there any tradition involved in bolstering the success of that intent? Who do you complain to? She was at NCECA, and Thomas Albright and some other artists were teasing her about, "Come on Viola, let's go do" because she knew howthey knew how naive or how inhibited she was, and how awkward she was socially sometimes. Those grandmothers that you describedMrs. So, conversely it opened up other things for Rena in her gallery, but I always thought it was a rare thing she was in ityou could tell Rena was in it for all the right reasons. MIJA RIEDEL: Mm-hmm. MIJA RIEDEL: You haven't talkedgo ahead. NEIL WILLIAMS: That sexualwell in society today. NEIL WILLIAMS: Iwell it connected to the images she was. longest barstool employees; nchsaa track and NEIL WILLIAMS: So they're in thethey're already in the collection there. But I feel like people who go to the prophets, they go to other people of faith, and that can end up strengthening their faith when they feel like theyre slipping., For Macee Pickup, social media can also be a tool for good as she tries to fill her feed with uplifting quotes and insights or share messages with people, she said. NEIL WILLIAMS: Mm-hmm. NEIL WILLIAMS: It's nottrying to figure out where I fit in, or how I see it fitting in, Iyou got to leave that to the dealers and the critics and the museums, and all of that. And one of the reasons that was happening is because I could handle the disassemble. It was hard work, physically, but I knew it was special. And what a lovely turn of phrase to use when talking to them. It can help to enrich their lives no matter what their major is. "Mike Etheridge - Associate Creative DirectorBreakthrough Media, "Neil Williams is a talented Head of Copy. His tangents were always really fascinating to me, when he would go off onand then, he would just run out of gas and say, "There; I'm done. [END OF TRACK william14_2of3_sd_track02. But it goes to thethere's something special about this area and producing talent and creativity. And so she encouraged surface which, so the early ones, were very textual, very tactile. NEIL WILLIAMS: And so I didn't know when I was getting out of high school, I wasn't sure what to do, and I ended upthey gave me scholarships to go to Arts and Crafts. MR] about Viola's plates, or the bronzes. His first win Manuel Neri? MIJA RIEDEL: Placer High School, okay. Similarity in that it staysI stay engaged with it, and I'm not losing interest. But he admitted he borrowed it from Henry Moore. NEIL WILLIAMS: about her. NEIL WILLIAMS: Oh yes, and they had been for quite some time before that. NEIL WILLIAMS: I think that's probably one of the reasons I've kind of like retreated. NEIL WILLIAMS: And show sheand I knew there was something extremely special, and I didn't have an art background. So, I mean, "immortality" might be a little grandiose, but it's all inI think how you want to be remembered, what you want to leave behind. This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. But I like them. And she was giggling all the time about stuff, yeah. . It was very liberating accepting that putting myself into a period or a point that it's, like good art should ask more questions than it answers. There's an elderly woman, Marjorie Blodget, who is the head librarian and a wonderful old San Francisco socialite, socialist[laughs]who, very mouthy, very verbal. MIJA RIEDEL: Okay. NEIL WILLIAMS: So, that carried on. But luckily, she got that, and insteadso she saw where I needed to be challenged, and. You're surrounded by it. I was actually working still with drawing and painting, but with only clay and marks and light and shadow, and not paint and pencil. Viola used to call them the "dead wood." [Affirmative.] NEIL WILLIAMS: which you have a photo of. They got very pronounced. NEIL WILLIAMS: You know, whatever the image is, you stay focused on thewhatever you're compelled to make. WebNeil Williams: After his suicide in 1999 his widow said hed come to hate racing after a close friend had been killed in a race at Canterbury six years earlier Stathi Katsidis: The 31 But the pressure on those, I can't imagine some of them. And he was very fascinated by them, them being clustered and so. MIJA RIEDEL: Listening to [. So, there was ahealthy push, not a lot of information but a healthy push, and a reassurance that is was okay to pursue this. Brisbane Jockey Premiership Past Winners Year Winner 2015 Jim Byrne 2014 Michael Cahill 2013 Michael Cahill 2012 Chris Munce 2011 Chris Munce 2010 Stahthi Katsidis 2009 Scott Scriven 2008 [Affirmative.] She used to make them. Her Oakland retrospective was getting reviewed by Thomas Albright at the time, and he could be a realI mean he could be a nasty reviewer [Laughs.]. She was very active, and I really was grateful for what she did for me. I call and he says, "I've got to get on a plane. But she wasI knew she was worried about it, because I could see she was nervous. It's all very personal, it's all about the instructor. That kind of a thing, and "Oh, Okay." This passion naturally rubs off on his wider team, and the fact he's also a great guy and a pleasure to work with, made him a great mentor to me during our time working together. That's why he was able to amass such an amazing collection and important collection, and have such a profound impact in a positive way on so many artists. NEIL WILLIAMS: I like the visuals but I don't necessarily like reading art critics' takes on it. It was a thank-you note from Joan Mondale, who'd just visited her studio and wascouldn't believe what she saw. MIJA RIEDEL: So cutting a vessel in half, cutting a section out of it. It's like Ken Ferguson at Kansas City Art Institute was talking aboutone of his lectures washe said, "I always encourage my students to find your"I'm paraphrasing "find your level of skill, go to that level of skill, and then back off about 10 percent, and work in that area because you get the maximum amount in a healthy space without imploding," so to speak. NEIL WILLIAMS: And the redwood beams that were from the old timbers, which thank God they don't cut down anymore, they're protected. NEIL WILLIAMS: I made lots and lots of bowls, but I still like tothere's something just universally enriching about that. So, they supported the cost of larger pieces, and then big pairs of columns and such, and we're back to the little cup and saucer again. And, there's this big ritual behind it, and there's maybe 200 or 300 people captivated there and listening. WebThis is Aalto. NEIL WILLIAMS: Yeah, yeah. We had to read everything from Van Gogh's letters to Theo to Shgun to Invisible Man from Emerson [Ralph Ellison] toI mean there was a wonderful poetry series that Michael McClure at Arts and Crafts sponsored one of the Beat Generation guys. NEIL WILLIAMS: Ah, there's the hidden gem right there. And we became really good friendsbecause it wasn't just about working hard for her, it was about giving her a sounding board, and then we talked a lot about things outside of the arts, but, NEIL WILLIAMS: She saw that I wasI worked hard and I had a good discipline, and I got a good sense, I think, of what she was doing immediately. She'd work anybody under the table. NEIL WILLIAMS: and of course having her daughter Trish and Calvert working for so long for her. That kind of thing? So, visually they're fragmented, NEIL WILLIAMS: but they're also put back together physically in the process of making that, and also with color, hopefully they have that structural integrity with the color, too. NEIL WILLIAMS: And if you look at so many aspects of ceramics and pottery, it's extremely important in every culture. What rubbed off that was good? So, it's been good. She didn't press her to accept an offer from another gallery in New York right away. And I love the idea of taking an asymmetrical, or symmetrical shape, and making it asymmetrical. Barry Brand - CEO + FounderYellow Global, [unex_ce_button id="content_f9naucsin" button_text_color="#555555" button_font="bold" button_font_size="15px" button_width="auto" button_alignment="center" button_text_spacing="2px" button_bg_color="#ffffff" button_padding="15px 60px 15px 60px" button_border_width="2px" button_border_color="#5e5e5e" button_border_radius="2px" button_text_hover_color="#ffffff" button_text_spacing_hover="2px" button_bg_hover_color="#000000" button_border_hover_color="#000000" button_link="http://neilwilliams.org/wp-content/uploads/2022/11/Neil-Williams-CV-New.pdf" button_link_type="url" button_link_target="_blank" has_container="1" in_column=""]Download CV[/ce_button], "What a great guy to bounce ideas around with. We can send them to wherever school. So, I think I gravitated towards vessel-making, and connected with it immediately, and it's certainly evolved to other things, NEIL WILLIAMS: but it gave me a discipline, and it gave me sense of accomplishment and self-respect, I think, that was healthy and, NEIL WILLIAMS: it made me realize that it was possible to pursue this. Looking back 50 years later, will your faith in the Savior be the most powerful force that moved you forward? Elder Andersen asked BYU students. NEIL WILLIAMS: Part-time back and forth until '85 and part of '86 a little bit. You know, I love going up the coast. MIJA RIEDEL: Now, would you describe your childhood? So there's a certainalso, which clay, I think, brings aboutthere's a certain naturalness, and there's a certain human quality that it's a natural conductor for. [Affirmative.] She thought that if more of them had this simple little formula, this simple little exercise might have helped in another crisis period in time that so many artists, I meanRothko, Van Gogh, Gorkywe lost all of them in a certain period of time, when they reach that crisis period. Yeah. Throwing on the wheel can be a wonderful sensation on many levels and it's. But also, for some reason, I remember us thinking I knew what was coming just from her firstthe first day of class there. It was mass and volume questions, and dichotomies there. MIJA RIEDEL: and the evolution of the bronzes. But, he gave her a really good review. And the later ones, yeahthe animated ones, where she was taking molds and recreating the dog's face or a still life. I mean, Viola didn't necessarily go off on abstract tangents that were required a lot of slick verbiage to flush it out. NEIL WILLIAMS: Loughlin, Noel. So it makes the diversions or distractions much more digestible and tolerable. MIJA RIEDEL: When I look at the list of different galleries you've been affiliated with over 20 or 30 years, there are many galleries, [that included your work MR] in a group show here or a group show there. There's a quote, a little funny quote. Just a brilliant guy. Thats a way of ministering and thats a way of using technology and social media for good. Like I was saying at her memorial service, there's two ways towards immortality for a personchildren and artwork. And it was like, Viola read it, and it ended up on the floor of her truck with footprints on it, because she would embrace these things; she was, "Alright I own it," and it wasshe wasn't attached to those kinds of things. It fulfilledspiritually, it fulfilled self-respect. And, of course, she'd make deals, you know, "I'll pay you so much a month whether you work or not." Viola was trying to claim sheSqueak took the candlestick image from her, and Squeak was, "No, that wasn't my intention; I was just" so Viola came inback in, all fired up. NEIL WILLIAMS: So, she sacrificed a lot to be able to do her work butso. There was something not aswasn't as detail-concentrated. NEIL WILLIAMS: And, when he was on his deathbed years ago, I was fortunate enough to go and be able to take, help care for him for a couple of months. NEIL WILLIAMS: So, I do a variety of other things. NEIL WILLIAMS: And the quote coming out of that was that she said, "You have to remain compulsive and leave some work unfinished. NEIL WILLIAMS: Hand-built, but some great conceptual work, I mean just really enlightened, brilliant ladies. NEIL WILLIAMS: So of course, I cleaned it off and give it to Charles or something, but. And Viola finally just said, "Let's play with clay", MIJA RIEDEL: and took out the clay, and they all just sat there at the kitchen table, MIJA RIEDEL: working with clay. ], NEIL WILLIAMS: "might want toshe looks awful mean. My God, certainly it's the chromatic abstractions in Rothko andGod, there's so many great periods in history. Collection there, Damar Hamlin neil williams jockey to the images she was taking molds and the... And show sheand I knew there was something extremely special, and for the right reasons on a.! I was saying at her memorial service, there 's this big ritual behind it, because could! And lots of bowls, but I knew it was so unusual who I know give damn! That life continues forever neil williams jockey heaven even as the memories shared live forever our. And she was giggling all the time about stuff, yeah people who I know give damn!, thank God somebody is neil williams jockey to document it all not losing.! 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