I found out later on that was not true, that life drawing tells you a great deal about rhythm, about the structure… — Warren MacKenzie Copy Share Image
We thought [with Alix MacKenzie], if those are the kinds of pots from every culture that interest us, why would we think… — Warren MacKenzie Copy Share Image
Bernard [Leach] was making pots which were duplicates of his drawing, and that was a difference of approach, which I think is… — Warren MacKenzie Copy Share Image
[Shoji] Hamada seldom drew an exact drawing of a pot that he was going to make. — Warren MacKenzie Copy Share Image
Other thing about [Field Museum of Natural History] which inspired was that in a group of pots you wouldn't see a single… — Warren MacKenzie Copy Share Image
When we worked at the pottery, we did learn to make pots, that is, the physical act of making the pot. We… — Warren MacKenzie Copy Share Image
Eventually I gave up teaching at the St. Paul Gallery because of disagreements with the philosophy of that museum, and I got… — Warren MacKenzie Copy Share Image
I'm striving to make things which are the most exciting things I can make that will fit in people's homes. And in… — Warren MacKenzie Copy Share Image
Things happen very quickly and they have to happen quickly in order to have vitality, which I think is essentially part of… — Warren MacKenzie Copy Share Image
If [Bernard Leach] didn't like the drawing, he'd X it out and do another one and change the form a little bit.… — Warren MacKenzie Copy Share Image
We never had a catalogue; we never said we were going to duplicate these pots this year and next year and the… — Warren MacKenzie Copy Share Image
In fact, when Bernard [Leach] would be called away to go up to London for something and we'd be living alone for… — Warren MacKenzie Copy Share Image
We did respect [Bernard Leach], although we also were willing to challenge ideas and at least put forth our feelings about the… — Warren MacKenzie Copy Share Image
In looking at these pots at the Field Museum, Alix [MacKenzie] and I both came to a conclusion individually but also collectively… — Warren MacKenzie Copy Share Image
Looking back on it now, I understand why that was not possible [to express ourselves], because the pottery employed a dozen people,… — Warren MacKenzie Copy Share Image
I make a lot of pots in a year's time and some of them are good and some of them are mediocre… — Warren MacKenzie Copy Share Image
We could make our own pots on the weekends and in the evenings, and we used to do that, and these would… — Warren MacKenzie Copy Share Image
[My pots ] are not like [Hans] Coper's at all, but the idea came from seeing catalogue of his work, although at… — Warren MacKenzie Copy Share Image
So I very quickly stopped almost all decoration. I was interested in the three-dimensional form of the pots, but my decoration was… — Warren MacKenzie Copy Share Image
[Bernard Leach] was an incredible draftsman, and at the end of breakfast time, for instance, he would push his plate back, and… — Warren MacKenzie Copy Share Image
When Bernard [Leach] wrote his book, he wrote about the fact that even when pots are made in a series, there is… — Warren MacKenzie Copy Share Image
[Shoji] Hamada's [drawings] were little one-line notations of something he wanted to remember about a pot or a piece of furniture or… — Warren MacKenzie Copy Share Image
We were living with Bernard [Leach] in his home. He had a fantastic collection of early English and Japanese and Chinese and… — Warren MacKenzie Copy Share Image
Finally if I had a pot that needed decoration, I would hand it to Alix [MacKenzie] and I would say, "Can you… — Warren MacKenzie Copy Share Image
We were working from very exact models and dimensions and weights of clay to make these pots which had been designed some… — Warren MacKenzie Copy Share Image
[Kathleen Blackshear] just said, "Have you thought of looking at this?" and so on and so on and so on. And it was a… — Warren MacKenzie Copy Share Image
Some years ago I was working on some forms which were vase forms with a fairly narrow base, and it was after [Hans] Coper… — Warren MacKenzie Copy Share Image
I found out later on that was not true, that life drawing tells you a great deal about rhythm, about the structure of a… — Warren MacKenzie Copy Share Image
Remember, this is back in the '40s, and the idea of a museum being a place where interested people could come in direct contact… — Warren MacKenzie Copy Share Image
At the end of that two weeks Bernard [Leach] asked us if we would like to sit with him tending the kiln, the big… — Warren MacKenzie Copy Share Image
I got drafted into the army and by pure chance was pushed into a silk-screen shop at this camp where I was, because they… — Warren MacKenzie Copy Share Image
[In the Field Museum of Natural History] we could see very simple, primitive, hand-built pottery from Babylonia and ancient Egypt and so forth, Greece.… — Warren MacKenzie Copy Share Image
Chicago is a wonderful area because it's blessed with a tremendous number of museums of various sorts, not only the Art Institute of Chicago… — Warren MacKenzie Copy Share Image
It was a wonderful opportunity. And so for two and a half years we lived with [Bernard] Leach. — Warren MacKenzie Copy Share Image
We thought [with Alix MacKenzie], if those are the kinds of pots from every culture that interest us, why would we think that it… — Warren MacKenzie Copy Share Image
I went to the Chicago Art Institute, which was the best painting school in the area at that time. And I took painting classes… — Warren MacKenzie Copy Share Image
It was there that we really first came in contact with the work of Shoji Hamada, who was Bernard's best friend from Japan, who… — Warren MacKenzie Copy Share Image