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
Remember, this is back in the '40s, and the idea of a museum being a place where interested people could come in… — 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
Here is this ability to explore ideas, but with minute changes, and then look at the results. Often you get so excited… — Warren MacKenzie Copy Share Image
Our main inspiration [with Alix MacKenzie], I think, came from the Field Museum of Natural History, because they had pieces which were… — Warren MacKenzie Copy Share Image
In fact, [Bernard Leach] was several generations removed from us. At that time we were there, I think Alix [MacKenzie] and I… — 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
We both [with Alixandra Kolesky MacKenzie] got into ceramics, you might say, by the back door. Looking back on it, I think… — 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
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
We were more fortunate than most, because [Bernard] Leach had been in America on a lecture tour in 1950, and we made… — 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
We became more familiar with [Bernard Leach], and with this familiarity came, I wouldn't say contempt, but certainly an awareness that everything… — Warren MacKenzie Copy Share Image
Bernard [Leach] knew Ben Nicholson, Barbara Hepworth, Terry Frost, Peter Lanyon, Johnny Wells. I can think of a number of people that… — Warren MacKenzie Copy Share Image
Those two teachers [Kathleen Blackshear and Robert von Neumann] were just fantastic, I thought. They never directed you in a single direction,… — Warren MacKenzie Copy Share Image
If you didn't know what you were trying to do, [Robert von Neumann] wouldn't say a word. He would just turn and… — Warren MacKenzie Copy Share Image
Hilda Reiss was the head of the Everyday Art Gallery. Hilda Reiss came from Germany, had trained at the original Bauhaus in… — Warren MacKenzie Copy Share Image
In working on a drawing or a painting, one can rework and rework and rework and change ideas until you get it… — Warren MacKenzie Copy Share Image
Friends of Bernard's [Leach] came to visit, and when we went to London, we were given introductions to people like Lucie Rie,… — Warren MacKenzie Copy Share Image
I think back to some of the pots we made when we first started our pottery, and they were pretty awful pots.… — Warren MacKenzie Copy Share Image
This is something which I think I have been able to communicate to both people I have taught and people that have… — Warren MacKenzie Copy Share Image
I used to think [Shoji] Hamada never drew, until there was a book by Bernard [Leach] published about his work [Hamada: Potter,… — Warren MacKenzie Copy Share Image
When you're young, you think you can do anything, and we thought. — 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