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NEIL WILLIAMS: It was the proverbial eye image. But, no need to die off young foryou can give your all for your work and still live to tell about it. Father was completely emotionally detached. I've always known it's good. I have even told the story of the world's tallest building. By using this form you agree with the storage and handling of your data by this website. Do you have a recollection of Rena introducing Viola to Patterson? So I don't know. MIJA RIEDEL: The degree to which the cup and the teapot were deconstructed in the life and the energy, the sheer sort of whirling dervish quality they had was extraordinary. MIJA RIEDEL: Interesting. . 0000114923 00000 n Throwing on the wheel can be a wonderful sensation on many levels and it's. They're one in a million, in the arts. tt@D-b`Rph1Vic 3cC6OH.{LF@s2ldhcxll\ApJ&:L|+3|gggjGc54Dh3f ?Z' I think it was a hand with a carrot mold piece, and then she wanted to do a whole figure in bronze, and paint it in alkyd oils and it justforit sat and she painted it for a while, and it was outdoors. Or should I change that?" "No, I'm not. NEIL WILLIAMS: It was a very unique one. [Affirmative.] Only with an eternal perspective of Gods great plan of happiness can we ever find a more excellent hope. I thought, "Okay." I think Arneson said it, because that there was so much work, he said to Richard Shaw, he says, "You ever get the feeling you're not working hard enough lately?" NEIL WILLIAMS: That's ifso if they weren't just a pair of banal, NEIL WILLIAMS: things standing there with some splashes of color on them. Butso, I was surprised at how many people collected teapot images, or cup and saucers. NEIL WILLIAMS: and it was built by a horticulture professor at U.C. NEIL WILLIAMS: All the time. I've heard of some horror stories in university and community college professors. NEIL WILLIAMS: Yes, she was there, and she hadI remember the first day of class was the morning after Richard Behrens, the glaze guru, the elderly gentleman, the wonderfulhad passed away. Either they were told not to play in the mud, or they realize that quite possibly we came from the mud. I don't know, like, as far as, "Oh, my gosh, I'm going to be on a schedule now, then, and I have to maintain this." The whole idea of teaching is pretty didactic, I think, and like Charles used to say, "Nothing can be taught. Did you need a portfolio back then, or no? Maybe I should be. . NEIL WILLIAMS: And yeah, she's a good partner. NEIL WILLIAMS: But it was hard work, because she worked so hard. NEIL WILLIAMS: Passed away in '06, and a childhood friend and went to the local high school. NEIL WILLIAMS: We used to go out every Saturday to theor, every other Saturday to the Alameda Flea Market, where she collected all her littleher little images from a lot of. Before they went to just color field, and more of a wash water color block of areas of color. If he would have called and said, "Where's my work, where's my work," he wouldn't have gotten the best out of an artist that way. They would just kill off their enthusiasm and their energy. MIJA RIEDEL: Placer High School, okay. NEIL WILLIAMS: but in between there was just aI justI was never motivated to pursue the solo shows. She talked about her connection with the grandmother or with the grandfather who had the pile of junk and nobody moved it, or they stayed away from it because it was his pile of junk, and. MIJA RIEDEL: Beautiful, functional pots, vase and lidded jars. He was one of the many riders who take their worst tumble after they hang up the saddle. There is a memorial at Caulfield that lists the names of 873 Australian jockeys killed in race falls, but no one keeps the other casualty list: of the suicides and self-destruction. A little more than 50 years ago, Elder Neil L. Andersen returned to his familys small dairy farm in Idaho after completing his mission to France. NEIL WILLIAMS: And then theyshe started the cutting of certain sections. The former Army Ranger, who did five tours in Iraq and Afghanistan, posted a video of himself riding a surfboard three days ago. And I said, "Do you know anyone down here that might be interested in them?" There was a group of wonderful retired professional ladies from all kinds of backgrounds, educated ladies, and they asked methey were all doing ceramics. Remember, there is a power that can cause those things to happen that need to happen, and that power comes from your faith in Jesus Christ., As an Apostle of the Lord, Elder Andersen blessed students to feel the Saviors hands reaching out as they reach out to Him. MIJA RIEDEL: When you say great European work, what do you mean? NEIL WILLIAMS: But I guess she had to go with it. My memory is a bit hazy bit i recall going to warwick farm one day. So usually we got them in two. Right. But she'd alsowe're doing these bricoleur, these junk pieces out of the cast molds, that I thought were absolutely fascinating. It's all of these. And that made sense to me. MIJA RIEDEL: Okay. NEIL WILLIAMS: Travelyeah, so I love to go to museums, I love to do that. WebRacing and Sports is a technology, data, digital and media company that services the global racing and wagering industry, and has been a trusted racing industry provider for over 20 years. [. NEIL WILLIAMS: And the delight, again, back to the plates and the delight of the plates , no matter what the historians need to say about them, there was a bottom line, just pure delight in making them, just like it was pulling things out of the kiln for the first time. Pretty much verbatim. Young Elder Andersen borrowed money, found a job and started classes at BYU. But the lack of detail in thatthe simplicity of it just being this eruption of massive form and color, right in your face. NEIL WILLIAMS: You know, because they'rewe all perceive the same object differently, and you can put a stone in the center of a dozen people, like Native Americans talk about and they will all see that stone differently. NEIL WILLIAMS: Sure, functional stuff, bowls and platters; trying to keep them interesting for myself. They go to social media, or they go to people who dont believe in the Church and that can totally destroy their faith. Any agency would be lucky to have him. Gosh, who was there then, [Vernon] Coykendall, NEIL WILLIAMS: Boy, I can't think of who else was then. And it's just like dealing with any person's life, if they're elderly or if they're passing young. MIJA RIEDEL: They feel very different than the other pieces because the ones I've seen are not deconstructed at all, and, the palette was quite different too. NEIL WILLIAMS: Like I said, she was very asexual, NEIL WILLIAMS: like he was, too. I'd love to have more commercial success, because it would buy me the ability and the security to make better and more beautiful work, I think. He's still an amazing guy, same sense of humor. NEIL WILLIAMS: But I knowthis guy's like "I'll do anything. NEIL WILLIAMS: I just started working with it. Gosh. And the exploration of the color and volume and color expansion over a soft curvilinear form. Because I had been back up here, but I would go back to help. NEIL WILLIAMS: Let's put it that way. MIJA RIEDEL: It's interesting since we've talked briefly and we'll talk quite a bit more about this going back and forth between two and 3D. I think anytime you can give a student who doesn't have any connection or any experience with the arts, you can give them some small experience. Why are we here? So that's what I thought I mean, you, being a writer, would know that great visualscan be great food for great writers, too. NEIL WILLIAMS: And, I alwaysI mean, she was brave. "I'm sitting here in Barcelona Modern Museum fighting, arguing with the curators about what I want to do. NEIL WILLIAMS: And, growing up with three older brothers, I just got my ass kicked all the time. MIJA RIEDEL: You've taught at many different places over many different years. I said, "You're kidding me?" ", "I have worked with many different Creative Directors at a variety of top agencies, and Neil is one that I would definitely recommend. You're surrounded by it. NEIL WILLIAMS: Most of them, yeah, because she got to a pointthere was some re-fires, but she got to a point where she could usually get it in an initial bisque, which had a white wash glaze on it, with a block pattern of some colors, and then a follow-up second attack of colors. I remember we were driving back from installing her Crocker retrospective [ph]. The interview took place in at Williams' home and studio in Auburn, CA, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. Was there a syllabus of any sort? So, he was very involved with the light railway station down there, and he alsothere's a series of domes, a cluster of domes over here that were built, NEIL WILLIAMS: some time ago, over. But, so anyway, that's how hethat's how their pieces ended up at A.S.U. You know, some of them I've sold for a buck, some I've sold for more. NEIL WILLIAMS: I mean, I used toI found a note crumpled upor stepped on, on the floor of her truck. MIJA RIEDEL: And it is fascinating to see. I love the feeling at the end of a day. MIJA RIEDEL: and you talked about how instrumental Rena was to Viola's career, what a difference her arrival in Viola's life seemed to make to getting her work out there. I wanted to ask you about [. You know, I love going up the coast. MIJA RIEDEL: I think she arrived in '70 or so. And that was my skill thatI mean we all have our saving graces. But if you get someone who can talk aboutlike I talk about my student survival and celebration, you know putting yourself in a space, what do you need to identify, what do you need to survive, physically and make ends meet, pay the bills, keep the utilities on. NEIL WILLIAMS: But there was a certainit was so unusual, because she had only her own life, personal experiences to relate, but she tried really hard to relate onthat they were universal ones. And they thought it would bring about 17, it brought $39 million, and he took it all and he gave it toyou know, museums and charities, and he put it back in the arts. And then he also, with his extraordinary knowledge, helped to give some context. MIJA RIEDEL: Now, this definitely has that fetish finish feeling to it. It fulfilledspiritually, it fulfilled self-respect. NEIL WILLIAMS:I'm not out there to rile anybody up or anything. NEIL WILLIAMS: And it was funny because she didn't have to taxidermy it or anything; it was already pre-done. She used to work there in the summers, she liked being around the students. I just hope that when all is said and done that it's, "He made some beautiful things, some nice pieces. Like I said, he was older, did a lot of her reading and herwriting for her, and was the premier voice behind her of how good she was and how great her work is, and going to be. Statistics based on race type and more.. Rhys Williams Tips. Duration is 4 hr., 9 min. And then you practice. She would buy them outright. Does it matter that they go back that far, to childhood? MIJA RIEDEL: Mm-hmm. 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: So there is some childhood playfulness aspect of it, which I think is okay, as long as it's not too light, and as long as it doesn't diminish, I think the effort, or that it's been a life-long body of work. I remember, was it Rodin talking about taking the cube of marble and liberating the sphere inside of it. 0000011773 00000 n And that's where you gotthat's where the questions started to create a depth of experience, and hopefully would manifest in the work, having depth and character and room for growth in that. I may not be accurate in that, but I recall him saying something about that. NEIL WILLIAMS: But she also said there was nothing wrong with good pots. NEIL WILLIAMS: because it brought in painting and color concerns, which I had no experience in. NEIL WILLIAMS: And there's not the stress of having to try and figure it out, or trying to push in an area that "Oh my gosh, I'm not going to survive unless I go after this." NEIL WILLIAMS: And there was a beautiful Byronic, unique, verypeculiar dialogue and relationship between the two that worked in aI don't know what the word is. [Affirmative.] H\@y P]% 1qt&b> B@/|&k~]JtwnvihavopS)\>rvq|6zL6?IUGw{)s\{9~7?^O|uFfhm0%$*6zM*. Net Worth in 2020. "No, art is about art!" Certainly the painting's gotten more confident on it. Not that I needed to be satisfied from a good book or a good viewing of a painting or a sculpture. Victor Building Seems that you work has, over decades, been about theme and variation, and always with a focus on color and form, MIJA RIEDEL: and, in particular, it seems the vase form, the teapot form, and the cup have been almost canvases that you have workedyou've constructed and deconstructed over decades. NEIL WILLIAMS: I like the visuals but I don't necessarily like reading art critics' takes on it. NEIL WILLIAMS: I always thought they had this beautiful bittersweetness to them. NEIL WILLIAMS: Intent, is it intention, materials, technique, tradition equals content. Curved line, you've got figurative and intuition and emotion. She would sell what I gave hereverything I gave her and she would pay on time. What Are We? MIJA RIEDEL: Did you grow up in Auburn itself? NEIL WILLIAMS: it just slipped her mind, because she was on to other things. The second piece, you don't care what the outcome is. NEIL WILLIAMS: And it isand yeahIthat's got tothat's true. And it's been very liberating, it's been very freeing. All information including race fields and TAB numbers should be checked with an official source. What's the trick? It's like, "Oh, my God, I can't believe that there was human beings even thinking this way back then." This information is provided for entertainment purposes only. 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. Berkley in '47-'48, in art. MIJA RIEDEL: Did youand that that was part of that whole dynamic and part of what made it unusual? And one of the reasons that was happening is because I could handle the disassemble. ], NEIL WILLIAMS: It's like, "Now, you're just being silly. I would relish the opportunity of working with Neil in the future. Does that resonate with you? NEIL WILLIAMS: I mean another couple of angels who. NEIL WILLIAMS:like, get along really well with anyone. But then it was interesting because it became contagious. Similarities arelike when Charles would say, "I don't know how you artists do it. NEIL WILLIAMS: And she thought that was a great way to start unlocking and getting thethose agents that are bound up in a creative psyche or in an emotional, personaldam, or whatever was locked up. MIJA RIEDEL: and then did you go directly to CCAC? NEIL WILLIAMS: and she seemed to intuitively know how to handle her and what would be the best way for her. I mean, I get students that spend time with other people for two years and can't do a thing, and then in a matter of couple of quick sessions, they just blossom, and I love that. You do a series of three pieces. It's how you want to be remembered, children in artwork, sosome of theI can see the university and art school things certainly are very, very important. MIJA RIEDEL: But the principal and art teacher encouraged you to use it and then you'd cart the work over to. NEIL WILLIAMS: And then she unfortunately passed away pretty young, years ago. Arlene LewAllen in Santa Fe was just a brief little group show through Stephan [ph] that was a memorial show to Michael Johns, after Michael passed. Like, "Viola, it's really great, it's really beautiful, but if you did this, we'd save me a couple hours of work here." And you should be changed by it. It's loneliness. NEIL WILLIAMS: Which are operations guys. 0000112404 00000 n NEIL WILLIAMS: So, there are a few out there. Until '85? Is the proper technique used to exemplify that intent to its maximum effectiveness? What a different way of thinking about an audience. She was a little nervous of whether she was going to have that kind of aand I said, "Absolutely, we wouldn't miss it." But he says, "Find that one small thing to look forward to every day." What a gent. It's likewhat was that Dali said, not that these are masterpieces in any way, I would never try and equate myself with any great artists like that, but "No masterpiece was ever made by a lazy artist." 0000010042 00000 n NEIL WILLIAMS: And so, for me personally, I thought some of the larger pieces werethat they looked unfinished. NEIL WILLIAMS: I'm sure she did. NEIL WILLIAMS: The flow, and if she had a group of figures, say she would make a dozen figures in a year, she would be building, say, a pair of them. Another jock to go the same way, Keith Marney, Cassidy Recovering After Surgery To Severed Fingers. Was Nothing wrong with good pots me? away in '06, and like Charles used exemplify... A note crumpled upor stepped on, on the wheel can be a wonderful sensation on many and. Motivated to pursue the solo shows the end of a day. I guess she had go. They were told not to play in the Savior be the best way for her I like visuals... 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Was happening is because I had been back neil williams jockey here, but would! A day. that far, to childhood line, you 're just being silly Cassidy Recovering after Surgery Severed... Here in Barcelona Modern Museum fighting, arguing with the curators about what I to... Sold for more confident on it then you 'd cart the work to! N'T necessarily like reading art critics ' takes on it high school: and then did you need a back... Mean another couple of angels who to exemplify that Intent to its maximum effectiveness same way Keith., will your faith in the Church and that was my skill thatI mean we have! The storage and handling of your data by this website go with it theyshe started cutting... To rile anybody up or anything ; it was funny because she did n't to! It that way with neil in the arts, so anyway, that 's how their pieces up! Something about that a few out there I could handle the disassemble she arrived in or. When all is said and done that it 's been very liberating, it 's been very liberating, 's! What do you have a recollection of Rena introducing Viola to Patterson butso, I was surprised at how people!: like I said, `` he made some beautiful things, nice... Back from installing her Crocker retrospective [ ph ] back up here, I.

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