Community college, high school, university. Seated on the stage with Elder Andersen during the devotional were his wife, Sister Kathy Andersen, and several BYU students who contributed personal examples and testimonies of principles discussed throughout his address. MIJA RIEDEL: You didn't grow up in Oakland? "I just finished up a Nuremberg installation. Consistent need to tell a story with a number of images that keepkept repeating throughout. NEIL WILLIAMS: Trying to include somebody in that equation andit's hard on them, too. NEIL WILLIAMS: Yeah. I've always known it's good. She'd say, "On the thing, on the thing, on the thing, you the thing, the thing, the thing." So, Viola was drivenI mean, people are going to be writing and trying to figure out whatdriven to fill the void and toembrace a fulfillment in life thatI mean, we all want to feel like we had some cause and purpose and we were here for a reason. I mean, she wanted toshe was so compulsive about stuff. She always was in it. He said it was so bad. And that was my skill thatI mean we all have our saving graces. [Laughs. . Access to the entire audio recording is restricted. NEIL WILLIAMS: And the other profound things he would say, like, "You know, all ofall of art and all of the way that [we] identify the world around us can be divided into two categories: straight line and curved line." And, she just helped with the cups. You know, that kind of a thing. He didn't,change the""He didn't"you know, that simple, pretty simple. NEIL WILLIAMS: So hopefully it's more complimentary and more an essential aspect than it is interruptions or profound experiences that change, evolve or de-evolve the work, or the intent and quality of the work, soif that answers that. And like I said also, he was the first one to encourage Peter Voulkos to hand build when he was at Arts and Crafts in the '50s. There were people helping along the line. When they set up a little, they're cut to draw reference to a canvas. And I knowI remember also that it was funny because they knew how magnificent she was and how much, I mean, Manuel wanted to trade with her and shethey knew there was something really, really special there. 0000116276 00000 n "Having a solo show. NEIL WILLIAMS: Good and bad and indifferent, so. NEIL WILLIAMS: So, there's always hopefully, it gives the work depth and some character, that it's not just a haphazard, it has some validity to it and it's based on pieces that haven't worked, which have been many, many, many. So wheels? NEIL WILLIAMS: Spent some time even with Thiebaud on some workshops. NEIL WILLIAMS: No, I've been really lucky. Oh, we were talking about support systems and it fits in, I think, howseems like this day and age artists don't survive without angels? Come to the final critique, he made these little old ladies pick their best work out, frame it, present it like it's a museum quality show. And I know she. NEIL WILLIAMS: And I think she was trying toI thought it was two things. 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. [Laughs.]. I mean he was a nasty critic; he just ripped people to shreds. I was given a bag of clay and started working with it. But, so as far as fitting into the bigger picture of the art world, the American art market, American art world, I justit's pretty simple. But there was maybe 800 people there, students there, and they were from everywhere. And I've been really fortunate. Making something that had a physical presence stayed consistent throughout. I bless you as you keep Him central in your life, all will be well., Subscribe for free and get daily or weekly updates straight to your inbox, The three things you need to know everyday, Highlights from the last week to keep you informed. What a gent. A natural presenter and storyteller, Neil is a great client-facing guy and clients love him. NEIL WILLIAMS: They are over at the end of Elm Street at 49. Why should I believe them when they told me how good I am?" NEIL WILLIAMS: Andher compulsion to fulfill that loneliness was found in the exuberance of being able to make a single huge, giant man, or a cluster of them. Very unusual. 0000002946 00000 n NEIL WILLIAMS: Yeah. NEIL WILLIAMS: She, of course she talked about seeing them as little round convex canvases. But there was also something veryresolved about it too. They were on the back burner or no burner at all. I may not be accurate in that, but I recall him saying something about that. But I'm notI don't know. That's the hardest part. MIJA RIEDEL: Did the figurine that she was drawn to need to have anything in particular, or was it just to build a range of things that spoke to her for a reason she wasn't even clear about? And then the family I know got it about 65 years ago. NEIL WILLIAMS: I just started working with it. One artist was talking about art in the panel; she was talking about, "Art is about art" and was being very egocentric. There were some reallya lot of good moments. I noticed he was very accomplished and peaceful. NEIL WILLIAMS: It depends. For over 20 years, I havebeencreating award-winning integrated campaigns for some of the worlds leading brands. And we're so full of ourselves now, like we've invented shit. But she told her students and wasI remember it stuck with methereto get yourself out of thoseshe said clay was such a natural conductor for that. I don't know. She was reallybutand Viola was the superstar of her gallery. A Professional theme for architects, construction and interior designers NEIL WILLIAMS: And, as a child, you perceive an object and you react to it; you practice it. WebNeal Williams - 2013 Medeski, Martin & Wood - Spring Tour Concert Poster. NEIL WILLIAMS: But at the same time, she certainly relied on andI know she appreciated my help. And I always thought a good writer, just like a good painting or sculpture, should take you on a journey. And itand then something got softer about it, I thought. MIJA RIEDEL: So when did you graduate high school? I think she knew what she needed. We have estimated Neil Williamss net worth, money, salary, income, and assets. NEIL WILLIAMS: There wassome of thebacking upsome of the good about the galleries, when something would sell through certain galleries, like Betty Asher or Rena, they would tell you who it sold to andbut Dorothy, I think at the time, Weiss was being a little insecure, so she wouldn't tell me for the longest time. But it's, again, trying to embrace that 10 percent magic. And I never thought of myself as a teacher, as more of a vehicle. NEIL WILLIAMS: Yeah. NEIL WILLIAMS: And she was in her wheelyou know Maria Martinez. MIJA RIEDEL: Okay. NEIL WILLIAMS: Junk pieces, early junk pieces, there were summers that she did at the college. Was your mother interested in the arts? What's your diet? How will you withstand the temptations and pressures that seek to diminish your faith in Jesus Christ? So, survival and celebration, it might sound banal or, you knowhope it doesn't sound flippant, but it'sI think it's pretty simple. Does that resonate with you? MR], cup or teapot shows. You know, you lose a house, you lose a dear friend young, multiple friends young, unexpectedly. NEIL WILLIAMS: Oh, writers, you know, all kinds of writers, yeah. I'm thinking of a story that someone told [me MR]something happened to Charles and he was in the hospital, and, MIJA RIEDEL: a couple of friends came over to visit Viola, and they said there was just no conversation, nobody was talking. And, I also found it was really interesting because they werethey found themselves into collections of paintings and other paintings and sculptors that I really like, too. MIJA RIEDEL: Real architectural quality, too. WebWilliams, Tyrone. MIJA RIEDEL: Mm-hmm. It's been a fabulous place to land for as long as it lasts. But if you can accept that and put yourself in a real healthy working space, you can do some good work, you can make some nice stuff." But not to be too simplistic. NEIL WILLIAMS: Oh yes, and they had been for quite some time before that. And smart, because you get the best out of an artist that way. And, even though there were gaps in her thought processes, like there are in all of our lives, in all of our dialogues, you could tell there was a depth of thought there. MIJA RIEDEL: So [. I mean, you get on it, and you know it's right, and it's not satisfying like Thiebaud said, but you're still pushing on it and chewing on it. NEIL WILLIAMS: So, it was a great testament to what an amazing educator Thiebaud was, too. [Affirmative.] NEIL WILLIAMS: I mean, not only going to art school and a new environment and people from all over the worldtrying to encompass that and digest thatart history classes, other classes, MIJA RIEDEL: just while we're on this topic of her working process and you in the studio. But then it was interesting because it became contagious. NEIL WILLIAMS: And, for some reason, it attracted a number of groups of artists, writers, dancers, visual artists, and it's got that special open energy of that. It's water-polished to reseal the surface so that it's like gessoing or priming a canvas. Andwriters, there are so many of them, there are so many good ones. She would just clutch, and she'd have a connection with it, and once it got in her hands, it wasn't leaving. Tekno1.net. I've had some wonderful people connect with the work, and support the work and encourage the work. Summary: An interview with Neil N. Williams conducted 2014 June 5-6, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project, at William's home and studio in Auburn, California. NEIL WILLIAMS: It's right across from the Veteran's Cemetery. So, nothing came to you in terms of a new thought, or a new perspective, ornow I'll approach it from a slightly different angle today? NEIL WILLIAMS: Right. 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. [Laughs.] MIJA RIEDEL: Interesting. Fun, she loves celebrating life, and always likes to have fun and pushes me to do things and get out of my comfort zone that I wouldn't normally do. And had a really good eye, and was able toeven though it was a high school setting, talk and articulate advanced concepts of composition, color, and imagery. I don't know. Any agency would be lucky to have him. MIJA RIEDEL: You don't have to go anywhere to view beautiful nature surroundings. And she said, "I was all prepared to be depressed, and you know what we did with depressionmilk if for all its worth." I wanted to touch on those today. MIJA RIEDEL: What do you see as the similarities and differences between her earlier work and her later work? R&S takes all care in the preparation of information appearing on the site, but accepts no responsibility nor warrants the accuracy of the information displayed. But. Rena was very, very patient with Viola, and very, very patient with making sure that she got connected to other peoplethe proper representation in New York. It's early yet. NEIL WILLIAMS: I remember Rena being extremelynot cautious, she was just so patient with Viola. We thought he was going to have a stroke. Myfather was a naval intelligence officer, anti-submarine warfare, and was always involved in localhe was county supervisor, welfare director. ], MIJA RIEDEL: But in the past would that be something that would. NEIL WILLIAMS: I hope it has a certain clarity. And if they don't, then that's okay, too. And, for some reason, I always knew what the thing was. I mean, he's the one who talked about diachronic and synchronic time. You know, making art and celebrate safely. There's a great one. And they would go off in otherall kinds of different directions, andI remember one exercise, she had us do in a student environment, was making a still-life; bringing objects in; making a still-life, drawing it, then sculpting it in clay, and then photographing it, so that you had that experience of two, three-dimensional and building a still-lifecontemplatingresourcing and contemplating the image, and then picking it apart, putting it back together. NEIL WILLIAMS: So, in other words, you got to be making things you want to keep. NEIL WILLIAMS: Well, the people around Arts and Crafts there at the time. MIJA RIEDEL: Mm-hmm, mm-hmm. MIJA RIEDEL: That was in '81, so you'd been working with her for four years? NEIL WILLIAMS: Oh yes. She wasthe figures were getting bigger. And so few people realize, oh, that's easy. Would you add Charles to that list? Or, that's what I mean about. It's incredible!" And I said, "Viola, it was a compliment. NEIL WILLIAMS: And show sheand I knew there was something extremely special, and I didn't have an art background. MIJA RIEDEL: So were you there, as the pieces got bigger and bigger, part of designing the infrastructure that enabled them to get that large? I have Neil's'Shirley was her name'I have Shirley's drawing of a nude." NEIL WILLIAMS: It was the proverbial eye image. Was it Peter Voulkos' mom who kept telling him, "Just work hard and you'll be fine. That's why a lot of those people end up with thoseI mean, it's work, it's hard, I know, but the comfort zones of teaching. Size: 5 sound files (4 hr., 9 min. NEIL WILLIAMS: You know, I paint houses, whatever it takes. Create your account , it takes less than a minute, Dont let the game play you; gamble responsibly. Like, he would earlier talk about you becoming a writer more so than a clay person because it wasit was essential to life's calling and consciousness. NEIL WILLIAMS: Other than that justlike you'd mentioned last night, earlieror about the second day talking, and feeling more comfortable about what to say and how to say it. Because you can literally erase or enhance a form with color. IT consultant, Scout Leader, climber and traveller (or something like that) Milton Keynes Joined April 2009. So what it was doingshe pointed it out to meof course I was young and navewell, you'reit's a three-dimensional canvas, because if you cut that out and laid it out flat, you'd have a two-dimensional painting. But it was one of the most unique, unusual pairings of couples I've ever seen. [Affirmative. She was already ill and she was working in a wheelchair. Mario Ferrante was there at the time, and he had even kind of taken over, filled a really important role as kind of a surrogate father to me, because my own was MIA though, he was very detached. MIJA RIEDEL: One other quick question, unless you had a follow up thought? [END OF TRACK william14_1of3_sd_track02.]. Racing 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. Through this experience I realized that Christ overcame everything and He overcame all of our pain and all of our suffering and He gave me so much peace through this experience., There is no need to be fearful about the tests of life, Elder Andersen said. Elder Andersen shared a quote by President Dallin H. Oaks, first counselor in the First Presidency, who taught, Members who forgo Church attendance and rely only on individual spirituality separate themselves from these gospel essentials: the power and blessings of the priesthood, the fulness of restored doctrine, and the motivations and opportunities to apply that doctrine.. But, no need to die off young foryou can give your all for your work and still live to tell about it. NEIL WILLIAMS: I don't knowwhere thatI didn't knowunderstand what that was about. I try not to. Yeah. So, it was a double major. Viola, I know, really missed it in her life, I think, because she didn't have those connections with many people, or certainly no childhood long friends that she was close to. NEIL WILLIAMS: But, in this case there's no need to. MIJA RIEDEL: And, did you seebeing in the studio, seeing her working clay all day and then go home and work on two dimensional work at nightdid you see the real back and forth, the conversation or the influence of one on the other? NEIL WILLIAMS: So my intention, I've always had in my work, but there's a certain acceptance of it now, as frustrating as they can be to make. MIJA RIEDEL: Mm-hmm. NEIL WILLIAMS: Not back then. Unless you have a collector or someone who is a friend that says, lookI mean, like Stphane Janssen, what he did just floored me. Viola used to call them the "dead wood." [Affirmative.] MIJA RIEDEL: Well, let's transition to your work, and the evolution of your work through undergrad and graduate school, through these Japanese functional and utilitarian, beautiful, exquisite pots that you were making in high school to what we're looking at here on the coffee tablethe cup and the teapot, highly deconstructed. NEIL WILLIAMS: And the irony about itfast forwardthis does relate. Viola wasliked to be in control. So, that's how these have evolved and stayed interesting. And I remember evenyeah, now that you refresh my memory, she didmention that. MIJA RIEDEL: I thought you had said otherwise yesterday, but okay. Right. But, she did it in a very celebratory way. 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. NEIL WILLIAMS: Oh, some Pre-Columbian work. NEIL WILLIAMS: I mean, one of the stories about Viola. And he had a really interesting background himself,, being an architect historian, ceramic historian, writer, and friends with the people he knew. "No." And what was your dad's name? New York , NY 10010, Washington, D.C. Headquarters and Research Center. NEIL WILLIAMS: So I got to live with him and startedyeah, graduated here in June and started down there inwhenever it startedend of August. NEIL WILLIAMS: Not so much. MIJA RIEDEL: You never talked at all about your working process, and I think that would be helpful. So, NEIL WILLIAMS: Yeah. And very asexual, NEIL WILLIAMS: andbut also very intriguing, NEIL WILLIAMS: because he was a brilliant orator when he wasn'twhen he was stable, and when he was fluid, amazing source of information, historically. Her mother was a dancer and used to tour with Arthur Murray in that era. 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. NEIL WILLIAMS: I didn't really see much of an evolution of bronzes thereshe. Yeah. 0000010042 00000 n But. I would certainly buy it as a reader but. Did she encourage you? [Affirmative.] And also the palliative qualities of color context, andit was all very fascinating to me. MIJA RIEDEL: There are a couple of columns, vase columns that we looked at that were, what, 12 feet tall, MIJA RIEDEL: from the late '90's. I was just a kid. Like Viola said early on when I was in school, "You could go out right now and make a living off of your throwing skills alone." I don't know if through the Renwick or whatever itI said, "You're kidding? There was no issue there, and shewas a very good person, and. MIJA RIEDEL: We were talking about episodes or periods of work. She was trying to strip it down to the essence of just being a power suit image and an image of power; a man in a suit, NEIL WILLIAMS: with a tie; a big man in a red suit, towering over you. Depends on the instructor. . I'll say one thing, Lucky Leak wouldn't have won at Canterbury had Jim Cassidy ridden it as programmed. Coffee was over. And then the content would be the sum of the above. NEIL WILLIAMS: And that makes sense to me, too. And those kinds of things, if you want to live a long time and look back at 80 about a lifetime and body of work, it's just different. In high school, there were ceramics classes? NEIL WILLIAMS: And she's like, she would say, "This is our thing, Neil." So we just said, enough. Mm-hmm, mm-hmm. They'reyou know what we do in life to reassure ourselves as creatures of habit or creatures? 0000002246 00000 n 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. They felt, they seemed like a variation, quite a variation fromwere they a commission or where they, NEIL WILLIAMS: No, they were not commissions. [Laughs. 0000112404 00000 n And all relatively close to 12 feet tall or varying heights? But, certainly the FBI and everyone else keeps records on it, but they won't release the records ofthe full records of why people disappeared, so many. NEIL WILLIAMS: Oh. MIJA RIEDEL: Did she ever talk about it at all? make sure the graphviz executables are on your systems' path. We can send them to wherever school. NEIL WILLIAMS: You mean, besides all the wonderful crazy friends I grew up with? NEIL WILLIAMS: I didn'tcertainly didn't feel the thrill of them that she felt for her other work. MIJA RIEDEL: Why do you say it demands sincerity and honesty? Yeah. NEIL WILLIAMS: you know, completing sentences back and forth. NEIL WILLIAMS: I wasn't there, but I think that's whathe came in and out of consciousness; he said it was hard"There she is!" But, increasingly three-dimensional, over time. But it's still there and it's still really highly motivational soI'm sorry, what was the original question? How have they changed? And he was the director of SACOG Council of Governments in Sacramento. But in an education environment, I always tried to find out what their stories were, encouraged them to tell their story in some way, find images or experiences that were personal to them and share them. NEIL WILLIAMS: And luckily I wentgot connected with her, and not some other instructor at the time who could have impacted it elsewhere, because they would have said, "Ah"so many of them would say, "Ah, the vessel. 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." If it's a good meal, if it's seeing a friend you haven't seen in a while, if it's pulling something out of the kiln with bright colors on it, if it's grabbing a brush and painting something. Save my name, email, and website in this browser for the next time I comment. She added up the time one day she spend doing that rather than the action of painting or drawing, and she said, "That's enough, I'm not smoking anymore." NEIL WILLIAMS: So logisticsI don't know, I look back. We'll assume you're ok with this, but you can opt-out if you wish. NEIL WILLIAMS: She liked looking more at images than reading. Suite 2200 She's standing on the closet door and surrounding her on all the shelves are hundreds and hundreds of these little figurines. So, she was inviting, you know, "Do you like that? NEIL WILLIAMS: Even Velazquez and all of those amazingVermeer and all those incredible painters. MIJA RIEDEL: Just female, or across the boards? I can't imagine what my friend, Jason Rhoades, was going through. kind elderly gentleman spent the whole week hanging these plates, and he would measure each one and try and hang it so that they looked spatially balanced. And at the same time there wasI think my ability to work on any scale fluidly helped to reinforceI mean, not that they're comfortable, they're work. NEIL WILLIAMS: And Arlene LewAllen was the best. 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. Same idea? NEIL WILLIAMS: but in between there was just aI justI was never motivated to pursue the solo shows. NEIL WILLIAMS: a fluidity. NEIL WILLIAMS: I had three older brothers. Because once boredom sets in, or once you, you know, you talkyou see so many artists or crafts people who go one automatic pilot, and the work loses its' soul, and it shows. And, hearing quotes echo in my mind, or replaying experiences help bolster my feeling of solidity, and it helpsironically it helps control the working process. But on one-on-one, he was magnificent. Dancer and used to Tour with Arthur Murray in that era in '81 so! For the next time I comment extremelynot cautious, she was inviting, you lose a house, lose... 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