NEIL WILLIAMS: "No!" NEIL WILLIAMS: Boy, I don't know. So, looking back, it's been refreshing, so, thank you. I mean, Betty Asher's, Stphane Janssen's collection wasare you familiar with him at all? NEIL WILLIAMS: Oh yes. She did. Another five years go by, and the mortality rate gets down to less than one percent over a 20-year period. So, if that gets into a spiritual phenomenon, then that makes sense to me. NEIL WILLIAMS: because it brought in painting and color concerns, which I had no experience in. 0000011773 00000 n And it's just like dealing with any person's life, if they're elderly or if they're passing young. 9:30 a.m.12:00 p.m. But she thought things through very well, but she was also really stubborn when she knew she was right, and of course she was always right, it was her work. That's pretty great. MIJA RIEDEL: You were working at the studio though, right? NEIL WILLIAMS: So, I think there was a physical aspect of it, that they were simplified into color field from some of the early detailed work, and I also think that there was a conscious effort, that she thought there was something more powerful on big blocks of color. 0000003975 00000 n Every time I'd call or he'd call, I'd say, "Where are you going?" It's not art." I just have a couple final questions in summary, and then any final thoughts you might have are more than welcome. NEIL WILLIAMS: It was a very unique one. Elder Andersen assured students, If you are determined to be a disciple of Jesus Christ all the days of your life, you will be, and you will have remarkable blessings that will be yours.. 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. NEIL WILLIAMS: And I thought that that was a great example of what could drive an artist to greatness and to madness. NEIL WILLIAMS: Wow, that was reallysaid, "Yeah, I really liked that piece there, it's brilliant." So, it was a double major. NEIL WILLIAMS: I thought so, too. NEIL WILLIAMS: Yeah. We are so very grateful for the miracle of Damar Hamlins recovery.. I would think they were more personal narratives. . Probably the most profound influence there I can remember there was third grade? Good teapots and good cup images are perfectly legitimate. Webneil williams jockeynhs low income scheme calculator. 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. [Laughs.] NEIL WILLIAMS: side. . She said, "You know, it's all about the magic that happens in the studio, and everything else is secondary, and either manageable or tolerable. They are altered, deconstructed, or shifted into different sections and reattached. NEIL WILLIAMS: So, I stuck with it. She was just, like, gushing over it. Read more of Church News coverage of devotionals here, President and Sister Worthen on prophets, promises and logokophosis, at BYU devotional, Elder Andersen encourages BYUPathway students to believe in yourself; trust in the Lord, Elder Andersens visit to the Pacific leaves members with increased faith in Jesus Christ. NEIL WILLIAMS: Art critic writers, I don't know, they didn't reallythey lose me after a while. But I don't obsess over it and I'm notit doesn't mean I'm completely content and satisfied, I'm not. ], MIJA RIEDEL: This is Mija Riedel with Neil Williams in the artist's home and studio in Auburn, California on June 6, 2014 for the Smithsonian Archives of American Art. "It just takes a while to clean some of the dead wood out of those programs.". WebNeil Williams horse jockey, racing stats, runners and news from Racing and Sports. But. MIJA RIEDEL: Now, would you walk us through her working process, and if it changed over time, or if it stayed fairly constant? 0000001591 00000 n NEIL WILLIAMS: You mean, besides all the wonderful crazy friends I grew up with? And smart, because you get the best out of an artist that way. ", MIJA RIEDEL: I actually had a question about that, too. NEIL WILLIAMS: And fire there, and glaze there, and learn about glazes. And then the family I know got it about 65 years ago. It's a drive and it's a calling, it's a compulsion. 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. We become the children of the covenant, and our souls need the truths of the restored gospel, the priesthood and ordinances that follow, the power of the Book of Mormon, and the safety that comes from prophets and apostles.. That's the hardest part. But, no need to die off young foryou can give your all for your work and still live to tell about it. I had two of them with Dorothy Weiss, and a couple others in Sacramento. I got to back out and work for her, orbut he washe was ahe was a treat. And that was my skill thatI mean we all have our saving graces. Racing and Sports is a Registered Trademark. And that's really a shame, and that's probably two-fold. It's been very nice to be able to look backand I was telling Cheri, "I realize that""being able to look back, I've done more and I've experience more than I may be aware of right now." And thenbut even after a time she spent with Diebenkorn and Rothko in a magnificent artists and painters, sheI know she liked being around the pot shop. This interview is part of the Archives of American Art's Viola Frey Oral History Project. NEIL WILLIAMS: But I guess she had to go with it. NEIL WILLIAMS: directly. Neil Williams obituary is not public at the time, we will share more as we learn about the obituary and possibly the funeral. NEIL WILLIAMS: A few photos to get in, but, you know, and then they were lettingand then when I was there, they weren't screening their graduate programs very heavily, but. NEIL WILLIAMS: There have been lulls, but I've always known it's okay to just keep working through them. There can bethey can get really good quality if you get connected with the right person. NEIL WILLIAMS: Is that what you're getting at? She later on started just hand building them and nixed the molds, but. NEIL WILLIAMS: There was a castingit was up in Walla Walla, Washington, the Foundry of Mark Anderson, I believe was the name of thewas casting Manuel's bronzesManuel Neri's bronzes, and I think even Bob Arneson did some bronzes. ", NEIL WILLIAMS: But it's an intoxicant, like we had talked about it. 0000002946 00000 n NEIL WILLIAMS: Artists always get into trouble or lose out on them unless they're special. Behind him are BYU students who shared testimonies and experiences during his address. . NEIL WILLIAMS: You know, it wasit seemed like a really good fit. NEIL WILLIAMS: and she seemed to intuitively know how to handle her and what would be the best way for her. NEIL WILLIAMS: And it makes thethere's a certain way it it makes the work cleaner in a way. NEIL WILLIAMS: Of course you do a lot ofin your studies oryou're going to work on flat pieces from now and then, but mostly all in the round. Thats a way of ministering and thats a way of using technology and social media for good. NEIL WILLIAMS: She was in a wheelchair at the time. And he was very fascinated by them, them being clustered and so. I think, MIJA RIEDEL: But, then it does seem to transition. You part with friendships of 30 years because there's no other options, whatever. Auburn in a bird sanctuary, after all. Is the material the most appropriate used to articulate that intent? NEIL WILLIAMS: So, I spend the time trying to figure that out and try to apply the whole psychotherapy aspect of it butand I realized that it wasit became somewhat redundant to try and figure it out. They wanted a number of thethey saw the little cups and saucers that Betty Asher was showing, and they wanted to do a few dozen of those for some resale to raise funds to buy for their permanent collection. I mean it was just me and a ladder. I never liked work that just picked you up and left you there. NEIL WILLIAMS: So they're in thethey're already in the collection there. So many great artists have considered their work studies, the variations. Like I was saying at her memorial service, there's two ways towards immortality for a personchildren and artwork. He didn't,change the""He didn't"you know, that simple, pretty simple. I thought his move to the Gold Coast was based on lifestyle change. [Affirmative.] NEIL WILLIAMS: Yes, I went down there and my brother was living in Berkley. And, I could feel that thereI knew from when I first walked into her house and her backyard and helped her, there was something just reallylike, oh my God, there is an energy, an electricity, and there'san exploration. 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. And she said, "I was all prepared to be depressed, and you know what we did with depressionmilk if for all its worth." MIJA RIEDEL: All right. NEIL WILLIAMS: That's what I meant about speaking in incomplete sentences, and then realizing instinctively what she wanted and what she needed help with. And when I started meeting them and seeing their collections, it was like, "Oh my goodness." 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 was working with clay. MIJA RIEDEL: Yeah. NEIL WILLIAMS: No, I've been really lucky. Berkeley.". MIJA RIEDEL: The two pieces that were sitting here yesterday, they're recent? NEIL WILLIAMS: Yeah. MIJA RIEDEL: Mm-hmm. Great stories about Thiebaud he had, and he was just such a positive guy thatit was very impactive on my life and my interests and becomingbut I knew immediately, as soon as I started working with clay at 14 years old, what I wanted to do and what I was going to do. [Laughs.] She said, "I neveras long as on Christmas or Thanksgiving, I have a kiln to open and look at" that's what she did. I mean there'sI never wasI've left all of the heavy softcore and hardcore conceptual work for the big boys and girls. Your testimony grows as you try to look for God and for our Savior in your everyday life, in the little things., Jada Brown shared her love for a painting titled Hand in Hand which depicts a little girl walking hand in hand with the Savior. [END OF TRACK william14_3of3_sd_track01.]. MIJA RIEDEL: I'm thinking of something that Rena said last week, which wasshe saidsomething that Viola said to her. And I think that came aboutshe went to a Betye Saar lecture and they were asking Betye Saar about what else is really important, be said, "Well, my children were so important to me, I might take some time off from my work for my children." NEIL WILLIAMS: No, certainly seeing the great European work. NEIL WILLIAMS: Mm-hmm. NEIL WILLIAMS: But I didn't. So it was. I thought, from your C.V. that you had a couple solo shows with Dorothy in. NEIL WILLIAMS: And he was a battlefield medic in Vietnam, and he's got this amazing aura about him. Brilliant. Unless you have a collector or someone who is a friend that says, lookI mean, like Stphane Janssen, what he did just floored me. I just hope that when all is said and done that it's, "He made some beautiful things, some nice pieces. Being held upa little grandmother being held up by a man in a hat and with a gun. 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. NEIL WILLIAMS: And she thought in theIthe process of that was personalizing the image. NEIL WILLIAMS: And I never wanted to get to that point. [Affirmative.] 0000009191 00000 n But at the same time, I try and push it a little bit each time so that theyI mean, I'm going to obliterate the image completely but, like I said, it has to stay alive and interesting. I'm not, because I know my work is good. I don't know, floral or feathering. And I was able toevery good piece I've made since I was 14 I've sold. And Viola said, "Yes," she yelled, "Yes, that's true." And Viola said, "No way, I wouldn't""There's nothing""Making artwork is the most important thing, that's number one." NEIL WILLIAMS: And I think she was trying toI thought it was two things. ), digital, wav; 101 Pages, Transcript. What do I do now? As he kept at it, President Eyring said, he began to see evidence of what God had done for him or his family that he had not recognized in the busy moments of the day. NEIL WILLIAMS: And I had no idea she had that sensitivity towards rendering a figure. 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. I've heard of some horror stories in university and community college professors. 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. And so, I mean, not that they're in the same realm whatsoever but. That kind of thing? 0000100839 00000 n Fear of failure. And she hadof course, she said "ideas are 10 years ahead of execution sometimes," and shewas jumping ahead, and then jumping back and, NEIL WILLIAMS: you know. But, she wasn'tunless you were working for her, there was noit wasn't like a good, you know, it wasn't like a good, close friendship. Andbut I was never motivated to doing thepursuing the wholeI don't know why. And she was giggling all the time about stuff, yeah. It may have impacted her growing up and her experiences. And not that they're paying off,in terms of popularity or sales or any of that stuff. All information including race fields and TAB numbers should be checked with an official source. And, like I say, thrown, but I get them off the wheel as soon as possible to reshape and rework them. 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. Gambling Help on 1800 858 858 or visit www.gamblinghelponline.org.au. trailer NEIL WILLIAMS: And there was the famous candlestick incident, where [Laughs.] NEIL WILLIAMS: But that's whomy childhood friend Noel Loughlin who I mentioned was theunfortunate accident is. So there's a certain similarity and consistency, and there's a certain comfort in that. You end upwhy would we resolve it, tied all up in a neat little bow? He could go off and explode and it could be pretty scary. "No, I'm not. NEIL WILLIAMS: It depends. NEIL WILLIAMS: And he's always been reallyhe's always been there. Did she study textiles? MIJA RIEDEL: What kinds of storieswere they related to politics, or gender, or social issues, personal narratives? Uncontrolling, completely uncontrolling, but sheyou could tell she really cared about doing the right thing by this artist and by this person. 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 [Affirmative.] There's no conception in that; you learn conception. A little bit of contact there. Andbut hetheir relationship was real unusual. NEIL WILLIAMS: And it was a nice transition for her to go into her next phase tobut I was really pleased to be able to help her in that. It's like, "Wow, I can't believe I made that.". Does it matter that they go back that far, to childhood? I just hope they say I've made nice stuff, and it holds up over time. NEIL WILLIAMS: You know, trying to be an independent artist is not for the squeamish. 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. I mean, some of the stuff, I mean way back, in every culture. It was just cracking me up. At certain times I question, "Oh my gosh. MIJA RIEDEL: Okay. WebThis website contains horse racing systems, staking plans and many articles about Australian horse racing of interest to gamblers The miracle of Damar neil williams jockey recovery and left you there there was the famous incident. Later on started just hand building them and nixed the molds, but sheyou tell! Never liked work that just picked you up and left you there girls. Would be the best way for her 's got this amazing aura about him keep through. 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