Poseyb@aol.com on tue 17 sep 96
Hi
The gallery and store at the studio are always open. You just pick out the
pots you want and leave the money . The problem is that there are not always
pots of Warren's to be had as they sell very fast. But there are good pots by
other potters who live in the area also for sale. The directions are as best
I can remember as follows. Take highway 36 going out of town toward St. Paul
You go past Stillwater to Demonterville Trail Exit. I do not think it is well
marked. Then I think at this point you have to cross the highway to get off
at this exit but I am not sure. Although I think Demonterville only goes in
one direction. You turn and go back on 60th St N parallel to the highway
just a little way to Jasmine Road turn onto Jasmine and go to 68th Street N.
Just a little way and there is a sign at that point. The address is 8695 68th
St N,Stillwater MN 55082. I am not great on directions. I hope this helps. I
do remember it is not very far and fairly easy jto find. Have Fun
Posey
..
Anne W. Bracker on thu 10 jul 97
Does anyone happen to know the address of Warren MacKenzie's studio?
Cindy Bracker
Bracker Ceramics
1835 E 1450 Road
Lawrence, KS 66044
1 913 841-4750 OFFICE
1 913 841-8142 FAX
1 888 822-1982 ORDER LINE
bracker@midusa.net E-MAIL
"Clay Ain't Dirt"
Helen Bates on sun 26 mar 00
An amateur potter (as I am, too) posted the following:
> I met two potters this past week from
> Warren's area, they are quite successful and think Warren a mediocre-good
> potter but also regard him as not a significant threat to their business.
> I
> think that all of this Warren MacKenzie talk should be put in perspective.
Well, all I can say is that I hadn't heard of Warren MacKenzie until
this thread started, and tonight, for the first time, I saw one of his
pieces in a book (title is: "Make it with Clay" Author's name doesn't
spring to mind, sorry). It was a lovely smaller covered pot, with
excellent form, texture, colour and surface treatment (double facetted
in alternating facets above and below the shoulder) and I certainly feel
it was a great deal more than "mediocre-good". As I said, it was
-lovely- and I wish I could have it.
Sincerely,
Helen
--
=========================================================
Helen Bates
mailto:nell@reach.net
=========================================================
Lee Love on mon 27 mar 00
>
> Date: Sun, 26 Mar 2000 18:18:53 EST
> From: Helen Bates
> Subject: Re: Warren MacKenzie
>
> ----------------------------Original message----------------------------
> Well, all I can say is that I hadn't heard of Warren MacKenzie until
> this thread started, and tonight, for the first time, I saw one of his
> pieces in a book (title is: "Make it with Clay" Author's name doesn't
> spring to mind, sorry). It was a lovely smaller covered pot, with
> excellent form, texture, colour and surface treatment (double facetted
> in alternating facets above and below the shoulder) and I certainly feel
> it was a great deal more than "mediocre-good". As I said, it was
> -lovely- and I wish I could have it.
Hi Helen,
I have to say, I thought Tom's mention of these comments without
mention of who the critics were, lacks any relevance. It is like
playground talk. Some people are simply jealous of MacKenzie.
Here is a small selections of photos of MacKenzie's work (The images are
small, but I'm in Japan (and so is my server) and didn't want them to
download too slowly):
http://www1.ocn.ne.jp/~ikiru/mphotos.jpg
Also, it is impossible to understand MacKenzie's prices without
examining the greater philosophy they are influenced by. Here is
something on Mingei by Soetsu Yanagi that might help. I'll write more
about it later.
http://www1.ocn.ne.jp/~ikiru/mingei.html
--
Lee Love
2858-2-2 , Nanai
Mashiko-machi
Tochigi-ken
321-4106
JAPAN
Ikiru@kami.com
Craig Dunn Clark on wed 27 jun 01
The question is simple in my minds eye. If it's a piece that you are
proud of or are selling then a signature is a must. End of story.
It sounds like Mr. MacKenzie might be engaging in an academic game or
may not like the idea of people profiting off of his work after he is gone,
hence the reported absence of mark or signature.
Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
(713)861-2083
mudman@hal-pc.org
----- Original Message -----
From: "Marcella Smith"
To:
Sent: Thursday, June 28, 2001 5:32 PM
Subject: Warren MacKenzie
In my opinion,
I think that it is a shame that he does not sign his pots, as his history
will end with the last pot he signed. No one will ever know whether or not
the pot in front of them was done by MacKenzie or someone else. When we
look at the works of the old masters we can study and respect their history
and their growth in their works (identified by their signature I might add),
how wonderful to learn from, to imagine, to see the changes in their works,
in their lives, over the years they were alive and produced. How cool. But
his will end with the last pot he signed. It is human nature that loves to
collect things, 'the fear of loss', causes some people to buy something, to
be one of the few who get a limited edition of so & so. Wanting to
'collect' isn't bad, each person is different, and likes different things. I
frankly would not pay much for a piece that is not signed, it is the
artist's choice, it sounds as bit like the 'romantic' attitude of college
days, but I am now as concerned with paying my bills and it takes a long
time to get your name known and valuable. Not sign your work?...what a great
loss to art history.
Marcella
***Serf on over to www.livinggallery.cc for the latest in fine-art available
for your home or office! Check out the WEEKLY SPECIALS!!***
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Marcella Smith on thu 28 jun 01
In my opinion,
I think that it is a shame that he does not sign his pots, as his =
history will end with the last pot he signed. No one will ever know =
whether or not the pot in front of them was done by MacKenzie or someone =
else. When we look at the works of the old masters we can study and =
respect their history and their growth in their works (identified by =
their signature I might add), how wonderful to learn from, to imagine, =
to see the changes in their works, in their lives, over the years they =
were alive and produced. How cool. But his will end with the last pot he =
signed. It is human nature that loves to collect things, 'the fear of =
loss', causes some people to buy something, to be one of the few who get =
a limited edition of so & so. Wanting to 'collect' isn't bad, each =
person is different, and likes different things. I frankly would not pay =
much for a piece that is not signed, it is the artist's choice, it =
sounds as bit like the 'romantic' attitude of college days, but I am now =
as concerned with paying my bills and it takes a long time to get your =
name known and valuable. Not sign your work?...what a great loss to art =
history.=20
Marcella
***Serf on over to www.livinggallery.cc for the latest in fine-art =
available for your home or office! Check out the WEEKLY SPECIALS!!***
Lee Love on fri 29 jun 01
----- Original Message -----
From: "Marcella Smith"
>Not sign your work?...what a great loss to art history.
The best pottery ever made, was never signed. The pot IS the
signature.
The folks who need to know if a pot is a MacKenzie will be able to tell. The
people who can't tell, might not deserve to own them anyway.
>I frankly would not pay much for a piece that is not signed,
> it is the artist's choice
This is one of the reasons he doesn't sign them, to help keep the price
affordable and to keep the pots out of the display cases and in use in the
kitchen.
>it sounds as bit like the 'romantic' attitude of college days,
Yes, and it takes guts, principles and character. These are qualities
that can create a better future for our kids and grandkids.
--
Lee Love
Mashiko JAPAN Ikiru@kami.com
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dan mickey on fri 29 jun 01
I thought warren was still stamping his pots with two stamps, one with just
the potteries stamp and one with his initials, not all have both, is this
correct? lee, anyone? I have always agreed with this philosophy, but could
never stick to it. I think in america most people(not potters/artists) want
to see something on it. I agree with matt macintire, stamping is a good way
to go, look around at contemporary work, alot of it is stamped.
For me my stance is simple, My signature looks like SHIT! yep its that
simple, it took me about three years to realize that the stapming/ unsigned
idea was better than a sloppy, chicken scratched, signature. So The solution
was very simple, stamp it.
now of course this is all going to lead to the whole unkown craftsman
debate, well it shouldnt. If anyone on this list thinks that it was a bad
idea, well then you shouldn't be making functional pots, or, try to take
credit for the rebirth of hand made crafts early in the last century
yourself? i thought not.
shane mickey
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Lee Love on sun 1 jul 01
----- Original Message -----
From: "Craig Dunn Clark"
> It sounds like Mr. MacKenzie might be engaging in an academic game or
> may not like the idea of people profiting off of his work after he is gone,
> hence the reported absence of mark or signature.
You have no idea who the man is. If you did, you would know better.
You should also know that he has no expectations about what other potters should
do about stamping their pots. All the other potters in his studio sign their
pots. The "Mingeisota" show I was in about 4 years ago in Japan that Warren
curated, had 12 Minnesota and Wisconsin potters in it that were invited by
MacKenzie. Every single one of those potters put their stamp on their work.
Here is an interesting story from that show near Nikko, Japan. I was
lucky to be able to attend the opening with my wife Jean. Also, the
potterTaeko Tanaka and her husband attended, who are also from Minneapolis. A
Japanese person who bought one of my soda fired casseroles asked me to sign the
bottom of the pot with a permanent marker. I thought it was a little amusing,
but I found it difficult to say no. I knew signing with a marker meant he
wouldn't use it for baking in, but in Japan, most people do not have ovens
(though that is changing a little bit.) He later brought a friend over to me
while I was standing next to Nancy and Warren, to have a little Jizo vase signed
by me (It was done in Kaki, with the decoration in wax resist.) I didn't have
a marker, so Nancy lent me one of hers. After the two guys left, MacKenzie
said, "I wonder why nobody asked me to sign any of my pots?" He answered
himself and said, "Maybe because they knew I wouldn't." But he gave me no
grief for doing it myself.
I've been in MacKenzie's show room many times and have seen people
ask him who a pot is made by, only to see them put the pot back on the shelf
when he says it is someone else's. I have heard him say many times, "Don't pi
ck a pot because of the stamp on the bottom. Pick a pot because it is a good
pot."
As I previously mentioned, I saw one of MacKenzie's pots in a
Mashiko shop for sale last week at 10 times the price he would ask for it
himself. His pots, because they are priced low in the first place, can be
resold by others for a profit.
I think signing and stamping pots is a personal decision. The
important aspect of the issue is whether we have given thoughtful consideration
to what we have chosen to do. What others do does not invalidate what we have
chosen to do as what we choose to do does not invalidate the work of others.
--
Lee Love
Mashiko JAPAN Ikiru@kami.com
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Bonnie Staffel on sun 1 jul 01
Dear Clayarters,
Have you ever thought that Warren may just be SMART? In this current world
of people suing others for product faults, if there is no name, no blame!!!
8>P Not that potters have deep pockets, but carrying liability insurance is
sometimes quite a bite out of one's expense budget. I still make ovenware,
but my pockets are so shallow, they wouldn't get much from me. Thankfully,
though, my pots are collectibles and usually just sit on the shelf with the
memories of our personal contact when they purchased that pot. Customer's
children are now grown and married with their children, still coming for
that personal contact with "their potter." Collectors like to feel they own
you so that brings a lot of satisfaction to signing your pot with a date.
My work is sold by a gallery just a mile north of my old place. On my
demonstration days at the gallery, old customers come by with stories of
past visits to the old studio, where they sent the kids to the shard pile to
keep them from touching the pots for sale. I am an antique myself but happy
that I can still mold the clay on the wheel or with my hands and think of
that next pot which will be the best one I ever made.
Regards, Bonnie Staffel
http://www.bonniestaffel.com
From: Matt MacIntire
Subject: Re: Warren MacKenzie
Marcella,
I don't understand how the decision to not sign a pot could be construed as
arrogant. It seems to me an act of humility. Please help me to understand
why you feel this (personal) decision implies arrogance.
It isn't a test you have to pass. No one is judging you. Quite the reverse
- it is you who they have invited to be the judge.
I could envision not signing as an act of bold confidence perhaps, but
arrogance? I just don't see it that way. I also rather doubt that someone
like Hamada left his work unsigned out of any shyness or weakness. Perhaps
MacKenzie merely wants you to look at his work with an open mind. If you
can not tell it is his pot then you experience it honestly, with your vision
free of any interference owing to his fame. Why is that arrogant or weak?
I expect it is true that plenty of great artists do not sign their work. I
mentioned Michelangelo, there are surely many others. This seems like such
a personal issue to me. It seems odd to me that some of those who sign
their work seem to feel angry at those who do not. Why does this personal
decision bother you so much?
OWLPOTTER@AOL.COM on sun 1 jul 01
From now on I am signing all of my pots "Warren MacKenzie."
Seeing as Warren isn't using his name, I guess I'll use it. I wonder how this
will affect my sales.
Will I hear exclamations of, "Why, that's not a Warren MacKenzie pot!" from
knowledgeable customers who can tell a genuine MacKenzie at 50 paces. Or will
they simply say, "Warren can sure paint nice pink flowers and blue bunnies,"
I wonder?
Carolynn Palmer, Somerset Center, Michigan
Lee Love on sun 1 jul 01
----- Original Message -----
From: "dan mickey"
> I thought warren was still stamping his pots with two stamps, one with just
> the potteries stamp and one with his initials, not all have both, is this
> correct? lee, anyone?
Warren stopped stamping his pots about 10 years ago. He does stamp
some pots, like some of his tall vases. This is done for decorative purposes
only.
Julie, I am not aware of anyone else in his sales shop that doesn't sign
their pots. There was a S. American guy, who worked in Warren's workshop for
a short while ,,who didn't stamp his pots, but everyone else does.
I've always stamped all my pots (of course, I don't right now, because I
am an anonymous Deshi being trained by unknown Shokunin
.) I use a stamp for the Japanese kanji meaning Ikiru, which means
"To Live." It is from a Kurosawa movie by the same title and is in honor of
Kurosawa. My favorite movie is Seven Samurai. To me, this movie lays out the
existential problem for the modern man trying to make the post-modern world a
better place.
The other stamp I use is from my zen name Dairin. It is from a zen
story about a fish who jumps through a gate to become a dragon. The stamp is
made of old characters that are often printed in red on paintings and
calligraphy. I only use this stamp decoratively, and also on works I make for
zen altars and on crematory urns. I'll often stamp this stamp on the front of
a large tsubo (jars) and stamp Ikiru into the bottom of each lug. It is a good
way to fasten the bottom part of the lug.
I'll continue to stamp my pots when I start working in my own workshop
here in Mashiko and I may put some work in signed boxes. I have thought of
doing a less expensive "Kiln work" line that I might not stamp.
--
Lee Love
Mashiko JAPAN Ikiru@kami.com
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