This brief memoir of the equally brief time that author/artist/designer/builder John Scofield spent with abstract expressionist Robert Motherwell as his studio assistant in Connecticut is similar to the Salinger books that I looked at previously. It comes at its subject indirectly, mildly, sideways, and is as much about the author as it is about the author’s subject.
Scofield is maddeningly “protestant” is how he only hints at potentially hot subjects. Was Motherwell an alcoholic? Did he partake of the marijuana that his friend, sculptor David Smith, apparently favored as an aid in getting through the long Adirondack winters?
We get the idea that Motherwell was worse for wear in the years 1975 – 1978, when Scofield was one of his studio assistants. About 60, just out of heart surgery, he needed Scofield, and we see a little bit here, a little bit there of Motherwell that we hadn’t seen before.
Like the Salinger books, this is for real Motherwell fans. I’m one of them. The most intellectual of the abstract expressionists – Pollock, de Kooning, Kline, and so on – his work is cooler than that of many other painters of his generation. His images are the most abstract of all, and while you can easily read the lyricism of a Pollock drip painting or the manic writing/rewriting of a de Kooning, a Motherwell takes more imagination.
When you see a Pollock, you can feel how “in the groove” he was. When you see one of de Kooning’s classic women, on “bicycles” or otherwise, you can feel how ambivalent he was about women.
But what of Motherwell’s THE HOMELY PROTESTANT above? That’s tough to crack.
His colleagues and rivals not-so-secretly thought that he was a lightweight, not very talented, and shielded by trust funds. History says otherwise.
But then you see:
We are left with many, many questions. Even more, I think, than with my own sort-of-similar painting below, PISTON:
PISTON is an abstract notion of an engine piston. But what is an “in beige with charcoal”?
Motherwell insisted that his art always had a subject. I think there’s one there, and I think that Motherwell – and Scofield – respect that viewers can dig out meaning, even if the meaning varies from viewer to viewer and from time to time.