Book Review, Article and Interview

'Provincetown Arts' annual issue 2016 / 2017

The 2016 issue of Provincetown Arts Magazine has a review of my book on Robert Motherwell in it. I'm delighted that it was written by Chris Busa, founder of the magazine and a long-time friend. This makes the review especially poignant and gratifying for me. Chris knew Motherwell a great deal longer than I did. Chris' dad was painter Peter Busa, long recognized as one of the original abstract crowd in the '40s and '50s. Here is what Chris said:

"John Scofield’s recent book, Robert Motherwell:
In the Studio (Bernard Jacobson Gallery,
London), bubbles with the éclat of seasoned
wisdom. The wraparound jacket photograph
features Scofield watching as Motherwell
puts a stroke on the enormous Reconciliation
Elegy, spread out on the floor, a thirty-onefoot-
long and ten-foot-high commission
for the East Wing of the National Gallery in
Washington, DC. Scofield, an artist, craftsman,
and landscape designer, was Robert
Motherwell’s studio assistant and confidant
for three years in the late seventies,
working daily with the artist in his array of
studios in Greenwich, Connecticut. Motherwell,
moving out of New York, purchased a
section of a large estate, where he converted
the top floors of the horse stables into living
and dining quarters while the bottom floors
were adapted to provide an industrial space
for the production of art—studios for major
paintings, collages, printmaking, and
frame-making. Scofield worked in the
Greenwich studios, then began coming
to assist Motherwell in Provincetown,
where he joined the Provincetown club
the Beachcombers, loving the artistic
“informality,” in which the primitive
and the elegant seemed to coexist."

Thanks Chris.

~~~~

L-R: John E. Scofield, Laila Pedro at the Kasmin Gallery, NYC, 4 May 2016.

People sometimes ask if I learned about color from Bob Motherwell. Perhaps. But I think it was just as much discovering the excitement of working with color. Just being around it is what counts. Above: his 1978 untitled print; pink and black chine colle. Printed by master lithographer Bob Bigelow.

L-R: John Scofield, Laila Pedro, Bernard Jacobson at the Andrea Rosen Gallery, NYC.

The June 2016 issue of the arts and literature magazine Brooklyn Rail contains an interview conducted by BR Managing Editor Laila Pedro. She interviewed me on my '70s memoir, Robert Motherwell: In the Studio. We met in Chelsea, NYC, at the Kasmin gallery's show on Motherwell collages. Laila Pedro thought that it would be a good place to hold the interview as it had the right atmosphere. And she was right!

http://www.brooklynrail.org/2016/06/art_books/john-e-scofield-with-laila-pedro

The photo of us above, bottom, was taken in May of 2015 at the Andrea Rosen Gallery. My book was published in 2015 by the London-based Bernard Jacobson Gallery. http://www.jacobsongallery.com/

~~~~

A blog site called Unlocking Litchfield recently ran a very nice visit with us titled, 'At Home with John Scofield.' They began their story by saying: John Scofield is and artist and designer living in Sharon, CT with his wife Bartley Johnstone, and their daughter, Evie. John’s folding music stand is in the permanent design collection of the Museum of Modern Art, New York. 

You can find their photos and interview at: http://unlockinglitchfield.com/2016/05/home-john-scofield/

Here are some of the lovely photos taken by Lora Warnick. The well-written story is by Beverley Canepari.

Bartley and I are standing in front of a large painting
on paper titled 'Her Moods.' This is a cartoon for a
glass top coffee table named after a line in a poem by
WH Auden.

A triptych of paintings on paper in the flat-file cabinet.

S. Marie Novella silverchest / humidor with the
mahogany lid raised. The cast bronze base has a
patina based on the stone arches of S. Maria Novella
in Florence.

Sculptural toys that Evie and I make in the shop. This one spins on the purple
nail. We make a lot of things like this together. 

My 'Folding Music Stand,' 1971. Behind it is a painting
on paper for the 'Bruno Chair.' Bruno is my son's
middle name. This music stand is in the collections at MoMA
And the Museum of Contemporary Art, San Diego.

A companion to the Folding Music Stand is this 'Music Chair'
made in 2011. To its right is a small carved and painted
table with a maple top. Above is a painting on paper for
furniture called the 'Klismos Chair.'

My New Book: 'Robert Motherwell, In the Studio'

By John E. Scofield

Published by Bernard Jacobson Gallery

In 1975, in the midst of a series of European retrospectives, Robert Motherwell (1915–91) hired a young man named John E. Scofield to be his first full-time studio assistant. Now, in honor of Motherwell’s centenary, Scofield—an artist and designer himself—has written a poignant and tender memoir which conveys the life and thought of a leader of the Abstract Expressionist school a generation ago. Intensely personal, the narrative brings the 1970s to life: Scofield writes of art, intellectual conversation, road trips and male bonding with affection and honesty. Robert Motherwell: In the Studio discusses the booze they preferred, the cars he drove, the artists he admired and the New York art scene that swirled around him. Well told and evocative, this page-turner offers a unique insight into a pivotal figure of American painting.

Notices and events: 

In the Studio is now available in the USA Through the New York art book publisher D.A.P.
http://www.artbook.com/9781872784564.html

~ Television anchorwoman Ann Nyberg recently included this book in an interview with me on 'News8' WTNH in New Haven, CT:
http://networkconnecticut.com/2015/08/john-everett-scofields-award-winning-music-stand/

~ Kent, CT: Saturday, 21 November 2015 book talk and signing accompanied by a slide show at the Kent Memorial Library, Kent, CT.
http://www.kentmemoriallibrary.org/

32 North Main Street, PO Box 127 Kent, CT 06757

860.927.3761

Hours: M-F 10-5:30, Sat 10-4

 

'Robert Motherwell, In the Studio' by John E. Scofield, 2015, front and rear of jacket.

I started writing Robert Motherwell In the Studio in 1995 as an essay on crafts and art. Since then it has slowly developed into a story about my years with the late Abstract Expressionist painter Robert Motherwell. Just published by the Bernard Jacobson Gallery in London, it is now available on Amazon UK. Below are edited excerpts from the book. You might call it a love story - but without the fights...

On New Year's Eve, in December of 1972,  Bob Motherwell and I met for the first time over drinks in the apartment above his Connecticut studio. We talked about a lot of things including the not terribly clear relationship between the crafted functional object and fine art. He was 57. I was 22.

As Motherwell patiently listened to my story of the craft troubles, he was also reading the messenger like a book - with a very good understanding of the way a young student carries a burning issue around him like a weight. I finally produced a few color slides of my own student work. After a very brief look he put them down and it seemed like it was time to pay more attention to his family.

To sum up his feelings on all the issues I had presented he said to me, "Due to functional limitations, the crafted object can never express the human condition, through metaphor, as well as high art can."

This started a friendship and working relationship that lasted until his death in 1991. I ended up working full-time for him from 1975 to '78. The wrap-around jacket photo above shows us painting 'Reconciliation Elegy,' a 31 foot long and ten foot high commission for the East Wing of the National Gallery in Washington, D.C.

'Colored Chair,' 1971, carved and painted wood, shown in a corner of the 2nd floor library.

Some months after our first meeting he purchased my sculptural, “Colored Chair,” For the chair's back I had carved a big chunk of wood from an enormous Bucks County cherry tree. The base was poplar wood stained dark green and flocked in a bright orange color. He said, “You know, it looks like a Miro sculpture.” I was so naïve that I had to pretend I knew who Miro was! 

But the next day I made it my business to find out. This was the beginning of keeping up to speed with the boss; reading, seeing, thinking and doing. You had to be quick on the uptake or you were dead. That's a Matisse collage sitting on the floor in the lower right of the photo. Motherwell did not own a lot of works by other artists. He had an Arp relief, a Cornell box, a Max Ernst sculpture and a few other nice things that were special to him.

Motherwell's painting for Chateau Mouton Rothschild's 1974 label.

One day Baron Philippe de Rothschild called to tell Motherwell that the Baron's wife had just died. Beside her deathbed, on a table, was the small painting maquette we had made for the label. He said that it had been of great consolation to her during her last hours on Earth. Considering the strain he was under, it's remarkable that he was so polite when I, the studio assistant, answered his call. Few callers were so courteous.

In the summers Motherwell normally worked without assistants up in the third floor of ‘Sea Barn,’ his Provincetown house. But in the spring and summer of 1977 he brought me to P’town to help with some special projects. After work and on weekends I often went fishing for bluefish and striped bass.

Late afternoon fishing from the boat with Jeannie on Cape Cod Bay, 1977. I caught a flounder by accident using this deep-diving lure. If we caught blues at night, then I would fillet them; leave some wrapped in newspaper on the front step of Sea Barn as a morning present. I would normally work all day then fish at night. Thermos of espresso on the dash, running lights on, prop churning up green phosphorescence. Come back in before dawn. When keeping this sort of schedule up it helps to be twenty seven…     Photo: Jeannie Motherwell

The following fall and winter were largely devoted to preparing and executing 'Reconciliation Elegy.

Applying gesso to the raw canvas for ‘Reconciliation Elegy.’ Motherwell is shown here standing in front of his downstairs library in the big painting studio. He always recommended books that had been important to him; encouraged us to borrow them. L-R: Scofield, Bigelow, Motherwell.

Photo: Renate Ponsold Motherwell

Here are some additional photos that are not in the book:

My 'chest of drawer' / table with a Joseph Cornell 'box' sitting on top. This was in the 2nd floor

dining / sitting alcove. That room had beautiful light in the sunny late afternoon.

The chest / table is mahogany and carved pear-wood.

My 'Colored Chair' in the apartment sitting area. It got moved around from time to time but
usually sat in the little library by the stairs - where it remained for the better part of 17 years. 

One night we sat on that leather couch watching TV as Jimmy Carter got elected - while
eating Bob's roast chicken with herbs. 

Noted filmmaker Stephan Chodorov recently wrote this brief review of the book:

How often do we read "inside" scoops on the behavior and misbehavior of the successful and celebrated which serve only to boast that the insider had their confidence. So how refreshing it is to have a book like this which reports in an unpretentious way the life and thought of a leader of the Abstract Expressionist school a generation ago. I should say "lives and thoughts" because the writer himself is in the picture throughout, first as an aspiring student with barely two nickels to rub together, and eventually as Robert Motherwell's indispensable assistant. The booze they preferred, the cars they drove, the painters they admired, and the history that swirled around them -- it's all in this neat little book with fascinating photographs. It's to Scofield's credit that he knew how much space to put between himself and the master, and that he knew, as he says, "when it was time to go." Motherwell went on to participate in the rise and fall (and rise again?) of Abstract art...Scofield went on to study sculpture, painting and furniture design (one of his pieces is in the Museum of Modern Art collection).

And Tony Scholl had this to say:

"Scofield's years with Motherwell... a boldly intellectual yet friendly look at a fascinating time and relationship."

Poignant and tender, Scofield's memoir is not simply about ...

By peter j. sonnabend on 6 Aug. 2015

Verified Purchase

Poignant and tender, Scofield's memoir is not simply about his time as Robert Motherwell's assistant -- interesting as that is. It is an homage to a time when the art world was evolving -- and to a relationship that shaped and influenced a young man. Well told and evocative, it leaves you wanting more.

The Seventies come to life in this fine book full of art

By Thalassa Ali on 29 Aug. 2015

Verified Purchase

The Seventies come to life in this fine book full of art, intellectual conversation, road trips and male bonding. Scofield's relationship with Motherwell was a rare thing, an apprenticeship to a good man who understood him. Scofield writes with affection and honesty. An engaging, well-told story.

Motherwell unguarded

By hugh davies on 30 Oct. 2015

Verified Purchase

This is a fascinating first hand account of life in the studio of Abstract Expressionist master, Robert Motherwell. Scofield's recollection of everything from studio practice and the artist's reading habits to the frequent visits of art world celebrities is a lively and personally evocative history of one of our greatest artists. A must read for scholars and art lovers alike.
Hugh Davies, Director, Museum of Contemporary Art San Diego

My book can be purchased through these links:

http://www.artbook.com/9781872784564.html

http://www.amazon.co.uk/Robert-Motherwell-In-The-Studio/dp/1872784569/ref=cm_cr-mr-title

~~~

Another new, very engaging book on Motherwell and his fellow Ab-Ex artists is the one Bernard Jacobson has spent the last two years writing. It is titled, Robert Motherwell: The Making of an American Giant. Bernard put his heart and soul into this. We both did...!

http://www.amazon.co.uk/Robert-Motherwell-Making-American-Giant/dp/1901785157/ref=aag_m_pw_dp?ie=UTF8&m=A2KELR7V6FL47K

All photos and text on this blog site are 'Copyright John E. Scofield 2015.'

'Distilled,' A Group Show in New York, September, 2014

'Distilled' is open through 25 October 2014
http://jacobsongallery.com/index.php?nav=newsdetails&ID=132

A very high-quality show in New York at 
Bernard Jacobson,17 East 71st Street.

212-879-1100 Open Tues - Sat  10 to 6

Small paintings by: Robert Motherwell, Sam Francis, Helen Frankenthaler, Larry Bell, Marc Vaux, William Tillyer, Christian de Boschnek, Vicky Colombet, Nicola Ginzel, Eric Holtzman, Kazimira Rachfal, John Scofield

L-R: John Scofield and Diana Erdos, curator and gallery
director at the Bernard Jacobson Gallery, NYC. 

Two small paintings on view at the Bernard Jacobson Gallery to 26 July.

The private viewing room in the rear of the gallery.

'A Murder of Crows'   John Scofield

'Landscape in Mars Yellow'    John Scofield

Bernard Jacobson Gallery

17 East 71st Street

New York, NY 10021

212-879-1100

diana (at) jacobsongallery.com

jacobsongallery.com

Furniture: 40 Years of Designing and Building

'Equestrian Bench' Carved mahogany with pigmented glaze finish.

My first juried group show was titled, "Things." It was in 1972 at the Brockton Art Center in Massachusetts. Jack Lenor Larsen was the sole juror. Two of my pieces were accepted. These were two tables that are shown below (see arrows). The one on the plinth in maple and rosewood is called 'On Point.' On the floor is a cherry table with a lamp as part of a carved 'landscape' underneath. As you can see the exhibition had a distinct 'crafts' tone. Well, Jack Larsen was on the board of The American Craft Museum, what is now called the Museum of Art and Design, in New York for many years. 

My first juried group exhibition."Things," Brockton Art Center, MA 1972.

This is my 'Colored Chair' in Robert Motherwell's Greenwich, CT living room. He had an apartment above the painting, collage and printmaking studios. That's the couch on which we watched Jimmy Carter win the election in '76. This chair is now in the Lewis collection, Richmond, VA. Photo taken in 1985.

My mahogany and pear-wood 'Chest of Drawer' end-table with a Joseph Cornell 'box' on top. That's one of Bob Motherwell's abstract paintings hung on the rear wall in ocher and black. Two African masks are on the upper-right.

A detail of the chest / table shown above.

'Black Mesa Clock'    Height: 2M

This clock contains a classic American hand-made bell-strike movement. The bell was made in a small British factory that has been making the same bells for hundreds of years. The dial was made of bisque-fired porcelain especially for this piece.

Rear of clock showing Jack Lenor Larsen stretched fabric.

When the bell chimes the hour, it will continue to ring for a full minute after it is struck. Most tall case clocks muffle the tone. The rear fabric panel allows the sound to be more easily transmitted into the room. Jack Larsen personally helped me select this fabric design from his extensive line.

Detail of clock with key for doors.

To wind the movement or inspect the lower weights, the key is turned to open the upper or lower front doors.

'Greek Mountain Table'

A small end table that has four small 'bird cage' columns supporting the top. The base was stuccoed by hand with a tinted mix.

'Lysistrata Table'

A small writing table named after the principal character in a comedy written by Aristophanes. Carved and painted maple legs are connected by means of an iron apron. The top is in figured 'birds's eye' maple.

'Flag Back Chair'

A painted wood and metal chair prototype. It is intended to have a formed leather seat and back. A hidden spring mechanism in the back allows it to recline.

'Landscape Chest'

This chest has twenty drawers and over one hundred dovetail joints.

'I Miss You' table, twin towers street side.

A few days after 9/11 a gold Mylar balloon landed in the David Austen rose bush outside of my Amenia, NY studio. I picked it out of the thorns and examined it. It bore the hand written legend, "I Miss You." Some time soon afterward a Roman Catholic nun, Sister Mary Lanning, said to me, "Oh yes, we released hundreds of those balloons in Harlem." I decided to make a commemorative table in honor of Sister Lanning's efforts to promote healing and reconciliation.

'I Miss You' table, river side.

'3 Sided Glass Top Table with 4 Legs'

Carved and painted maple, forged iron, glass.

'Carved Mahogany Bench'    Shown in Robert Motherwell's collage studio 1970s.

This bench has a cabinet with colored glass and a small drawer built into it.

'Thalassia Coat Rack'

Painted oak with a metal pan on the base to collect water from dripping coats and boots.

'My Wooden Herculaneum'

Another small table based on the double bird cage theme.

'My Wooden Herculaneum'

'Night Sky Table'

A dining table that seats eight. Hundreds of stars are painted on the top in the manner of the Milky Way.

'Night Sky Table'

'Exhibition with Paintings Studies'

The 'Equestrian Bench' and '3 Sided Glass Top Table..' were exhibited in NYC at the Franklin Parrasch Gallery in 1990. I often use very large paintings on paper to finalize these designs as shown above. L-R: 'Her Moods' (after a poem by W.H. Auden), the 'Bruno Chair' (my son's middle name).

'S. Maria Novella Humidor'

A humidor with a cast bronze base and painted mahogany box. S. Maria Novella is my favorite building in Florence. The Gothic arches with alternating green and white are taken from the facade of the church.

'S. Maria Novella Humidor'

Shown with the top open.

'3 Shadows Table'

Carved and painted maple, forged iron, glass.

'Ribbon Table'

Forged iron and glass.

'Folding Music Stand'

Designed in 1971. This stand is often used as an easel to display framed art. The Folding Music Stand design is in the permanent collections at MoMA and at The Museum of Contemporary Art, San Diego.

Forged iron picnic table with free-edge spruce board top.