Entire Contents Copyright ©2004 All Rights Reserved.
sept.  2003

the cabal


ask Yeti


chi chi
j. tyler blue
bryan e.
blem vide













"the confrontation of aesthetics..."
a production
vol. ii, issue vii
feb. 1, 2005
An Interview with Robert Motherwell by John Cage
jordan stempleman

INTERVIEWER: Was everybody who participated in The Club allowed to analyze how to repute what was in each other? And I force love, god knows I do. Fuck, there it stays, it's Asthma right? How would you say the Stein communication, to reference your love for literature, makes the man young again? Would you say, considering these measures, this is how you arrived at The Club?

ROBERT MOTHERWELL: Well, really it all came indirectly, as do your many questions. To lie is to also be indirect. I mean, some collection went into that, and was as internally natural as the beautiful waxed fruitwood that heads to a difficult middle and often ends the situational relation of thinking when one taps it and realizes what can’t be done.

INTERVIEWER: Were you ever incidental about money and initiative?

ROBERT MOTHERWELL: No, I would leave it more up to the audience. Do you get publication by sitting down with a Hershey bar, and compensate for the lack of thoughts? Of course not. What you discuss follows after, not before.

INTERVIEWER: At Black Mountain, two summers you spent with the kids. Who was the better ball player, Olson or Jonathan Williams, be honest?

ROBERT MOTHERWELL: Have to go with Johnny Williams, but Olson was also a presence at first, lumbering, and massive as a target. But Lipchitz came along to solve the thing. He would rest on Sabbath, there thinking, and there becoming such an intimate arbiter over the years. He was able to sense the positive track, so that he shifted without being a Rothko, even well into his years. He went with Olson. So toss it up or toss it aside.

INTERVIEWER: So then, you would agree the Surrealists were taking the long way around campus to meet up with the younger boys who led them onto such leadership roles as The Subjects of the Artist school?

ROBERT MOTHERWELL: No. Rothko, Baziotes, they were the slippery minks who made leadership seem to get at the very naïve. Everybody needed everybody and they needed someone else. You know, David (Hare) would keep the heat going, I was in charge of the phone tab, and Rothko and Baziotes cooked and washed dishes respectively. But it was Peggy that always wanted to pick up the house and head out for…(End of Side 1) (Tape 1, Side 1)