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VIEW IN MY ROOM

13TH STREET IS A JUNGLE . . . Painting

Jerry DiFalco

United States

Painting, Watercolor on Paper

Size: 12 W x 17 H x 0.1 D in

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About The Artwork

This works incorporates printmaking (etching) with painting (gouache.watercolor on paper cut and mounted on acid free blotter paper. This is a one-of-a-kind work, but the etching editions are pictured in the detail frames to the side. The frame size for this work measures 16 inches by 20 inches. THE ORIGINAL ETCHING: DiFalco employed three etching plates to create this triptych-design; all plates were positioned on the printing press bed in a vertical format. This etching has 4 EDITIONS, and each edition is limited to an intimate number of four original etchings. In addition, the editions were all printed by hand with a different combination of ink and paper colors. Depicted within this urban landscape, circa 1979 in Philadelphia Pennsylvania. The balance of geometric vertical form propels the viewer directly into the work. DiFalco employed the studio techniques of intaglio and aquatint. All plates were etched in three separate baths of Nitric acid. Each individual plate size was about six inches wide by four inches high, which makes the image size about 12.5 inches high by 6 inches wide.The etching paper was hand torn to a size of about 18 inches high by 11 inches wide. All editions are hand printed and published by the artist at The Center for Works on Paperlocated at 705 Christian Street, Philadelphia, Pennsylvania within Fleisher Art’s Open Studio In Printmaking. Fleisher is associated with the Philadelphia Museum of Art. DiFalco used a large, floor-model industrial printing press, manufactured in New York City by the Charles Brand Company. This narrative of this captivating work on paper was based on five original drawings, all executed in 2020 by the artist. DiFalco used one of his original black and white photographs as a mockup for these drawings. This photo was initially shot and developed for his first solo exhibition of urban-centric photographs, entitled CRAMPED PHOTOS BY JERRY DI FALCO, hosted by Giovannis Room Bookstore in 1979. This specific scene depicts the Philadelphia intersection of 13th and Locust Streets, one of Philadelphia’s notorious cross walks in the midst of the Red Light District. The work highlights some of the off color bars within this neighborhood, including The Bag of Nails.It was in this nightclub that Miss Honeysuckle Divine crossed performance art with striptease in her risqué act.She shocked audiences by constructing a salami sandwich with her genitalia muscles before feeding it from the stage to audience members...from between her legs.The title is derived from a song called, “Thirteenth Street is a Jungle”, sung by the Philadelphia punk band, HEADCHEESE. The lyrics open with, "13th Street is a jungle, it’s a jungle...it’s a jungle...a jungle where I live.

Details & Dimensions

Painting:Watercolor on Paper

Original:One-of-a-kind Artwork

Size:12 W x 17 H x 0.1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.

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