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ADMIRAL WILSON BLVD 1960 - Limited Edition of 5 Print

Jerry DiFalco

United States

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About The Artwork

This Di Falco etching—disturbing, yet hauntingly beautiful—depicts a section of his home city, Camden, New Jersey. He employed the studio techniques of intaglio, aquatint, and drypoint on a zinc etching plate and developed the image in four baths of Nitric acid. The work—hand printed on a Charles Brand industrial printing press manufactured in New York City—was executed in oil base etching inks on RivesBFK white paper. The print measured about 11 by 15 inches and comes in a frame and archival mat (about 12 by 16 inches). This is the first edition of four, and each edition will contain only five etchings. The artist published and printed the work at Fleisher Art Memorial’s Center For Works On Paper in Philadelphia, Pennsylvania, as part of his work within THE OPEN STUDIO IN PRINTMAKING. Fleisher Art is associated with The Philadelphia Museum of Art. NARRATIVE: Admiral Wilson Boulevard, a two-mile section of U.S. Route 30, opened in 1926 in Camden, New Jersey. It was the first “auto strip” in the United States, originally called Bridge Approach Boulevard, until being renamed in 1929 for Rear Admiral Henry Braid Wilson, a Camden native who served in the Spanish-American and First World Wars. The road had a noteworthy bearing on the development of the South Jersey suburbs and Camden City in the twentieth century. The area even included the first drive-in movie theater in the world. My mother shot this photo in 1960 from her car. It illustrates how urban planning, especially when merged with commercial enterprises, can turn something into “Lipstick on a Pig”, as Mom used to say. By this time the boulevard was lined with strip bars, red-light motels, cocktail lounges, liquor stores, dozens of gas stations, steak houses, nightclubs, neon signs, Cadillac dealerships, hamburger joints, and acres of traffic signs, telephone poles and wires. By 1970 the strip became home to the area’s Ladies of the Evening gliding the boulevard in their nightly trade. In 1973, while undergraduate students at Rutgers University, two colleagues and me completed a research study and multi-media presentation on Admiral Wilson Blvd. and the surrounding highways for a seminar entitled, Phenomenology in Religion, orchestrated by the Rev. Dr. Hugh White. What first appeared comical soon unveiled its shadow-side to our audiences. Today, and as a result of the 2000 Republican National Convention staged in Philadelphia, this stretch of Kitsch-Americana was destroyed and transported (in a rather plastic and artificial way) into a verdant backdrop connecting USA’s most impoverished cities to the suburbs of South Jersey. As my mother, a hairdresser and photographer would say. “Politicians always fatten their own pockets while decorating the world with shit . . . pretty shit . . . but still, shit!”

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:12 W x 9 H x 0.1 D in

Size with Frame:17.25 W x 14.25 H x 1.2 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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