VIEW IN MY ROOM
Window: El Dorado Cabaret, Berlin 1930 - Limited Edition 1 of 4 Print
United States
Printmaking, Etching on Paper
Size: 14 W x 11 H x 1 D in
Ships in a Box
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About The Artwork
This work is from the First Edition (of four planned editions); and, each edition is limited to only five prints. Editions ONE, TWO, AND THREE were printed at The Center for Works on Paper in Philadelphia, Pennsylvania. The LAST, or 4th, Edition will be printed in January of 2019 because of astrological reasons. An archived photo from Das BUNDESARCHIV (a German on-line image and photographic archive) inspired this multiple-plate intaglio print; it is executed on four individual zinc plates that are placed on the printing press bed (two plates above two plates) simultaneously to produce a single image. This gives the work a “window” effect, thereby commenting on viewing a past reality. Each plate measures 3 inches high by four inches wide, and the overall image is 6.5 inches high by 8.5 inches wide. The frame measures 11 inches high by 14 inches wide. The German Cabaret movement was one of the most avant-garde art genres of the last century. It combined elements of music-theater, performance art, and political satire. Many feel it also popularized the gay and lesbian bar scene of today. The El Dorado Cabaret had a long and complicated history. It first opened on March 22, 1922 by entrepreneur, Ludwig Konjetschni, who publicized it as a “Meeting Place For The International World”, directly targeting homosexual community by advertising in gay and lesbian publications. In 1927 El Dorado moved to the central entertainment district in Schöneberg at Lutherstrasse 30, directly opposite the famous Scala Variety Theatre. Konjetschni moved his cabaret to larger premises and found the Grand Cafe Luitpold on Motzstrasse, opening the brand new Eldorado early in 1931. Marlene Dietrich, Claire Waldoff and the Weintraub Syncopators performed there, and it was a regular venue for transvestites and transexuals. In July 1932, the Chief of Police, Kurt Melcher (Boooo Hisss) began implementing strict catholic policies of the new Von Papen government ; he proclaimed, “an extensive campaign against Berlin’s depraved nightlife” and ordered a ban on same-sex couples dancing in public in October of 1932. Ludwig Konjetschni closed the Eldorado and handed the premises over to the local fascists, the Sturmabteilung (SA) – many of whom had worked for him. The SA turned the Eldorado into their new local headquarters and it became a center for the Nazi activity. With this, one of Europe’s most colorful art scenes collapsed. I will do another etching that shows this unfortunate transition. The Eldorado played a key role in ‘ I Am A Camera’ – the 1955 film adaptation of Christopher Isherwood’s ‘Goodbye To Berlin’.
Details & Dimensions
Printmaking:Etching on Paper
Artist Produced Limited Edition of:5
Size:14 W x 11 H x 1 D in
Frame:Black
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
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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