Sunday, June 29, 2014

Washington DC

Wash. D.C. in sum is gorgeous beyond words compared to say New York but then its a heck of a lot smaller with a lot more per capita dollars.  So its no surprise it can have a wealthier average demographic.   The best part is that all the attractions here are free, compliments of Uncle.  Not that the local grinches notice, who have seen it all and sport license plate messages 'taxation without representation' meaning to say they feel cheated because as a non-state they don't have crooked congressman and senators to plead their regional cause.  Actually they don't pay any more than anybody else, which is less in terms of D.C.s well- kept infrastructure, unlike what everyone else has to wear by which I mean the visitors that are all you see this time of year, meandering by the thousands up and down the mall.  Groups of school kids in blazers and grandparents wander aimlessly, in awe of the grandeur of their nation and its glorious history as reflected in dotted monuments to the glorious dead who have died  for freedom and democracy.  For which everyone alive here pays at least a token price on a day to day basis of precisely prescribed thought, word, and deed on signage everywhere in the the silent thunder of the monuments.  Daily motorcades of darkened black limousines preceded by a procession of cops on flashing, warbling and  thundering Harleys who commandeer each intersection on the route are the only sign that there really is an executive branch  and an underlying point to everything. 

 Tony Abbott was here a few days ago, darling of Canada's Stephen Harper and the local Tea Party.  Maybe he was given one of these, maybe he even had a couple of the empty decoy limos that all important personages require in the wild west where everyman has the right to bear arms and a lot of them are fruitcakes.  Not your harmless up-front garden variety ones with signage, but crazed and vicious loners who live with their  mothers and polish their automatic weapons, dreaming of the apocalypse.

Even in the capitol building there isn't a single mover or shaker to be seen hurrying  to his tasks, only a circle of dead heroes immortalized in bronze beneath the rotunda.  Recent arrivals are Gerald Ford and Ron Reagan who our guide tells us won the cold war and stands on actual rubble from same. 
"Tear down that wall, Mr. Gorbachev, " he said and it happened and so  we may say "this was his finest hour."  Of course the Germans were left to actually pick up the pieces after the fall nor did I see so much as a recognizable crumb of concrete. 

But it is here, in front of the building that I found my own patron saint.  A self- taught artist, Henry Schrady entered a contest and  won the commission to build the Ulysses S. Grant Memorial.  All the stonework of and surrounding including the huge reflecting pool is in sawn and polished blinding white marble.  Atop the central plinth stands a grand equestrian statue in bronze of General Grant (4th largest of such things in the world) above with a bronze bas relief plaque on each side of the plinth commemorating the infantry.  These are similar and almost comparable to St. Gauden's  masterpiece about the black 53rd Regiment that took him 15 years to complete.   Surrounding Grant are four smaller plinths, with identical, sadly laconic resting lions.  But the best parts are the wings.  On Grant's left the artillery; a team of horses struggles to drag a gun crew with cannon across a battlefield.  All the details are perfect; Schrady studied and researched for years to get it right.  On the  right is a dramatic cavalry charge.   One of the upraised sabres has been souvenired along with the barrel of a Spencer carbine which has been replaced by a length of rusting rolled steel round.  Well, this has been here for a long time, and the artist himself is still present, almost obscured by his cloak and struggling to extricate himself from beneath his fallen steed which is exactly how he felt because this endeavour consumed his entire life. He died of overwork barely 50 years old two weeks before the work was dedicated and the infantry panels had to be built from his sketches by someone else.

All over this city is the handiwork of countless thousands of mostly nameless journeymen who worked their entire lives to build something grand that millions still can believe in  and struggle for right or wrong and they come from all over in their matching T-shirts lest someone get attached to the wrong tour and never be seen again.  They visit the JFK grave at Arlington, and at the simple black retaining wall of the Vietnam memorial you can locate names of dead friends and family via provided lists.  This would otherwise be a Herculean haystack- needle search; for they are listed as they fell.  This was 'Peace with Honour' and somehow California never got around to providing a Nixon statue for the capitol rotunda.  He was the main reason my father left the States after the election in 1952 or I might have been listed there myself.  I was pretty slow

                                            

at that age and will never forget the look of rage and contempt on my father's face in '66 after  graduation when I had mentioned the war as a possibility in a throw-away line.  Well, that's how it is with kids - searching desperately for a respectable persona.  He had come back all shot-up and bemedalled so why shouldn't I?  But dumb didn't cut it with my dad.

And you can go to the Herschorn and Freer -all free- and the National Gallery where there is the biggest collection of impressionists outside the Louvre and you can weep in front of a Gaugin or on the lower floor in a roomful of the most beautiful bronzes ever -the art deco/nouveau work of Paul Manship;  like you are supposed to do in front of Mark Rothko.  Who can be seen there too, but along with the attendant Calders and Pollocks and Serras and Stellas and Warhols would be relatively less than NOTHING if they weren't fabled, American and imbued with inarguable respectability; figuring as they do in the stinkfinger games of the idle rich where the utterly worthless and banal is the ultimate display of net worth.   Sycophantic curators and city fathers grease the wheels of this juggernaut but nation states still revere their actual treasures.

The Capitol Building tries to please too many as well as having undergone war and renovation.  But the Library of Congress is splendid.  It holds a marble staircase, carved by French immigrant Philip Martiny, who was very well known at the time and whose workshop produced a lot of the details on New York's finest buildings also.  How much of his life was thereby consumed, or even his name doesn't matter, he's long dead and can never appear on Oprah.  Better yet he has left something extraordinary and still only a mote amongst a cityfull  of  wonders that will never be some forgotten anachronism or de-accessioned or contemptuously thrown on a barricade.












 


 

    

Friday, June 27, 2014

New York Modern

I have seen the best minds of my generation destroyed by neural plaques, the calculus of self- interest and unfettered omega 5's consuming, casual addicts at the golden arches......  OK I am in New York and thought I might sort out some kind of sight-seeing itinerary starting with Ginsberg's 'Howl' but sixty years plus after the fact of that and my own birth, self- imposed/important urban victimhood has foundered on the rocks of deja vu.  And you can jump on the down escalator anywhere -its just somehow a bit more romantic here than in Tasmania where there isn't such a big choice of has-beens or wannabees to party along with. 

So off I went to Chelsea to see where the art market is really at these days and only the featured artists have changed from last time.  Or not, you would be unlikely to remember, there are no touchstones or even architecture here except the plastic bollards; interminable tearing up the streets and traffic patterns.  The gallery girls and guys stare silent behind their computer screens ignoring browsers and everyone else; its the Gucci routine and they know you aren't a customer or a 'name.'

"This is the 5th Avenue of the art market, try Brooklyn maybe."  Maybe Ginsberg could have said it better:


Down metaphorical 5th from the Met primped and powdered nail-salon baba yagas; claws paralytic extended as to predate Aryan babes- in- the- wood; and sitting on- the- street cafes with little white lap dogs eating bagels, pastrami and carefully- engineered pickles so each goddamn bite tastes the same.  Far from freaking un-ever-forgettable Hester Street where my family got its start too; interminable arse-off working unto oblivion nobody goofed off until the REAL thing and no-one made good either.  Argh!

And on  23rd Street heavy impasto is in, paint on polyurethane foam, penis photos in the next gallery where looker's eyes drop briefly to your own crotch Jesus I am 65 years in this desperate world ; next gallery raging sophomoric feminist boozhwah-bait:  traditional reclining nudes splashed red pudenda -Ooh this is scandal; the modernist REAL THING.

Further uptown competence manifests, some of these people can actually paint.   But they are indentured labour; stuck doing the same trademark crap forever to make a living.  Its an investment where the rent is finally paid after dedicating years to the all-important CV and dealer who has also invested lottsa and collectors who hope they are riding winners so heirs might even see valuations cover the dealer's mark-up. For there are many who hear the call and as many who fall by the wayside.  Glory be to his name and provenance. 



Thursday, February 6, 2014

New Press Finally Finished

This has been a bigger project than I thought it would be.  Intended to be a full size studio press it has shrunk due to costs - most of the components cost next to nothing from the recycler but the platen was the problem - to get a seasoned cast iron plate AND have it milled made it completely uneconomic.  And my back would have been in no condition to handle it.  So it was reduced to fit an available offcut of fiberglass re-enforced phenolic switchboard panel supplied by Stephen Twohig at Fitzroy Etching Presses & Printmakers, the only place of many I tried where they didn't want(even as far as India) to take me for a ride; like $1000 plus.


Having had shoulder surgery I didn't want a big wheel to hang from (remember the cross Rose Lindsay had to bear, editioning for Norman) and so it has a nice heavy steel flywheel and that drives directly through the little green 8:1 planetary gearbox from an old industrial electric motor.  There is a 1:1 chain drive to the lower roll on the other side of the press, D=145 mm.  The rolls are heavy tubes from a large scrap hydraulic cylinder, 650mm long.  This was too long for my lathe even with a steady and bearing replacing the tailstock.  So it had to be reversed to true it up.  I made a mandrel to set the tail up at the headstock, realigned the lathe before I started and like a fool tried welding up some deep damage on the cylinder and thereby spent a lot of time on it with a mill file.  Should have simply selected better sections, it was a very long cylinder.  But using a four-jaw chuck and run-out gauge the cuts met perfectly in the middle.  The platen is 1240mm. long, the little support rollers sit on 16mm round and are made of nylon with a bronze bush pressed in at each end, pressed in and reamed to fit after the millscale was filed off the rods.  The pressure adjustment handles are only 150 mm long all up in case I or some other idiot - if I lend it in a moment of madness - is less likely to overload and thereby jam the system when it hits the plate at full throttle with that heavy flywheel.
Other features are shelves under the table which has adjustable feet to maintain alignment




 And here are my most recent prints, these are available by emailing me.

Fukushima: The Evacuation of Tokyo with details,  44 x 60 cm,  copper plate etching,  edition of 20







Bandicoot and Magnolia

My wife is the most fabulous person in the world.  For me I mean.  Who else would have put up with this specimen on the dining room table for a week while I was creating the plate?


Edition of 20, 22x30 cm, intaglio from copper plate.

Thursday, December 19, 2013

New Blog

Have decided to save my art blog for (georgesmileyart.blogspot.com) for visual arts only.  georgesmileyblog.blogspot.com.au will be devoted to literary efforts and with general observations, scientific and  political commentary, and occasional links to other articles.  In general it will be about things I think are worth sharing and hope others will enjoy.

Best wishes
GS

Friday, October 5, 2012

Prints

A New Print Series

Have been doing  intaglio editions on copper plates using acrylic resists and ferric chloride mordant,so I can do this out on the lawn having been banned from the bathroom for ruining the bathtub.  That stuff stains and is nearly impossible to remove but the grass doesn't seem to mind.
 The series is mostly about Japan and inspired by traditional themes, line work etc.   Printmaking those centuries ago was part of the popular culture and took the place of present day glossy mags, They were sold on the street and were the equivalent of everything from 'People' to 'Hustler'.  As nothing changes, economics required they push the limits of the acceptable - many notable artists like Utamaro did prison time for offending the sensibilities with some of his erotic work.  Much of which is too explicit for my own tastes - so I have toned my own efforts a long way down from their matter of fact material.

The Floating World of the Antarctic Spring 34x29 cm.





































Tuesday, January 10, 2012

Finally installed and running

























The finished piece in the emergency waiting room - the ducks have carbon fibre wings, driven by brass cams and rod ends. A negative mold was made for the wings with pottery clay and the feathers were indented with the blade of a table knife. Then a plaster positive followed by a plaster negative into which the fabric and resin was laid down. It would have taken too long for the clay to dry.
The crocodile runs up and down on a linear bearing of my own design. The large central sprocket is part of an idler that gears his cocking mechanism down, and a counterweight made of an old fire extinguisher was also added because the small DC motor only draws a couple amps and couldn't cope with the whole lift. The electronics were designed and built by my son Jim using two 555 timers. When the buttons are pushed it completes a cycle -first it wouldn't go at all because the reed switch position indicator didn't turn back off when the crocodile was at the bottom due to the high gearing so he invented a cheat with small capacitor in series with the logic circuit and a 1 meg resistor across that to bleed it slowly. After a cycle the thing is locked out for two minutes to prevent it being worn out by the younger set.
What I love about steel - it is so light and airy.