Solving the problem

Art is problem solving. Either you are trying to solve the problem of what to say, and how to say it, or you are trying to solve the more tactile problem of how to make what you envision. And of course, along the way, there are always detours to be navigated, those of change of concept, or of construction issues that demand a change in how things are going to get done. It is part of the process, and sometimes, part of the sweet torment of making art.

Mount Rushmore is a study in problem solving. We are used to the majestic stance of the four faces – their calm visages belie the effort it took to get them up on the mountain. I can’t imagine how hard it was to get this approved, not only the design, but the location. Can you imagine going to the federal government to ask for a mountain to carve up?

In today’s “design by committee” methodology, too many voices with too many disparate agendas would dilute such a project down to a hodgepodge of symbolism that lacks the pure impact of a singly conceived idea (World Trade Center Mess-morial, anyone?). I expected to feel a bit over saturated by this particular landmark of Very Important Presidents, but am happy to report that, in the early hours before the throngs arrived, I found it quiet and majestic, and very nicely augmented by the center that surrounds it.

The sculptor, Gutzon Borglum, and his son Lincoln Borglum had to constantly modify the work as they carved and blasted. Here are a few of the things I discovered:
Jefferson started out on the other side of Washington. They have pictures of it! The rock face had too many faults so they blasted it away and moved him over. That’s why there is that flat expanse of obviously carved rock to the left of Washington.
Washington’s shoulders were square to his head at one point, but Borglum thought it looked too static once Jefferson was moved over and so pushed back Washington’s left shoulder to effect a turn out of his face. This also helped Jefferson’s face play better compositionally as it had to be turned towards Roosevelt because of a fault that would have taken his nose off.

Roosevelt is so deep back because they had to pull out 75 feet of unusable rock before they hit good granite. His glasses are ingeniously rendered just by the nosepiece and a curved line on the cheeks.

Lincoln almost didn’t have a beard – the artist went back and forth on it right until it was carved.

They experienced compressor issues every Monday morning until someone figured out that most of the ladies in the town below did their wash on Mondays – they installed a backup generator to compensate!

Mount Rushmore is a story of how art sometimes demands its own evolution. I can imagine the first concept of the four faces, lined up like Rockettes in a straight line. But by being willing to make the changes demanded by the problems, The Borglums made something even better. Sometimes the material dictates what can be done, and if you let go and ride along, something even better than you can imagine appears.