George Segal (November 26, 1924 – June 9, 2000) was an American painter and sculptor associated with the pop art movement. He was presented with the United States National Medal of Arts in 1999.[1]
Although Segal started his art career as a painter, his best known works are cast life-size figures and the tableaux the figures inhabited. In place of traditional casting techniques, Segal pioneered the use of plasterbandages (plaster-impregnated gauze strips designed for making orthopedic casts) as a sculptural medium. In this process, he first wrapped a model with bandages in sections, then removed the hardened forms and put them back together with more plaster to form a hollow shell. These forms were not used as molds; the shell itself became the final sculpture, including the rough texture of the bandages. Initially, Segal kept the sculptures stark white, but a few years later he began painting them, usually in bright monochrome colors. Eventually he started having the final forms cast in bronze, sometimes patinated white to resemble the original plaster.
Segal's figures have minimal color and detail, which give them a ghostly, melancholic appearance. In larger works, one or more figures are placed in anonymous, typically urban environments such as a street corner, bus, or diner. In contrast to the figures, the environments were built using found objects.
During the few years he ran the chicken farm, Segal held annual picnics at the site to which he invited his friends from the New York art world. His proximity to central New Jersey fostered friendships with professors from the Rutgers University art department. Segal introduced several Rutgers professors to John Cage, and took part in Cage's legendary experimental composition classes. Allan Kaprow coined the term happening to describe the art performances that took place on Segal's farm in the Spring of 1957. Events for Yam Festival also took place there. After his death on June 9, 2000, he was interred at Washington Cemetery in South Brunswick, New Jersey.
His widow, Helen Segal, kept his memory and works alive, until her death in 2014, through the George and Helen Segal Foundation. The foundation continues this mission. George and Helen had three children.[4]
Abraham's Farewell to Ishmael (1987), presented at the Pérez Art Museum Miami between 2019-2023. The set of sculptures is part of PAMM's permanent collection.[11][12]
George Segal (1980). Directed by Michael Blackwood. Documentary about Segal, who discusses and is shown creating his bronze sculpture Abraham and Isaac, which was originally intended as a memorial for the Kent State shootings of 1970.
George Segal: American Still Life (2001). Directed by Amber Edwards. Television documentary about his life and work.[17]
^"George Segal | Smithsonian American Art Museum". americanart.si.edu. Retrieved September 5, 2023.
^"George Segal: Biography". The George and Helen Segal Foundation. Retrieved August 18, 2014.
^[dead link] Turner, Elisa (December 20, 1998). "Segal Exhibit Evokes Quiet Dignity of Humdrum Lives". Miami Herald. Retrieved July 31, 2007. "That compassion is also evident in the work ethic and personality of this artist, who's called himself a Depression baby and who speaks fondly of South Brunswick, N.J., where he's lived since the 1940s, as a working man's town."
^[dead link] "Guggenheim Acquires Sculptural Work by George Segal". Solomon R. Guggenheim Museum. August 8, 2012. Archived from the original on August 19, 2014. Retrieved August 18, 2014.
^"Abraham and Isaac: In Memory of May 4, 1970, Kent State University, 1978–79". Campus Art Princeton. Retrieved August 18, 2014.
^[dead link] "George Segal's Gay Liberation". GLBTQ Encyclopedia. Archived from the original on November 24, 2014. Retrieved August 18, 2014.
^"Sculptor George Segal's Model Commuters Are a Study in Terminal Patience". People. June 7, 1982. Retrieved August 18, 2014.
^Honolulu Museum of Art, wall label, Japanese Couple against a Brick Wall by George Segal, 1982, plaster, wood, paint and faux brick, accession January 28, 2013.
^Uszerowicz, Monica (January 16, 2020). "George Segal's Timeless Allegory of Human Discord". Frieze. No. 209. ISSN 0962-0672. Retrieved February 21, 2023.
^"George Segal: Abraham's Farewell to Ishmael • Pérez Art Museum Miami". Pérez Art Museum Miami. Retrieved February 21, 2023.
^Staff (December 2, 2010). "George Segal Sculptures Walk to New Location at Montclair State". Montclair State University. Retrieved June 26, 2016.
Busch, Julia M. (1974). A Decade of Sculpture: The New Media in the 1960s. The Art Alliance Press: Philadelphia; Associated University Presses: London. ISBN 0-87982-007-1.
External linksedit
Wikimedia Commons has media related to George Segal (artist).
George and Helen Segal Foundation
The George Segal Papers at Princeton University
“Abraham and Isaac”, Princeton University Retrieved April 21, 2011
The Commuters, Port Authority Bus Terminal, New York City Retrieved April 21, 2011
George Segal – Time magazine "Machine of the Year: The Computer Moves In" (January 3, 1983]
George Segal – "Portraits in Plaster". The Baltimore Museum of Art: Baltimore, Maryland, 1967 Archived October 30, 2015, at the Wayback Machine Retrieved June 26, 2012