American Sculptor, Photographer, and Painter
Using orthopedic bandages dipped in plaster, New York sculptor George Segal constructed some of the most haunting and memorable figurative art of the 20th century. Life-sized models based on his body and those of friends, family, and neighbors are seated at lunch counters, poised on street corners, or waiting in train stations. Like actors in a play that never starts, these figures inhabit three-dimensional environments that evoke everyday spaces. One can walk around them (which makes the effect all the more eerie) but they are lost in their own universe. It is impossible to warn them that the moment they are waiting for will never arrive. The most existential of the Pop artists, Segal gives us the opportunity to step outside the fast-paced consumer world in order to get a better look at how we function within it.
Segal Gay Liberation is a sculpture of four people near The Stonewall Inn bar in New York City that became extremely popular, and the artwork is uniquely accesible to this day - park visitors can sit right next to the sculpted figures.
This work is the first of Segal's sculptures incorporating bandages dipped in plaster, his signature medium. Man at a Table depicts a seated, life-sized figure based on the body of the artist himself. Segal wrapped his body parts in bandages and made casts which he then reassembled to make the figure. While less attention is given to specific context here than in later sculptures, Man at a Table is evidence of the key ideas he would explore for the rest of his career. First, there is the contrast between the real (the window, chair, and table are largely unmodified by the artist) environment, and the spectral presence that inhabits it. The use of the plaster bandage calls attention to the vulnerability of the body. Finally, there is the aura of anticipation. The figure, seated alone at an empty table, appears to be waiting for something. This suspense is part of the quiet drama of Segal's everyday scenes from the early 1960s.
By the mid-1960s Segal's figures and constructed environments had become more complex. Here, lit from above by a fluorescent lamp, are two figures at a realistic lunch counter. Familiar items such as coffee cups, sugar, napkin dispensers, and a coffee urn, set the stage. The objects are real; the white monochrome figures are not. They are arrested in motion, one seated and one working behind the counter. Diners, the quintessential symbol of middle-class America, had appeared in the work of numerous other artists. Where Segal goes further is in the medium itself - a life-sized restaging of the everyday event - and the mysterious, almost magical open-endedness of the moment he has chosen to capture. This could be anyone, in any diner, across the country. The theatrical aspects of the work are intensified by standing in the same space with it. In fact, this particular sculpture served as the backdrop for a 30-second promotional video in 2014 for the Walker Art Center, starring actor Danny Glover.
In a radical departure from his "banal subjects" (as he himself put it), and usual matte white figures, Segal debuted as a colorist in the mid-1960s. Inspired by a real costume party he attended, this work consists of six life-size figures. The "guests" include Superman, Pussy Galore (the James Bond character), Catwoman (from Batman), and Bottom (from William Shakespeare's "Midsummer Night's Dream.") The two figures relaxing on the floor are Cleopatra and Antony. While executed in the well-known plaster cast style Segal had established, these figures are painted in vivid monochrome red, yellow, blue, and black. Also in contrast to his earlier work is the absence of a setting that confines the figures to a specific space within the gallery. The figures look as if they might walk off at any moment.
Veering in the direction of the psychedelic, this piece interjects a note of levity into an otherwise serious body of work, taking the experience from gravitas to groove. In addition, the colors employed in this work were inspired by Native American folklore. Segal had recently read Black Elk Speaks, in which the Lakota Sioux leader names the four colors of the universe as black, yellow, red, and blue. Comparable to his late emergence as a photographer, this work is evidence of Segal's interest in a diverse array of sources, approaches, and media, as well as a capacity for playfulness.
Content compiled and written by The Art Story Contributors
Edited and revised, with Summary and Accomplishments added by Ruth Epstein
