This is real. I need to emphasize that. It is a paper handed to me by an English major at Tidewater Community College, Virginia Beach, Va., in 1984. That’s right: an English major. The art-history assignment was to write a short research paper on an artist of the student’s choice, picking someone whose work they especially liked.
I was sometimes astounded at what I received from students. On one test for an art history class, with sixteen students, I got the word “coliseum” spelled sixteen different ways — and none of them correct. And that despite there being two acceptable spellings: “Coliseum” and “Colosseum.”
At any rate, this paper, on sculptor George Segal, was a particularly — what? — unusual — example. At many a faculty party, it was read aloud in full, with professors falling on the floor and holding their guts in laughter. If you have ever been a teacher, I’m sure you can understand.
It is important, when reading it, to pronounce all the misspellings and nonsense words. This transcription has been thoroughly copy-edited and proofread. Every typo and solecism is original to the student.
It all started as a painter. George Segal, an artist fasinated by the relationships between form and space, especially with negative space. Most of Segals education was centered around painting, in fact, while persuading a life as a chicken farmer, Segal continued his education in art. In one of the xerxed photos youll notice a scene of an artists studio. In the background are some of George Segals paintings. His interest in space and form are obvious in these paintings, and are expressed vividly.
After twenty years of painting Segal felt the canvas was too confining and explored other options. However he wanted to maintain his interest in form and shape. He discovered sculppture and felt great satisfaction with this. He said Sculpture deals with basic forms. … All basic forms exists as volumes. … Volumes penetrate each other and in this way are no longer single formations. Through penetration, space is created in its entirety. Every portion of space results from it. Basic forms are positive space volumes; negative space is created through the opposition of these positiv space volumes. Positive space is life-fulfilled — negative space is force impelled. Both exist simultaneously — both conceivable with each other. Its only the simultaneous existence of positive and negative space that creates the plastic unity. Segal realized he could free the image from the canvas by emphasizing it, however he was restricted the use of color as he used in painting. He began his career in sculpture with chicken wire and wood, and is now using bandages soaked in plaster and molding it over the models. He realized that he felt dissatisfaction with the modes of painting, and that he couldnt express the quality of his own feelings and emotions.
Segals subjects for his sculpture are common, every day subjects. Life situations that tend to be ignored or forgotton. Hes sculpted a woman putting on her shoe to carpenters working an average day. He almost always have a messages or reasons behind his subject matters. The discovery of his powerful sculptures came about quite accidental. Segal was showing his last exhibits at the Hansa Gallery in 1959, and wanted to convey how painted figures aspired to a third dimension and the illusion of space was missing. He tried to acheive this idea by placing three dimensional figures stepping out of his paintings which were hung low. The rough, and loosely drawn paintings corresponded with his sculptures that were also very rough. This is when the impact of the sculptures hit the public. This became the basic principal for all of the rest of Segals sculptures. A scupture gains definition by its relationship to another consciously presenting itself. This is definitely a rule that Segal continues to use.
Segals sculptures didnt appeal to everyone. In fact it was art that some people found hard to swallow. Some criticism included that the figures only confirmed an impression of a knotty conflict between freedom and timitation that looks to physical means only for a solution. The sculptures were found to be grotesque and dull. This put Segal on shifting ground. Segal felt his sculptures had a certain realism to them, and it allowed for free expression. He proceeded with his creations in scupture. Continuing with plaster he explored the possiabilities with this media. He soon began to practice putting the wet plasrer bandages on live models to get his human forms. This was frowned upon by the public because it was not free-hand. In the nineteenth century Rodin experienced a similar dilemma with his sculpture of a ballerina wearing a real tu-tu. But the awesome perfection of this effect couldnt be ignored, aside with the originality involved. Segal took up for himself by replying that its impossiable to have a human model pose in any other way than realistically when sitting in wet plaster. He goes on to expain that people have attitudes locked up in their bidies and arent aware of this. A person may reveal nothing of himself and then, suddenly one movement is made in the wet bandages and that movement contains a whole biography. Segal tries to capture the slightest gesture in order to show the imperfection, which he considers to be beautiful. Therefore his sculptures take on more realism and more emotions than if he had molded them by hand.
Segal claims to count heavily on the human ability to spot a metaphor, the urge to read poetry into things is universal. he has a lot to say and his scuptures have a dramatic way of expressing it. He arranges his figures as if there actors on a stage. They are placed as if we were as the audience, looking in through a window. This allows for the on-looker to feel free expression as to what is going on through the window.
Abstract Expressionsim is considered hot, serious, committed and spiritually strong. Pop Art is considered to be cool, ironic , detached and materialistic. Pop Art artist were often concerned with subject matter and technique. With this in mind Segal considered himself to be a Pop artist, if he had to place himself in a category. he considered an attitude of honesty as top priority, and to him there is neither good nor bad subject mater for life is life whether your tying your shoes or working a daily job. He claims to be primarily interested in aesthetic statements and insist on the attainment of abstract forms to carry this message out. he says it opens doors of riches of everyday experiences.
Many critics agreed with Segals opinion of his art. However there were some who did not. Still others would place him in the Abstract Expressionist scene. His colorous sculptures were seen as being absrtact, and his paintings have a lot of expression to them, yet still maintaining an abstract form. The critics saw a dynamic message behind his work which is a characteristic of Abstract Expressionism.
I personally view Segals talent lying in the Environmental Happenings or Assemblages. His work has escaped the flat canvas and moved to a three dimensional scupture. Much importance is placed on the environment of his subjects. This sets a mood for the emotion. His work is a frozen happening that stimulates a feeling. Take a look at the Execution, found in the back. This is four basic figures done in basic white. Nothing extravagavt is used here, however theres a strong reaction to this scene that creates an emotion.
Its been said its impossiable to place Segal in a certain historical category on account fo the various perceptural opinions. Possiably its a mix of Pop Art, Abstract Expressionism, and Environmental Happenings or Assemblages. People are different and will see things different. This is why boundaries cannot be placed on what art is. If it strikes a feeling or emotion, I consider it art, however way it is done.