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A retrospective of the work of George Segal at
The Jewish Museum signifies the artist's search to
capture the inner life of human beings.

a

SUZANNE CHESSLER
Special to The Jewish News

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eorge Segal acted as the
model for his first direct-
cast white plaster sculpture,
Man Sitting At a Table
(1961). He's gone on from that first
revolutionary work to
create an immense vol-
ume of sculpture
much of it involving
friends depicting life-
size scenes.
Each sculptural
expression, as ancient
as a Bible story or as
modern as commuters
on a bus, has human
figures shaped from
white plaster cast on
people the artist

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Above: George Segal's "The Tunnel" —
(1968) is a familiar sio-ht for visitors to
the Detroit Institute o Arts.

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82 Detroit Jewish News

Sculptures, Paintings, Drawings" will
be displayed through Oct. 4.
The exhibition, organized by the
Montreal Museum of Fine Arts, com-
bines works from North American
public and private collections.
Among his most dramatic pieces is
Depression Bread Line, a somber corn-

Sculptor George Segal: "White plaster
surrogates for humanity"

knows. The material is then reworked
along the outside surface for different
effects and placed with realistic props.
Whether the three-dimensional
images deal with major events or
everyday living, they make statements
about common elements of the
human condition. Indeed, the artist
often thinks of his sculptural projects
as theater or film productions.
Samples of Segal's artistry, which
spans some 40 years and also delves
into other media, come together at
The Jewish Museum in New York,
where "George Segal, a Retrospective:

position of five destitute men recently
cast in bronze for the Franklin Delano
Roosevelt Memorial in Washington,
D.C. The Holocaust, which shows vic-
tims behind barbed wire, was cast in
bronze for the Holocaust memorial in
San Francisco.
"Rather than being a political
activist, I wanted to make public
sculpture that expresses the feelings of
ordinary people, who, I believe, are
not that ordinary," said Segal, 74,
whose body of work is represented by
42 pieces at The Jewish Museum.
"I count on the sensitivity, percep-
tion and insight of my models as much
as I count on my own. I'll say I want to
do a [certain] scene, and my curious
friends will ask what they're supposed
to be feeling. I describe a situation, and
it's like the plot for a [play or] movie."
Segal, born in New York City to
Eastern European Jewish immigrants,
moved with his parents to a chicken
farm in New Jersey when he was 16.
He studied art at Cooper Union in
New York but returned to work for his
father after his brother was drafted
into service.

