COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0004141
image_record_id
aahi0004141
Image Record ID
false
Work Title (display):
Holocaust Memorial for San Francisco
Image Title:
installation view
Work Dates (display):
1984
Work Dates type:
creation
Image Date (display):
2009-03-13
Work Creator (display):
George Segal (American, 1924-2000)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American sculptor. He studied at Cooper Union, New York (19412); Rutgers University, New Brunswick, NJ (19426 and 19613); Pratt Institute, Brooklyn, NY (19478); New York University (19489); and SUNY at Purchase (194950). Although he began as a figurative painter in the late 1950s in the company of artists such as Allan Kaprow, George Brecht and Al Hansen (b. 1927), who were involved with environments, assemblages and happenings, he turned to sculpture in order to render human figures in actual space and to relate them to their surroundings. He was also strongly influenced by Edward Hopper's paintings and specifically by their close attention to the attitudes, gestures and comportment of the figures and by the use of urban and rural settings to psychological ends. Segal's early work was treated within the framework of Pop art because of its references to the individual's position within mass culture and its examination of the relationship between fine art and popular art forms, but he began casting plaster of Paris moulds from living models in order to capture human gesture and stance in social contexts. Once cast, the figures were placed in environmental tableaux constructed by him to lock them in time. The process of casting followed several stages, beginning with the selection of a situation such as figures waiting outside a cinema, an isolated individual at an all-night laundromat, or his own father standing in the window of his butcher shop. Segal then selected a person and a pose and cast the figure, often in clothing appropriate to the setting, protecting the hair and the exposed parts of the body with cream and creating the cast from bandages soaked in plaster and applied and shaped to the body. In the first such works, for example Man at a Table (1961; Mönchengladbach, Städt. Mus. Abteiburg), Segal used only the outside surface of the cast, which he left unpainted, to give the figures an abstract, impressionistic and disembodied anonymous quality akin to the depersonalized social settings into which they were placed. Later in the 1960s, in works such as the Parking Garage (1968; Newark, NJ, Mus.), he poured an industrial plaster inside the cast to achieve a three-dimensional negative, which in capturing intimate details of his model's skin, expression and physical form produced more life-like figures. From the late 1960s, in works such as The Corridor (1976; Mexico City, Mus. Tamayo), he began to paint the casts in vivid colours, favouring pink, vivid blue and black as metaphors for a 'rosy disposition', a 'blue funk' and a 'black mood'. In addition to solitary figures, fragments and groups of figures in social settings, he also cast still-life tableaux after works by major modern artists, for example Picasso's Chair (1973; New York, Guggenheim). In the late 1970s Segal instituted a series of public monuments as pointed political and ideological statements, for example Gay Liberation (1980; New York, Sidney Janis Gal.), Steelmakers (1980; Youngstown, OH), Appalachian Farm Couple1936 (1978; Purchase, SUNY, Neuberger Mus.) and In Memory of May 4, 1970, Kent State: Abraham and Isaac (1978; Princeton U., NJ). The Holocaust (1982), for the San Francisco Memorial to the Six Million Victims of the Holocaust at Lincoln Park, consists of a group of dead or dying figures lying prone on the ground, cast in bronze from the plaster version; its subject-matter made it Segal's most controversial work. (Grove Art Online Accessed 2006-07-26)
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Subject:
Buchenwald (concentration camp)
subject
Buchenwald (concentration camp)
Work Subject
false
Work Subject:
Holocaust
subject
Holocaust
Work Subject
false
Work Subject:
World War II
subject
World War II
Work Subject
false
Work Subject:
crucifixion
subject
crucifixion
Work Subject
false
Work Subject:
Eve (Biblical figure)
subject
Eve (Biblical figure)
Work Subject
false
Work Subject:
Stars of David
subject
Stars of David
Work Subject
false
Work Subject:
memorials
subject
memorials
Work Subject
false
Work Subject:
body, human
subject
body, human
Work Subject
false
Work Worktype:
sculpture (visual works)
work_type
sculpture (visual works)
Work Worktype
false
Work Worktype:
installations (visual works)
work_type
installations (visual works)
Work Worktype
false
Work Category (VRC classification):
sculptures and installations
work_category__ucbaahvrc_classification_
sculptures and installations
Work Category (VRC classification)
false
Work Material and Technique (display):
bronze with white patina, wood, barbed wire
Work Measurements (display):
dimensions variable
Work Location (Repository or Site) name:
private collection
Work Location (Repository or Site) role:
installation
Image Source Reproduction citation:
Collins, Judith. Sculpture Today. New York: Phaidon Press, 2007.
image_source_copy_from_print_name
Collins, Judith. Sculpture Today. New York: Phaidon Press, 2007.
Image Source Reproduction citation
false
Image Source Reproduction refid:
978-0-7148-4314-8
Image Source Reproduction page number:
330
Image Source Reproduction plate-figure number:
334
Image Source Reproduction refid type:
ISBN
Image Rights (display):
© Scala
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© George Segal
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Collection
Collection info and contact:
For information about this collection, see