DOCSLIB.ORG

George Segal Inspired Figure Sculpture Th E Project Th E Project

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
George Segal Inspired Figure Sculpture Th E Project Th E Project GEORGE SEGAL INSPIRED FIGURE SCULPTURE Sculptor George Segal w as born to a Jew ish couple in New Y ork in 1924. George grew up w ith his fam ily w orking in their butcher shop in the B ronx, and later on their farm . Segal also lived w ith his aunt for a period so that he could begin his plans to further his education in a m ath/science related field. In this process George discovered his passion for art. George received his form al art training at Pratt, Cooper Union, and NY U. Segal received his teaching degree in 1949 from NY U. At this tim e Segal saw a shift in the m essage being expressed through art and it w as m ore related to real life issues. (George Segal, 1924-2000) As Segal‘s interest in art grew he began to explore the various art sub-cultures in and around his neighborhood. It w as in 1958 that Segal debuted the w ork that he is m ost know n for today, his plaster figure sculptures. Segal began this process by experim enting on his ow n body. H e and his w ife w orked together to plaster cast Segal‘s entire body in pieces, and then assem ble them together as one that w ould sit in an environm ent w ith a chair, w indow fram e, tables, etc. Segal is the artist know n to have m astered the casting technique and real life tableaux. Segal m ost often used friends and fam ily m em bers as his m odels. Segal w as considered to part of the Pop Art m ovem ent along w ith Roy Lichtenstein, Robert Indiana, and Andy W arhol. Segal‘s w ork first surfaced in a raw form –w hite plaster w ith the rough texture apparent. Y ears later he began painting the w ork and this w as usually in bright, m onochrom atic colors. Eventually Segal‘s pieces w ere cast in bronze and patinated. W hile figures w ere built of plaster or bronze, the environm ents the pieces w ere placed in w ere built of found objects. Larger scale pieces w ere even found in restaurants, bus stops, and street corners. (W om an in Arm chair, 1994) Figure: A representation of a hum an being in a picture or sculpture. Cast: To pour som ething such as m olten m etal or plaster into a m old and allow it to solidify, or to m ake an object in this w ay. (Dentist, 1966-1970) Tableaux: A striking incidental scene, as of a picturesque group of people Pop Art: An art m ovem ent that focused attention upon fam iliar im ages of the popular culture such as billboards, com ic strips, m agazine advertisem ents, and superm arket products. Actual Texture: The feel and appearance of a surface, especially how rough or sm ooth it is. M onochrom atic: H aving, or perceived as having, only one color. B ronze:: A hard yellow ish-brow n alloy of copper and tin som etim es containing sm all am ounts of other m etals. H arder than copper and is often cast to m ake statues. Patina: A thin greenish layer, usually basic copper sulfate that form s on copper or copper alloys, such as bronze, as a result of corrosion. Found Object: objects that are not norm ally considered art, often because they already have TaH m uEnda nPe, RutiOlitaJriEanC fuTnct ion. Created by Robyn Acker Y ou w ill be creating a figure sculpture in the sam e process that Segal did but you w ill be using tape. Each group m em ber w ill act as both the sculptor and the m odel. That m eans that there w ill be a life- size figure of each class m em ber! 1. Determ ine position , pose, or form . Sketch som e ideas below –use a gesture draw ing form at. Are you playing basketball, skateboarding, dancing, flying, reading a book, playing chess, the violin… possibilities are endless. M aybe you have a favorite hobby that could truly represent you? 2. Y ou w ill w rap tape in layers. Y our first layer w ill be Saran W rap. This w ill prevent the tape from sticking to Y OU! Continue to w rap layers of tape, sticky side dow n. Approxim ately 3 layers should w ork. 3. Approach the figure in —body sections“. After a section is w rapped you‘ll need to cut a seam . This seam w ill be taped back together. It is im portant the cuts be clean so the repair job is clean. 4. W hen doing head/face you‘ll need to w ear a stocking hat–Y OU provide the hat. Features m ay need to be adjusted/enhanced after you rem ove the tape from the head. 5. If you w ould like to add any artistic elem ents to the inside of the piece you‘ll need to do that now . Y ou m ay collage, paint, fill w ith objects, etc. 6. B egin to reassem ble the sections into a w hole figure. TH UM B NAIL SK ETCH ES (Sources : w w w .princetonol.com ; w w w .segalfoundation.org; w w w .en.w ikipedia.org; Encarta W ord Dictionary) Created by Robyn Acker .
Load more

Recommended publications
  • National Gallery of Art
    National Gallery of Art FOR IMMEDIATE RELEASE Deborah Ziska, Information Officer March 19, 1999 PRESS CONTACT: Patricia O'Connell, Publicist (202) 842-6353 NATIONAL GALLERY OF ART SCULPTURE GARDEN TO OPEN MAY 23 New Acquisitions in Dynamic Space Will Offer Year-Round Enjoyment on the National Mall Washington, D.C. -- On May 23, the National Gallery of Art will open a dynamic outdoor sculpture garden designed to offer year-round enjoyment to the public in one of the preeminent locations on the National Mall. The National Gallery of Art Sculpture Garden is given to the nation by The Morris and Gwendolyn Cafritz Foundation. The landscaping of the 6.1-acre space provides a distinctive setting for nearly twenty major works, including important new acquisitions of post-World War II sculpture by such internationally renowned artists as Louise Bourgeois, Mark di Suvero, Roy Lichtenstein, Claes Oldenburg and Coosje van Bruggen, and Tony Smith. The Sculpture Garden is located at Seventh Street and Constitution Avenue, N.W., in the block adjacent to the West Building. "We are proud to bring to the nation these significant works of sculpture in one of the few outdoor settings of this magnitude in the country," said Earl A. Powell III, director, National Gallery of Art. "The opening of the Sculpture Garden brings to fruition part of a master plan to revitalize the National Mall that has been in development for more than thirty years. The National Gallery is extremely grateful to the Cafritz Foundation for making this historic event possible." - more - Fourth Street at Constitution Avenue.
    [Show full text]
  • “Print by Print: Series from Dürer to Lichtenstein” Exhibition at the Baltimore Museum of Art
    A behind the scenes look: the making of the “Print by Print: Series from Dürer to Lichtenstein” exhibition at The Baltimore Museum of Art One of our recent projects was to make frames for The Baltimore Museum of Art’s “Print by Print: Series from Dürer to Lichtenstein” exhibition. In doing research on the exhibition I noticed the funding came because of the collaboration the museum did with the students from The Johns Hopkins University (JHU) and the Maryland Institute College of Art (MICA). Since funding has become much more of an issue in these days of reduced budgets, this caught my attention and I wanted to find out more about the collaboration. I was also interested in sharing with our readers a behind the scenes view of the making of an exhibition. On Friday November 18, 2011 I met with Rena Hoisington, BMA Curator & Department Head of the Department of Prints, Drawings, & Photographs, Alexandra Good, an art history major at JHU, and Micah Cash, BMA Conservation Technician for Paper. Karen Desnick, Metropolitan Picture Framing I was especially intrigued about the funding of this exhibition and the collaborative aspects with the students of The Johns Hopkins University and the Maryland Institute College of Art. Can you elaborate on the funding source and how the collaboration worked? Rena Hoisington, BMA I submitted a proposal for organizing an exhibition of prints in series a couple of years ago. Dr. Elizabeth Rodini, Senior Lecturer in the History of Art Department at The Johns Hopkins University and the Associate Director of the interdisciplinary, undergraduate Program for Museums in Society, then approached the Museum about working on a collaborative project that would result in an exhibition.
    [Show full text]
  • Project Windows 2018 John Singer Sargent and Chicago's Gilded
    February 14, 2018 Project Windows 2018 John Singer Sargent and Chicago’s Gilded Age The Art Institute of Chicago “Art is not what you see, but what you make others see.” Edgar Degas Magritte transformed Marc Jacobs ART INSTITUTE OF CHICAGO AWARD, 2014 Magritte, The Human Condition Lichtenstein reimagined Roy Lichtenstein, Brushstroke with Spatter Macy’s BEST OVER-ALL DESIGN 2015 Vincent brought to life Vincent van Gogh, Self-Portrait AT&T PEOPLE’S CHOICE AWARDS, 2016 2017 Gauguin: Artist as Alchemist Neiman Marcus Paul Gauguin, Mahana no atua (Day of the God), 1894 ART INSTITUTE OF CHICAGO AWARD, 2017 Sargent Inspiration - Experiential Sargent Inspiration - Visual Sargent Inspiration - Tactile Benefits Part of a citywide cultural Public Voting Drives traffic and builds celebration awareness Judges Showcase your designers Awards Celebration talent Resources michiganavemag.com/Project-Windows Images + developed merchandise PR + Social Media Advertising Annelise K. Madsen, Ph.D. Gilda and Henry Buchbinder Assistant Curator of American Art John Singer Sargent (American, 1856–1925) John Singer Sargent and Chicago’s Gilded Age The Fountain, Villa Torlonia, Frascati, Italy (detail), 1907 Oil on canvas 71.4 x 56.5 cm (28 1/8 x 22 1/4 in.) July 1–September 30, 2018 | Regenstein Hall East Friends of American Art Collection, 1914.57 The Art Institute of Chicago Gilded Age Painter of International Renown John Singer Sargent (1856–1925) The Art Institute of Chicago Inspiration Sargent’s art is both old and new, traditional and avant-garde.6 John Singer
    [Show full text]
  • Andy Warhol Who Later Became the Most
    Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15.
    [Show full text]
  • Dick Polich in Art History
    ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship.
    [Show full text]
  • Quick Facts from the Modern Docent Newsletter
    Quick Facts from the Modern Docent Newsletter Summer 2008 In Andy Warhol’s Twenty-Five Colored Marilyns, 1962, the colors were hand-painted with the aid of stencils before the black areas were silk-screened on top. Roy Lichtenstein used a homemade stencil to achieve the effect of Ben-day dots in his paintings. The Museum Ludwig in Cologne, Germany, owns Gerhard Richter’s painting Ema (Nude on a Staircase), 1966. Twenty-six years later, in 1992, the artist created an edition of 12 photographs of that painting, including the one in our permanent collection. Fall 2008 The stone used by Ulrich Rückriem in his untitled work from 1980 is Texas red granite from a quarry in Fredericksburg, TX. In 1981, this institution (then known as the Fort Worth Art Museum) hosted his first one-man museum exhibition in America, and when his work proved too costly to ship from Germany, he created new work in Texas using native stone. The figures and their bases in Stephan Balkenhol’s 4 Figures, 2000 are not separate pieces, but each a single continuous form. Also, Balkenhol’s major professor at the Hockschule für Bildende Künst in Hamburg, Germany, was Ulrich Rückriem. January 2009 Here are some interesting connections between some of the artists whose works are currently exhibited on the first floor: Ellsworth Kelly lived in the same building as Agnes Martin in Lower Manhattan in the late 1950s. They had breakfast together every day for a year and a half. Carl Andre and Frank Stella shared a studio space in New York from 1958–1960, the years Stella developed his black stripe paintings.
    [Show full text]
  • Roy Lichtenstein: History in the Making, 1948–1960
    Roy Lichtenstein: History in the Making, 1948–1960 Parrish Art Museum August 1–October 24, 2021 Roy Lichtenstein (American, 1923–1997), Self-Portrait at an Easel, ca. 1951–52. Oil on canvas, 34 1/16 x 30 1/8 inches. Private collection. Premiering at the Parrish Art Museum and traveling to the Nasher Museum of Art at Duke University and the Colby College Museum of Art, Roy Lichtenstein: History in the Making, 1948–1960 will be the first major museum exhibition to investigate the early work of one of the most celebrated American artists of the 20th century. “The Parrish is thrilled to be hosting this extraordinary survey of work from the artist’s fruitful formative years and privileged to be the premier public venue for the exhibition. Roy Lichtenstein’s long history with the East End of Long Roy Lichtenstein, Pilot, ca. 1948. Pastel, graphite pencil on colored paper, 10 Island and his deep affection for the 1/2 x 13 3/4 inches. Collection of the Whitney Museum of American Art, New York. The Roy Lichtenstein Study Collection; gift of the Roy Lichtenstein region make this a singular occasion Foundation, 2019.43. to celebrate his legacy as we welcome visitors from far and wide.” —Alicia G. Longwell, Ph.D., Lewis B. and Dorothy Cullman Chief Curator, Art and Education Landmark Exhibition of Formative Work Providing an illuminating prologue to the artist’s well-known comics- inspired imagery, History in the Making tells the largely overlooked story of Lichtenstein’s early career, when formal experimentation and a keen eye for irony irrevocably defined his art.
    [Show full text]
  • MAY 15 and 17, 2017
    PRESS RELEASE | NEW YORK | 2 3 FEBRUARY 2017 | FOR IMMEDIATE RELEASE INCLUDING WORKS BY CHAGALL, DUBUFFET, LICHTENSTEIN AND PICASSO TO BE OFFERED IN NEW YORK ALL PROCEEDS TO BENEFIT CLEVELAND CLINIC HEART & VASCULAR INSTITUTE MAY 15 and 17, 2017 LEFT: Pablo Picasso, Femme assise dans un fauteuil, Painted in Montrouge and Paris, 1917-1920 ($20,000,000-30,000,000) CENTER: Roy Lichtenstein, Expressionist Head, Executed in 1980 (estimate: $2,500,000-3,500,000) RIGHT: Marc Chagall, Les trois cierges, Painted in 1939 (estimate on request) New York – Christie’s presents Property from Cleveland Clinic generously donated by Mrs. Sydell Miller, which will be offered in Christie’s 20th Century Week of Impressionist and Modern Art and Post-War & Contemporary Art, May 15 and 17. All eight works — by Louise Bourgeois, Marc Chagall, Jean Dubuffet, Max Ernst, Alberto Giacometti, Roy Lichtenstein, Marino Marini and Pablo Picasso — were donated to Cleveland Clinic by Mrs. Sydell Miller, who has a long association with the hospital. All proceeds will benefit Cleveland Clinic Heart & Vascular Institute. A global tour* of highlights will commence at Christie’s London. Laura Paulson, Christie’s Chairman, remarked: “Christie’s is honored to have been entrusted with eight remarkable works that Mrs. Sydell Miller so kindly gave to Cleveland Clinic. The collection is a sweeping representation of 20th century art, which bears a figurative thread of sumptuous materiality and color. The degree of quality and cohesion possessed by this selection are the direct results
    [Show full text]
  • Gerald Van De Wiele: Variations Seven Decades of Painting, Drawing and Sculpture
    Gerald van de Wiele: Variations Seven Decades of Painting, Drawing and Sculpture curated by Jason Andrew January 19-May 19, 2018 This historic retrospective captures seven-decades of art by Gerald van de Wiele; an exhibition that highlights the artist’s distinctive calibration of color and line while tapping the pulse-rhythm of the natural world. Gerald van de Wiele: Ever the Dreamer by Jason Andrew Black Mountain College has a rich and complex narrative. It’s a story full of many colorful characters, suspenseful chapters, and historic scenes. One such narrative that hasn’t been told, until now of course, is the story of Gerald van de Wiele. “By the time I was in my early teens, I knew I wanted to be a painter. There was no question about it,” van de Wiele told author and historian Martin Duberman in 1968, “I didn’t know what it meant and everything, but I knew a lot about art at a very early age, maybe even 13 or 14 years old—maybe even earlier. And the path ahead seemed very clear. I knew that’s what I’d be, a painter.”1 Gerald van de Wiele was born in 1932 and raised in Detroit. He attended Cass Technical High School from 1947-1950. One day, a recent grad of the school by the name of Ray Gerald van de Wiele Johnson visited his class “singing the praises of a place called Untitled (Black Mountain College) (1956) Black Mountain College. That was the first time I heard of Oil on canvas, 20 x 16 in.
    [Show full text]
  • Postmodern and Pop.Prs
    Postmodern and Pop.prs From Modernism to Post-Modernism Abstract Expressionism: the art work becomes an environment; the presence of the artist is central as the artist "lives" in the process of making the art work minimalism: the art work enters the real world even as it maintains its Pop art: real life enters the art work; the art work enters real life difference; the art work challenges space and the spectator and denies the a confusion of reality and illusion/fantasy presence of inner content ImagePage 1 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. Postmodern and Pop.prs A postmodern paradigm: Neo-Dada of the Sixties? art as a commitment to the unknowable or uncertainty inconstancy of form-->formlessness: The Pop Art confusion of boundaries of media, of real and unreal, Tendency of the original and the copy the disguised or fragmented human body Richard Hamilton: Just what is it E. Paolozzi: I Was a Rich Man's about today's homes that makes Plaything, 1947 them so appealing? (1956) Rosenquist: President Elect, 1960 (oil on fiberboard, 84 x 146") ImagePage 2 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. Postmodern and Pop.prs Wesselmann: Still Life #20, 1962 (collage, assemblage, wood, bulb, sink, 46 x 48") Bathtub Collage #3, 1963 (84 x 106 x Still Life #31, 1963 (oil, collage, 20") working t.v., 48 x 60" Great American Nude #6, 1961 (48 x 48") Great American Nude #28, 1962 (48 x 66") Smoker #9, 1973 (83 x 89"; Robert Venturi and Denise Scott Brown: oil on canvas) Learning from Las Vegas, or is there such a thing as Pop Architecture? ImagePage 3 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes.
    [Show full text]
  • Abstract Expressionism and Pop Art
    MODERN ART AND IDEAS 7 1950–1969 A Guide for Educators Department of Education at The Museum of Modern Art ABSTRACT EXPRESSIONISM AND POP ART Artists included in this guide: Helen Frankenthaler, Richard Hamilton, Jasper Johns, Franz Kline, Willem de Kooning, Roy Lichtenstein, Charles Moore, Barnett Newman, Claes Oldenburg, Jackson Pollock, Robert Rauschenberg, James Rosenquist, Mark Rothko, and Andy Warhol. TABLE OF CONTENTS 1. A NOTE TO EDUCATORS 2. USING THE EDUCATORS GUIDE 3. SETTING THE SCENE 7. LESSONS Lesson One: Revolutions in Painting Lesson Two: Color and Environment Lesson Three: Transforming Everyday Objects Lesson Four: Art and Politics Lesson Five: Artist’s Choice: People 29. FOR FURTHER CONSIDERATION 32. GLOSSARY 34. SELECTED BIBLIOGRAPHY AND RESOURCES 36. MoMA SCHOOL PROGRAMS No part of these materials may be reproduced or published in any form without prior written consent of The Museum of Modern Art Design © 2007 The Museum of Modern Art, New York A NOTE TO EDUCATORS This is the seventh volume in the Modern Art and Ideas series for educators, which explores 1 the history of modern art through The Museum of Modern Art’s rich collection. While tra- A NOTE TO EDUCATORS ditional art historical categories are the organizing principle of the series, these parameters are used primarily as a means of exploring artistic developments and movements in con- junction with their social and historical context, with attention to the contribution of specific artists. The guide is informed by issues posed by the selected works in a variety of mediums (paint- ing, sculpture, prints, photography), but its organization and lesson topics are created with the school curriculum in mind, with particular application to social studies, visual art, his- tory, and language arts.
    [Show full text]
  • 100823 Broad Collection Location Architect Announcement
    news release Broad Collection to be Built on Grand Avenue in Downtown Los Angeles; Broads Name Diller Scofidio + Renfro as Architect For Immediate Release Contact: Karen Denne Monday, Aug. 23, 2010 310-954-5058 LOS ANGELES – The Broad Collection, a public museum of contemporary art and headquarters of The Broad Art Foundation’s worldwide lending library, will be built on Grand Avenue in downtown Los Angeles and will be designed by world-renowned architects Diller Scofidio + Renfro, philanthropists Eli and Edythe Broad announced today. With today’s approval by the Grand Avenue Authority, on the heels of unanimous support by the Los Angeles City Council and Community Redevelopment Agency (CRA) and the Los Angeles County Board of Supervisors, the Broads have all the necessary approvals to build the approximately 120,000-square-foot museum. The Broads are expected to spend between $80 million and $100 million to build the museum and a parking garage, which was added to the project at the request of the CRA. They will also pay $7.7 million to lease the land, and they will endow The Broad Art Foundation with $200 million to cover ongoing annual operating expenses. The Broads’ decision comes after three years of evaluating locations in Beverly Hills, Santa Monica and Los Angeles. “Our heart is on Grand Avenue in downtown Los Angeles,” said Eli Broad. “This is our gift to the city that has been so good to us. We want to make great works of contemporary art accessible to the broadest public, and we can think of no better location than in the center of the contemporary art capital of the world.
    [Show full text]