Ordinary People, Startling Figures
It has been only 15 years since George Segal's sculpture startled and then enthralled the art world. In this relatively short period of time, museum visitors everywhere have become familiar with his work, white plaster-cast figures portraying ordinary people against a minimum of colorful props - a gas pump, a subway sign, a Coke machine. Their very simplicity as exhibition pieces heightens their theatricality. Segal is unquestionably one of our more expressive and important artists working today.
Jan van der Marck, director of Dartmouth galleries and collections, has written the first complete history and criticism of Segal's work, and it is a book recommended to anyone interested in sculpture and current American art. The artist was originally a member of what is best described as the second generation of abstract expressionists and at one time was closely associated with Alan Kaprow, who was instrumental in developing the "Happenings" which were so much a part of the early sixties. His development as a sculptor came slowly, and it was only after years of experimentation that he perfected his present method of casting from live models using hydrostone, an industrial plaster. One curious story emerges from these formative years: If Segal had not worked as a chicken farmer for seven years it might not have occurred to him to adopt the medium of wire covered with plaster when his interest turned to sculpture.
This volume has all the attributes of the famous series of Abrams art books: a large format, good craftsmanship, and excellent illustrations, although it must be said that it is difficult to gain the full effect of Segal's sculpture from photographs. Some background or criticism by van der Marck accompanies each of the illustrations and, from the introductory note, it is apparent van der Marck and Segal are good friends. So it is heartening that at times the author is relatively critical; all too often in books of this character, the text is an over-long hymn of praise.
Reviewing the course of Segal's work, the viewer is struck by the infinite variety the artist has brought to his original concept. At the same time, there has been no particular artistic development, seemingly no conscious effort to break away from the pattern of work which has been so successful. Segal today is only 52. If the two are still companionable, van der Marck might suggest to his friend that he become more venturesome; the results might very well be a failure, but given Segal's extraordinary talents there is a far greater chance this work would bring us still greater pleasures.
Van der Marck writes capably with a minimum of jargon and without too much recourse to the inside talk of the art world. There is a good deal of comment to the effect that Segal's work has never been correctly defined. Can he be classified as a Pop artist, an assemblegist, a Dadaist, or as an artistic descendant of Edward Hopper? In all this, van der Marck never does set down his own definition except to say Segal is very much his own man and successfully draws on a number of sources. Segal is unique, and his work is altogether expressive. Maybe this is all that needs to be said.
GEORGE SEGALBy Jan van der MarckAbrams, 1976. 234 pp. $37.50160 illustrations, 66 in full color
A modern art collector for a number of years,Mr. Jones served on the art advisory council forthe Hopkins Center.
