Word: sculptor
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Dates: during 1970-1979
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...tipsy to stand up, a prince turned slave, a man who once commanded 2 million rubles, ends up trying to cadge a thousand from an arriviste. In a moment of extreme poignance, the prince spies Strider. He remembers him and yet refuses to recognize him. Time, the supreme sculptor of decay and death, has confronted him with his own crumbling skull in a mirror...
...figures have kept their place on the edge of modernism for the better part of 20 years. They have also shown how art changes one's reading of other art. In the early 1960s, when Segal -the son of a New Jersey chicken farmer -first emerged as a sculptor, he was identified with Pop art. This happened because some of his tableaux had an aggressive, urban character and used real props: stacks of oil cans, winking beer neons, even the inside of a scrapped subway car, with seats, hanging straps, lights and all. Some 15 years later, after...
There is always something ominous about Segal's images; no American sculptor today runs his work closer to theater. The theatricality becomes particularly intense in his painted sculptures, where the coating of figures with primary red, yellow or blue gives them a ferocious visual punch while rendering them, in Segal's words, "more like abstract shafts of color." To take the colors associated with the most rigorous abstractionists of 20th century art - Mondrian and Barnett Newman - and use them in a piece like The Costume Party, begun in 1965, has a perverse aspect...
...props and set dressing. Segal is no formalist, but his sense of the abstract underpinning of sculpture cuts down on what might otherwise have become a tough-but-tender street sentimentality. He is, as the catalogue suggests, a "proletarian mythmaker," though not in a political sense; and no other sculptor working in America today has done more to revive the human figure as a subject...
...labor, Michelangelo was peremptorily summoned to Rome by Pope Julius II to design his tomb and later to paint the vaulted ceiling of the Sistine Chapel. "The place is wrong, and no painter I," grumbled Michelangelo, who considered himself first and foremost a sculptor. Three superb drawings of torsos show the pains he took over the huge scheme, which cost him four years of neck-straining labor...