Jewish Art History: George Segal - Case Study Example

Topic: Jewish Art History- George Segal The Jews art history is often a glimpse of its cultural heritage; it brings the past into the present to befelt and lived. Segal belongs to that genre of Jew artists who find a place of respect in Jewish museums. Segal’s sculptors have been a mirror of Segal himself, as “a keeper of America’s conscience” (Haber 2010). Segal is seen as the humanist of Pop Art displaying hopelessness in stead of comic part of life. Ordinary people are parts of Segal sculptors; his characters seem to be white ghosts. It is modern art excelling in plaster. Segal has sculpted his friends in figurative casts in stead of using freehand. His characters are cold white representations depicted in natural setting. Each presentation of human unfertile artifact offers a contrast with inhuman people and artificial means like medical bandages and casts to sculpt them. George Segal: Street Scenes – the Depressed Bread Line George Segal’s Street Scenes depicts urban environment. Segal (1924-2000) is known as one of the most renowned and influential American artists of the modern times. In the early sixties, he diverted to using plaster for making full figures out of hard material contrasting them with the objects in the environment like chairs, doors, walls to describe ordinary situations, human values and material hardships – all. It was novel way of presenting life and its hardships. Public attention as well as art critics, art historians, curators and other artists noticed and widely appreciated Segal’s works (Isthmus 2008). Segal was quite impressed of the urban environment of New York City although he was born and brought up in rural setting. His art forms depict the urban environment, which he keenly viewed and captured through the Street Scenes. It is an artistic pursuit -- a journey into urban surroundings that Segal has shown. Segal was booked to create a sculpture in 1991 for the Franklin Delano Roosevelt Memorial in Washington, DC. He sculpted Depression Bread Line, a 9 x 12 x 3 foot work, depicting five men standing in a queue waiting to enter the door next to the wall made of bricks in the background setting. Segal presented the reality of life full of hardships where remaining in a line and waiting to be called in has become a sordid reality that the Great Depression has brought facing starkly through the economic havoc it has created where opportunities to earn a livelihood have become numbered as the economic crisis takes the toll. Friedman has compared Segal’s “urban vignettes” with the “latter-day equivalent of the gritty American reportage found in the early twentieth-century canvases of John Sloan, Robert Henri, and their fellow Ashcan school literalists” (Isthmus 2008). As Segal used himself and his friends as characters of his sculptures, according to Fleischmann, the leading man in the breadline was casted in the resemblance of Segal himself. The second was casted to resemble Martin Friedman, emeritus director of the Walker Art Center in Minneapolis who has arranged for Fleischmann’s introduction to the foundation. The next three figures in the line also were made to resemble Segal friends. Segal was more often into presenting real life characters into his art forms (Isthmus 2008). Segal has explored the urban destruction all along the twentieth century in his works. In the words of curator Jane Simon, “The exhibition reveals Segal’s fascination with the darker, seedier side of life.” Funds for the sculptor were provided by Bill and Jan DeAtley, James and Sylvia Vaccaro, a major donation from the Madison Community Foundation, Jim and Cathie Burgess, the Pleasant T. Rowland Foundation, the Overture Foundation, and Tom and Martha Carter. Black, White, and Shades of Gray In his latest works, Segal has denounced color but not the paint. His Street Scenes of five men waiting in a line, indicating the effects of Great Depression have been painted in monochrome grays. It shows the maturity of the artist even though African American he thinks in dark shades as the life is. No story line as it is too simple to understand the time of economic depression that he depicts in Street Scenes (Haber 2010). In his earlier works, Segal has added his inputs to the Pop Art. Keeping his art work in Jewish museums has added to the seriousness his sculptors outline. When Segal started his art career as a painter, he had all the characteristics of an Abstract Expressionist. A change came after the 1960swhen he once again blurred the difference between the plaster cast and the object. Initially he preferred painting the casts in tart blue and shinning colors (Haber 2010). As Segal saw financial growth with the passing of time, his characterization of people also got impacted; he started portraying people like Sydney Janis, his dealer. Later, he tried three-dimensional practiced in modern painting. His particular vocabulary is lifelessness, which he repeatedly represents. Thus, his art unlike the art that outlives time, according to Haber (2010) cannot be counted among the immortals (Haber, 2010). Biography of Segal’s Work Segal work came to public attention through Jewish museums that gave him the recognition of a popular modern Jewish artist, such as the New York Jewish Museum has shown its commitment to preserve not only the Jewish history but visual arts as well. Segal’s work is not solely dependant on Jewish museums (Haber 2010). Exhibition of his work in art galleries also popularized his work. As the Madison Museum of Contemporary Art (MMoCA) ran an exhibition of Segal’s Street Scenes in the main art galleries of the museum. In one such exhibition organized by the MMoCA director Stephen Fleischman and curator Jane Simon, 16 sculptors of Segal ranging from 1960s to the late 1990s were shown. Segal Street Scenes traveled to Nasher Sculptor Center, Dallas, Texas to be exhibited there between January 24 to April 5, 2009, the Nelson-Atkins Museum of Art, Kansas City, Missouri between May 9 to August 2,2009, and the Norton Museum of Art, West Palm Beach, Florida from September 8 to December 6, 2009. Such exhibitions of his art work have been a medium of his art being recognized and viewed by masses (Haber 2010). Segal’s work: Appeal, Success or Reputation After seeing the huge appeal of Depressed Bread Line of Segal, the Madison Museum of Contemporary Art has ordered a bronze casting of the image for ever keeping it in its collection. This indicates the popularity of the sculptor. While holding a retrospective of Segal works was under way, Fleischmann was paying visits to the New Jersey studio to make a list of the art pieces, as he wanted the exhibition of ‘Depression Bread Line’, the only inhibition was that it was casted in plaster. As Segal has given permission to cast seven images of Depression Bread Line in bronze before his death, the foundation has made one of the proposals to MMoCA with certain terms. Fleischmann agrees to the popularity of the sculpture, which is the reason of its casting in bronze. It attracts a wide range of people; visitors will rush particularly to see this piece of art. It is planned to sculpt the wall behind also in bronze to add to its formal grandeur. Art patrons come to Madison as their junction to view creations of art and some might think of taking a membership of MMoCA (Isthmus 2008). MMoCA has played a prominent role in mass popularization of Segal Street Scenes. MMoCA has made a casting of Depression Bread Line the permanent possession with the special gift from the George and Helen Segal Foundation, with grant from a number of art lovers including Bill and Jan DeAtley, James and Sylvia Vaccaro, a big grant from the Madison Community Foundation, Jim and Cathie Burgess, the Pleasant T. Rowland Foundation, the Overture Foundation, and Tom and Martha Carter (Haber, 2010). At MMoCA, viewers can see 13 photographs of Segal’s friend, Donald Lokuta to peep into the work process of Segal besides a catalog of articles written by MMoCA director Stephen Fleischman, Martin Friedman, and Jane Simon, and made available for selling in the Museum Store (Haber 2010). Discussions of Diaspora and Assimilation The Jewish Diaspora has been decreasing since the Second World War. According to Israeli Foreign Minister Shimon Peres in the Knesset (1994), the Jewish Diaspora has lost two million Jews in 50 years till 1990. It has been due to high assimilation and low birth rate. The percentage of American Jews is decreasing because of mixed marriages. At the current rate of assimilation, the Israeli Jews would become the biggest Jew community, the reason being the decrease in Jewish population everywhere except Israel. Wherever there are Jewish school systems worldwide, the rate of inter-marriage is low; it is high in Eastern Europe and CIS countries (MFA 1994). It is a matter of grave concern that 75 percent of American Jews don’t relate themselves with Synagogue or any Jewish organization. The Jewish identity is in danger from secular approach of world societies, particularly the American. The success of Jewish people is tested from their integration and assimilation in the society where they live besides the financial hold. Diaspora Jewry identifies not with the historic lineage it belongs to but by economic growth (MFA 1994). In American society, Jews are accepted in all walks of life and socio-economic structures; they have become a part of liberal professions and intellectual class through the process of secular features prevalent overall in American society. Jewish youth like non-Jewish youth are getting aloof from their religion because they perceive the happenings of history had occurred due to religious conflicts (MFA 1994). Assimilation of Jews in the societies they reside in is a matter of concern for Jewish organizations. Foremost effort in this direction is to ensure survival of Jews as an entity. Jewish education can help in finding that identity and strengthening Jewish bonding with Israel (MFA 1994). The notion of ‘Jewish continuity’ is the primary theme and matter of heated discussion among wide Jewish groups. The role of Israel can be crucial in anchoring that continuity. There is need to chalk out a list of steps to be taken on Israel-Diaspora relations. Assimilation of Jews needs to be halted further depending on the seriousness of the issue. People need to come together from the whole political spectrum including all members of the Knesset to find collectively a solution to the increasing rate of Jews assimilation. A partnership of the Diaspora Jewry and the State of Israel can help in material and spiritual rejuvenation of the Jewish community to feel a sense of proud to be called Jews. Basis of this partnership should be made first by ensuring the gathering of Jewish people in the Jewish stat. A million and half Jews residing in Russia and in the CIS should be called back to be a part of their land to strengthen the Jewish roots. The Israel-Diaspora relations depend on sharing the Aliya and immigrant absorption responsibility together (MFA 1994). The distinct Jewish values should be cherished and cultivated enthusiastically in the Diaspora and in Israel. Israel is not just a country but a culture, a language, a religion. Hebrew-speakers worldwide have increased significantly but the Hebrew culture was never as endangered as it is now (MFA 1994). The mass media has played a positive role otherwise in bringing different communities, cultures and religions together but the same role of the mass media negates the efforts of Jewish Diaspora in searching among Jewish youth their own identity among the rush of foreign communities and groups. Cultural boundaries are on the decline due to a medley of cultures with no distinctions. There is inherent risk of cultural assimilation besides the opportunity of showing cultural and religious uniqueness of Jewish religion. A lot depends on how Jewish community and the producers of such programs – how they present the programs and what they want to convey (MFA 1994). Jews historic heritage should be provided protection. Keeping the Jewish heritage intact by the Jewish people is a big challenge. Hebrew literature and Jewish art should be protected through Jewish museums. Jewish museums should promote the works of George Segal, the artist irrespective of the broad and mass appeal and popularity of his art pieces among people from all age-groups, communities or sects. Jew artists should be given support through grant and not segregated because they are catering to wider audiences (MFA 1994). Jewish museums should follow the line of New York Jewish Museum not only preserving Jewish history but visual arts as well. Earlier, the New York Jewish Museum has promoted Jewish artists like Chantal Akerman, Camille Pissarro, and Chaim Soutine. The memorial supported the works of Segal by buying the Holocaust memorial and presenting him as the preserver of America’s soul. The New York Jewish Museum has supported the cause of Segal half-heartedly by not presenting his finest works. The meaning of social conscience has changed in the sphere of art. The Jewish Museum should face the reality as well of art as depicted by Segal in his works (Haber 2010). Works Cited Freeze! John Haber in New York City. George Segal. 12 March 2010. . Isthmus. The Daily Page. Art 13 September-28 December 2008 . MFA. 22 February 1994. FM Peres in the Knesset on assimilation and Israel-Diaspora relations: remarks by foreign minister Shimon Peres in the Knesset on the problem of assimilation and Israel-Diaspora relations. 3 April 2010 . MMoCA. George Segal: street scenes. 4 April 2010 . Read More