As a smaller urban center for artistic efforts, Madison presents itself as a major source of prodigious art and entertainment that rivals its colossal metropolitan neighbors. The newest addition to the Madison Museum of Contemporary Art on State Street is another indication of Madison’s ability to attract as well as spearhead vigorous, provocative art exhibits in the Midwest.
On Sept. 13, MMoCA debuted “George Segal: Street Scenes,” a poignant, 16-piece survey of Segal’s innovative sculptural pieces that eerily embody the struggles of life in America.
Segal might be most well-known for his involvement with Franklin Delano Roosevelt’s memorial in Washington, D.C., but his work as a whole is distinguished by its ingenious use of plaster to create life-sized sculptures of people in urban settings. His famous sculpture, “Depression Bread Line,” designed in 1991, is a moving commemoration to Roosevelt and the poor economic conditions experienced during and prior to his terms as president. With five men waiting in line before a closed door, this sculpture is an extremely powerful exploration of what it means to suffer a loss of dignity. As part of a newer generation that has never experienced such profound sacrifice, this sculpture provides even more insight into an era of our history that merits respect.
Segal’s work goes beyond this approach to depict even more thoughtful aspects of the American experience by combining art and history. “The Diner” features two figures: a man at a bar and the waitress serving him. The energy in these immobile figures is astounding as they seem to somehow communicate, despite their fixed state. The components that make up the bar and its various features were scavenged from junk shops around the artist’s home.
Another piece, “Japanese Couple,” is able to portray a race by simply using plaster molds, yet the viewer approaches the piece able to detect a different feel for the characters. Created from plaster, paint and wood, the couple seems hesitant yet unafraid of the challenges that await immigrants in American urban life.
“The Homeless,” from 1989, pushes the artistic envelope further and challenges the viewer’s sense of visual balance, by portraying a man on a stoop next to a plaster pile of clothes surrounding a barely distinguishable body. The ghostly images are disquieting and seem out of place in the pristine museum environment. This piece is crucial to exploring Segal’s concern with bitter urban struggles and the impasse of homelessness found frequently in cities all over America.
Finally, in a piece titled “Bus Passengers,” from 1997, Segal captures that intimate moment during which complete strangers become bound simply by their utilization of a common space; this is one of the main instances in which Segal seems to be able to get to the heart of what the American experience might be. The figures all look as if they were taken directly from a photograph as their positions seem strangely natural and oddly familiar.
Each of Segal’s figures range in height, race and weight. There seems to be no idealization of any particular body type, which results in a genuine array of character presentations. The expressions go beyond just the average thoughtful person and do not seek to portray any generic emotions. Instead, there is distinctive pain, happiness, concern and knowledge evident in each character’s makeup.
Donald Lokuta, Segal’s assistant and friend, enhances the exhibit with a contribution of 13 photos that showcase the artist’s process and thoughts while creating these intuitive snapshots of stark urban realities.
Jane Simon, curator of exhibitions at the museum, said in a lecture, “There are a couple history lessons in the show that young people will find interesting and can respond to.” She described the exhibition as a result of collaborative efforts from herself, MMoCA director Stephen Fleischman and Segal’s close friend Martin Friedman, director of the Walker Art Center.
After its run in Madison concludes on Dec. 28, the exhibition is schedules to make its way to Nasher Sculpture Center, Dallas, Texas (Jan. 24 to April 5, 2009); The Nelson-Atkins Museum of Art, Kansas City, Missouri (May 9 to Aug. 2, 2009); and The Norton Museum of Art, West Palm Beach, Florida (Sept. 8 to Dec. 6 2009). The exhibition’s rigorous schedule is simply another testament to its exceptional utility and potent messages.
Thankfully, Madison is an experienced, energetic city that is equipped to manage such a magnitude of spectacular artistic experiences. The trip to MMoCA’s newest exhibit is sure to fulfill anyone with an interest for a kind of history not usually found in history textbooks.
