Word: plasterers
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Dates: during 1960-1969
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...inward passions of abstract expressionism. "I was too sensual to turn inside," he says. "I was driving myself crazy as an art student. One teacher agreed and even called me schizophrenic." Now Segal takes a short cut to sculptures; he makes splint personalities by making thin-walled plaster molds of his friends, blurring and refining the wet plaster to his purposes. With his unconventional technique, Segal found a new reality emerging while the plaster set. "To hold a pose for 40 minutes," says he, "you can't be in a social or artificial posture. Then the body reveals certain...
...environment with real objects-a car door, a Coke machine, or a false house front. For a future sculpture, he recently bought a genuine phone booth and took it to his studio, which is on a New Jersey chicken farm that he went bankrupt running. Authentic environments with plaster people raise "questions about the nature of the real object, and of relationships between human beings...
...Indian, always shooting a frame at a time, creating an imaginative suggestion of stones alive in nature, a reason-be-damned admixture of the commonplace with the impossible. This technique works best of all in The Room. It is an abysmally shabby Greenwich Village flat, filthy and gloomy, with plaster fallen off the walls. Suddenly color begins appearing. The room paints itself in wild patterns and uninhibited blazes of Latin shades. It is a resurrection in primary hues...
ROBERT D'ARISTA-Nordness, 831 Madison Ave. at 69th. In his last painting show, this American University professor of art laid on paint like plaster of paris; for this one, he has tidied up his canvases and thinned his oils to a fine translucence. While he varies his use of texture, D'Arista is constantly concerned with chiaroscuro. His figures cast dark, subtle shadows on a curtain of white or emerge from darkness like apparitions. Through March...
...Plaster-packer Segal, whose works recall Pompeian people petrified in lava, did a cast of Scull, and James Rosenquist did a family portrait. In it, nothing shows of Scull but his legs and feet, next to a realistic taxicab with open door, and inside the cab, an upside-down closeup of Ethel being kissed on the nose by one of her children. "Not quite the Mona Lisa," says Scull...