Word: segal
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...moves again, and this time an eye peers out from under it. "Let's go!" a voice cries hoarsely, and in rapid succession three men (Maximilian Schell, Peter Ustinov, Gilles Segal) leap out of the pit, run crouching to a door, dart stealthily across a large dim room and go leaping up a narrow stair within the walls. Once on the roof, they make a risky traverse and arrive, with twilight coming on, at the brink of a sheer parapet interrupted here and there with iron-barred apertures...
...whose idea of administration is to scream insults at interns in the presence of patients. The interns, of course, give him ample cause for complaint. One of them (Michael Callan) spends most of his time taking an extracurricular course in anatomy from a student nurse (Barbara Eden). Another (George Segal) keeps wandering out of the hospital in pursuit of the punk who raped his best girl (Inger Stevens). Still another (Dean Jones) finds out he is sterile and drowns his sorrows in drink...
Also running under Harvard aegis was Erich W. Segal '58, former Hum 2 section man and now a resident tutor in Dunster House. His time was 2:56.30, which only three years ago would have won a medal. Segal runs this race every year...
...Segal, 38, tried but could not take on the 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...
...Segal's spooky similars, now populating Manhattan's Green Gallery, would have earned him a burning for wizardry during the Inquisition. His pale zombies "present the mystery of a human being," he says. Like the remains of Pompeians preserved in volcanic ash, they dispute the border line between art and life. Often Segal's mummies occupy an 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...