| Maker(s): | Segal, George; Experiments in Art and Technology (E.A.T.), Inc., New York (Publisher)
| | Culture: | American (1924-2000)
| | Title: | Rememberance of Marcel from The New York Collection for Stockholm
| | Date Made: | 1973
| | Type: | Print; Time-Based Media; Sound Recording
| | Materials: | Phonograph record with color label and screenprinted cover
| | Place Made: | United States; New York State; New York; Styria Studio, Inc.
| | Measurements: | overall: 10 3/8 x 7 in; 26.4 x 17.8 cm
| | Narrative Inscription: | ARTIST'S INSCRIPTION: verso, ctr. (pen and ink): With Segal it’s not a matter of the found object; / it’s the closer object. / Marcel Duchamp; SIGNATURE: verso, lwr. r. (pen and ink): GSegal; EDITION: verso, lwr. l. (pen and ink): 293/300
| | Accession Number: | UM 1977.1.24
| | Credit Line: | Gift of Robert Rauschenberg
| | Museum Collection: | University Museum of Contemporary Art at UMASS Amherst
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Description:
record sleeve with image of a Segal installation involving a woman bending over a counter writing, neon sign, and window with hanging dress; containing a 45 rpm record with a label reproducing that same installation image in color
Label Text:
Excerpt from wall label “What Is Love: Selections from the Permanent Collection,” April 19 – June 3, 2007:
This work was created by George Segal for a portfolio to benefit Experiments in Art and Technology (E.A.T.), a non-profit organization co-founded by Robert Rauschenberg and William Kluver. Here Segal pays tribute to fellow artist Marcel Duchamp who passed away in 1968. Segal was friends with a number of people who knew Duchamp. While he said that he met him one or twice, Segal added that he “knew him as a presence.” It also seems that Duchamp was familiar with Segal’s work since the back of this record sleeve reads “With Segal it’s not a matter of the found object it’s the chosen object” followed by Duchamp’s signature. While the work’s title already operates in a memorial mode, it has been suggested that Segal’s sculptures occupy an interesting point between life and death since, cast from life, they eliminate traces of life and also allude to the practice of creating death masks. The cover and label of this record include a picture of one of Segal’s sculptures, The Dry Cleaning Store, from 1964. By placing plaster figures in quotidian surroundings Segal opens up a range of questions regarding mass culture and life. In this sculpture a woman leans over the counter of a reconstructed one hour dry cleaning shop, with a wedding dress hanging prominently in the background. As in Duchamp’s work, Segal also engages with the bride as a subject. Through this print Segal appears to celebrate his shared interests with Duchamp. - Julie Thomson, (M.A. '07)
Link to share this object record:
https://museums.fivecolleges.edu/detail.php?t=objects&type=ext&id_number=UM+1977.1.24 |
