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George Segal

I WAS TWICE A MODEL for the sculptor George Segal. In 1978, I posed as a man standing next to a hot dog stand. In 1991, I was a down-and-outer in a moody Depression breadline. Both were firsthand experiences of George’s literal shaping of bodies: Much more so than other artists characterized under the rubric of Pop, George was always deeply interested in human physicality (as evidenced in the current traveling survey of his work). But his literalism went far beyond mere description. Hot Dog Stand conveys detachment, noncommunication, and anonymity; Depression Bread Line projects the isolation and stasis of hard times, of economic crisis—a concern symptomatic of the present day.

The Hot Dog Stand, completed in 1978, was inspired by an actual stand that George came across while wandering through a suburban New Jersey mall. He was enthralled by the kiosk’s strange, glowing, Mondrianesque

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