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Casting a Glance, Diverting the Gaze: George Segal's Representation of the Female Body

porcelain. Ludwig Museum, Cologne In the summer of 1961, George Segal (b. 1924) was given plaster-impregnated bandages by one of his students attending an adult art class he was conducting near his home in New Brunswick, New Jersey. These bandages, samples of a product being developed by Johnson and Johnson, would be used to produce the figure in Man at a Table (fig. 1), the first of a vast number of tableaux by Segal incorporating a body cast of a human subject with "found" or everyday objects. Body casts would also figure prominently in the "fragments" and wall reliefs Segal began making in 1969 and the early 1970s. These later works incorporate partial rather than full figures, but they are still made from plaster and reliant on a technique of casting from the human body. Both the technique of casting from life and the medium of plaster have been used inside and outside what is generally understood as "fine art," and their history necessarily influences the meanings viewers might discern in Segal's sculptures. But the production methods and materials Segal uses are not simply conveyers of inadvertent associations; rather, they engage explicitly and critically in age-old devices and conventions for visual imagery. Further, this emphasis on form and technique as part of an inherited visual language seems to have