Casting Sessions: In the Studio

Segal’s models often directly shaped the forms and compositions of his sculptures. As he wrote in 1966 of the casting session for Ruth in the Kitchen: “I got involved with making a super portrait of Ruth, wanting not only her physical presence, but also showing somehow the labyrinth quality of her mind.” This intimate relationship was mutual. The letter and photographs in this section focus on casting sessions in 1975 and 1983, particularly Gay Block’s experience of being cast in Segal’s home. These works depict casting as transformative, blurring the boundaries between bodies, artwork, and artist.