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67-674: Segedin was an educator, most notably at Northeastern Illinois University , where he taught for over three decades. He is also a prolific essay writer and public lecturer, and has been a frequent panelist, exhibition juror, and active participant in Chicago's art community as a member of the Chicago Society of Artists and American Jewish Art Club (president, one term), and as co-founder and president of Chicago's first post-war, artist-run cooperative gallery, Exhibit A. Born in Chicago's West Side in 1927, Segedin showed an early aptitude for drawing that

134-424: A compassionate tone. Shahn identified himself as a communicative artist. He challenged the esoteric pretensions of art, which he believed disconnect artists and their work from the public. As an alternative, he proposed an intimate and mutually beneficial relationship between artist and audience. Shahn defended his choice to employ pictorial realities, rather than abstract forms. According to Shahn, known forms allow

201-416: A convincing likeness. He sometimes flirted with abstraction, particularly in cityscapes (such as Elevated Station , 1959), that critics noted for their effectively flat, linear compositions and patterning. Chicago Tribune editor Edward Barry remarked on Segedin's ability to arouse "strong nostalgic emotion" in depictions of decaying, 19th-century buildings, such as Ruins (1952), which was also recognized by

268-555: A course called Judo and Self Defense. In 2019, the Golden Eagles Tomodachi Judo Club was formed by students and a faculty member. Ben Shahn Ben Shahn (September 12, 1898 – March 14, 1969) was an American artist. He is best known for his works of social realism , his left-wing political views, and his series of lectures published as The Shape of Content . Shahn was born in Kaunas, Lithuania , then part of

335-651: A figure resembling labor leader John L. Lewis protests in front of the Triangle Shirtwaist Company , where a devastating fire occurred and the movement for the International Ladies' Garment Workers Union (ILGWU) began. The lower right passageway marked ILGWU symbolizes a new and hopeful path, in the United States, paved by unionized labor. In the last panel, the unions and the New Deal unite to create

402-413: A mural for the school of Jersey Homesteads (later renamed Roosevelt), a New Jersey town initially planned to be a community for Jewish garment workers. Shahn's move to the settlement demonstrates his dedication to the project as does his mural's compelling depiction of the town's founding. Three panels compose the mural. According to art historian Diana L. Linden, the panels' sequence relates to that of

469-529: A place in the short-lived East Coast Conference for the 1993–94 season. Northeastern Illinois were then invited to join the Mid-Continent Conference, now known as the Summit League , where it would play for the next four years. The University eliminated all intercollegiate sports in 1998. The Northeastern Illinois Golden Eagles men's basketball team played from 1988 to 1998 and held home games in

536-410: A profound impact on Shahn's work and career include artists Walker Evans , Diego Rivera and Jean Charlot . Shahn was dissatisfied with the work inspired by his travels, claiming that the pieces were unoriginal. He eventually outgrew his pursuit of European modern art , and redirected his efforts toward a realist style which he used to contribute to social dialogue. The 23 gouache paintings of

603-435: A sense of humanity; Shahn gives his figures a monumental quality through volume and scale. The urban architecture does not dwarf the people; instead, they work with the surroundings to build their own structure. Shahn captured the urgency for activism and reform, by showing gestures and mid-steps and freezing all the subjects in motion. This pictorial incorporation of "athletic pose and evocative asymmetry of architectural detail"

670-779: A stint teaching high school, he was hired in 1955 to start and head the art department at a branch of Chicago Teachers College that later became Northeastern Illinois University (NEIU). He served at NEIU until retiring as Art Professor Emeritus in 1987. Segedin also taught at the Horwich JCC and the Evanston Art Center. In addition to his academic career, Segedin has been a prolific essayist and lecturer. His essays, which number over fifty, explore diverse topics including: "Realism and Neo-Realism in Art", Holocaust Paintings, interdisciplinary studies, Jewish art, African art, Picasso 's Guernica ,

737-669: A technical foul by body slamming the other mascot at center count like a linebacker on national TV, making ESPN's daily highlights. The women's basketball coach Denise Taylor was chosen to lead the Utah Starzz of the WNBA in 1997, and women's basketball player Delores Jones was a participant in the 1998 WNBA draft. The school's football team was a charter member of the Division III Illini-Badger Football Conference, where it won five conference titles before dropping

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804-569: A theater performance group spanning five decades. His painting Hey Kid (1988) inspired Michael Smith 's song of the same title, as well as Segedin's inclusion as a character alongside legendary artists, in the painting-inspired folk revue, Hello Dali: From the Sublime to the Surreal (1998). Reviewing the revue's staging at Chicago's Victory Gardens Theater , Chicago Sun-Times theater critic Hedy Weiss called Segedin's "haunting vision" of Chicago streets "

871-471: A total of six) exhibited local artists' work. Exhibit A attracted notice in the local press, due to the unprecedented nature of the undertaking—artists taking over the operation and business management of a gallery—and the quality and diversity of the work. The Chicago Tribune ’s Edith Weigle wrote their shows "were always worth a visit" for their presentation of a cross-section of contemporary art currents. The gallery closed when its building at 47 E. Pearson St.

938-547: Is a public university in Chicago, Illinois . NEIU serves approximately 9,000 students in the region and is a Hispanic-serving institution . The main campus is located in the community area of North Park with three additional campuses in the metropolitan area. NEIU has one of the longest running free-form community radio stations, WZRD Chicago 88.3 FM. The university traces its history to Chicago Teachers College (now Chicago State University ), which as Cook County Normal School

1005-633: Is a Shahn trademark. While exemplifying his visual and social concerns, the mural characterizes the general issues of Shahn's milieu. The arriccio , sinopia drawings of the fresco for Ben Shahn's Jersey Homesteads mural were removed from its original community center location in Roosevelt and is now permanently installed in a custom-designed gallery on the second floor of the United States Post Office and Courthouse at in Camden . The gallery adjoins

1072-513: Is seen in his play between industrial coolness and warm human portrayals. Handball demonstrates his "use of architectural settings as both psychological foil to human figures and as expressive abstract pattern," and is also an example of his use of photographs as source material. His c.1933 untitled Gelatin silver print held in the Fogg Art Museum (Harvard University, Cambridge, Massachusetts, Gift of Mrs. Bernarda B. Shahn) of handball players

1139-582: Is striking but also introspective. He often captured figures engrossed in their own worlds. Many of his photographs were taken spontaneously, without the subject's notice. To achieve these candid shots Shahn often used a right-angle viewfinder on his 35mm Leica; he can be seen using it in a window reflection in an untitled picture from his 1938 series made in Circleville , Ohio. Although he used many mediums, his pieces are consistently thoughtful and playful. The Resettlement Administration employed Shahn to paint

1206-637: The Balzekas Museum of Lithuanian Culture and Loyola University as part of a group called the "5," and at the Byron Roche Gallery in Chicago (five solo shows, 1997–2009). The Chicago Cultural Center (1994), University Club of Chicago (2000), and NEIU (2010) each recognized him with retrospectives. Segedin was one of eleven influential Illinois artists recognized the Illinois State Museum's "Luminous Ground: Artists with Histories" (2011), and

1273-639: The Bronx Central Annex Post Office (1939) and Social Security (1942) murals. For the 10 panels of "The Meaning of Social Security" mural at the Social Security Administration Building , Shahn was assisted by John Ormai; it is presently cared for by the GSA Fine Art Collection. In 1939, Shahn and his wife produced a set of 13 murals inspired by Walt Whitman 's poem I See America Working and installed at

1340-654: The Haggadah , the Jewish Passover Seder text which follows a narrative of slavery , deliverance and redemption. More specifically, Shahn’s mural depicts immigrants' struggle and advancement in the United States. The first panel shows the antisemitic and xenophobic obstacles American immigrants faced. During the global Depression, citizens of the United States struggled for their livelihoods. Because foreigners represented competition for employment, they were especially unwelcome. National immigration quotas also reflected

1407-631: The Liberation of Paris which depicts children playing in the rubble. He also did a series, called Lucky Dragon , about the Daigo Fukuryū Maru (literally, Lucky Dragon No. 5 ), the Japanese fishing boat caught in the Bikini Atoll hydrogen bomb blast . As of 2012, an important part of this series is in the collections of Fukushima Prefectural Museum of Art . In 1947 he directed a summer session of

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1474-616: The Physical Education Complex . Chief among the highlights of this era was the baseball team's 1996 Mid-Continent Conference championship and NCAA Tournament bid. Men's basketball player Andrell Hoard won the ESPN National Slam Dunk Competition, but lost the conference championship to Valparaiso University by one point in a nationally televised game where ingloriously the Golden Eagle's Mascot committed

1541-733: The Public Works of Art Project and proposal for the Municipal Art Commission were all failures. Fortunately, in 1935, Shahn was recommended by Walker Evans , a friend and former roommate, to Roy Stryker to join the photographic group at the Resettlement Administration (RA). As a member of the group, Shahn roamed and documented the American south together with his colleagues Walker Evans and Dorothea Lange . Like his earlier photography of New York City, Shahn's photography for

1608-541: The Russian Empire , to Jewish parents Joshua Hessel and Gittel (Lieberman) Shan. His father was exiled to Siberia for possible revolutionary activities in 1902, at which point Shahn, his mother, and two younger siblings moved to Vilkomir ( Ukmergė ). In 1906, the family immigrated to the United States where they rejoined Hessel, a carpenter, who had fled Siberia and emigrated to the US by way of South Africa. They settled in

1675-608: The School of the Museum of Fine Arts at the Berkshire Museum in Pittsfield, Massachusetts . Edward Steichen selected Shahn's work, including his October 1935 photograph The family of a Resettlement Administration client in the doorway of their home, Boone County, Arkansas , for MoMA 's world-touring The Family of Man which was seen by 9 million visitors. Only the huddled figure of

1742-502: The Statue of Liberty . This section demonstrates the immigrants' heroic emergence in the United States. The middle panel describes the poor living conditions awaiting immigrants after their arrival. On the right, Shahn depicts the inhuman labor situation in the form of "lightless sweatshops ... tedious and backbreaking work with outmoded tools." The crowd in the center of the composition represents labor unions and workers' reform efforts. Here,

1809-510: The Williamsburg section of Brooklyn, New York , where two more siblings were born. His younger brother drowned at age 17. Shahn began his art career in New York, where he was first trained as a lithographer . Shahn's early experiences with lithography and graphic design are apparent in his later prints and paintings which often include the combination of text and image. Shahn's primary medium

1876-465: The blueprint for the town of the Jersey Homesteads. Various figures of social progress such as Sidney Hillman and Heywood Broun gather around the drafting table. Above them are images of the purposed cooperative farm and factory along with a campaign poster of Roosevelt, after whom the town was eventually named. Shahn’s biographer Soby notes "the composition of the mural at Roosevelt follows

1943-573: The great revelation of the show." Segedin is a humanist representational painter, depicting life amid Chicago's storied elevated ( "L" ) trains, brick storefronts, schoolyards, alleyways and cobblestone streets, often glimpsed from two-flat back porches and transit platforms. Journalist Richard Cahan writes, "Chicago is in Leo Segedin's blood… [he] paints like Studs Terkel writes. In Chicagoese." Discussing his work, Segedin says, "[My] paintings are about loss, about loneliness, about search. They are about

2010-408: The "Old Men Dancing" series (2008–10), and more soberly in his extensive, ongoing series of self-portraits (2012–8), such as Self-Portrait (2017). In 1957, Segedin, along with twenty-three other artists—eventually including Morris Barazani, Fred Berger, Eve Garrison , Lucille Leighton, Tristan Meinecke , Dolores Nelson, Victor Perlmutter, Frank Peterson, and Joan Taxay-Weinger—co-founded Exhibit A,

2077-488: The 1980s, Segedin returned to the cityscapes of his early life and work, in paintings and drawings of Chicago building facades, interiors, "L" platforms, and rush-hour crowds. By 1987, he began to focus on single or paired figures—often youthful self-portraits—exploring coming-of-age themes, such as play and fantasy ( Pilots , 1989 or the later "Games" series, 2015–6, see right) or peril ( Hey Kid I and II , 1988 and 1989). His "Hide and Seek" works (2003–6) considered both, using

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2144-561: The AIC's "60th Annual National Exhibition" (1952), seven of its annual "Chicago and Vicinity" shows, and a United States Information Traveling Exhibition (1957–9). In 1956, Art in America selected him as one of 36 artists in its annual "New Talent in the U.S.A." survey. In subsequent decades, he exhibited at the Des Moines Art Center , Evanston Art Center and Hyde Park Art Center , shows at

2211-721: The Art Institute of Chicago. For a decade beginning in 1967, Segedin, in his words, "got hung up on social issues." The expressionist paintings and craypa drawings of his "Babel" series (1967) viewed the dehumanization of the Vietnam War through the lens of the Holocaust . His "Polifiction" works (1968–9) addressed the temporality of power and humanity's inability to communicate in vivid images like Hanging Man (1968), depicting figures suspended from wheel spokes in chandelier or carousel fashion, set in convention-like settings, which referenced

2278-477: The Board of Governors of State Colleges and Universities or its successor." In January 1996, Northeastern Illinois University established its own board of trustees. In September 2016, Northeastern first began to offer on-campus housing for its students. It was constructed on land that was formerly a University parking lot. Initial plans to expand and construct new dormitories on land seized through eminent domain from

2345-488: The Bronx Central Annex Post Office. Curator Susan Edwards recognizes the influence of this art on the public consciousness, writing, "The Roosevelt administration believed [such] images were useful for persuading not only voters but members of Congress to support federal relief and recovery programs … The art he made for the federal government affirms both his own legacy and that of the New Deal." During

2412-559: The Midwest including programs at Columbia College Chicago, Northwestern University, Roosevelt University, and the University of Wisconsin–Madison. The university also offers women's volleyball, women's soccer, men's soccer, aikido, Brazilian jiu-jitsu, ice hockey, and women's softball. All intramural sports clubs are created and organized by students with the support of the campus recreation department and registered through IMLeagues. NEIU offers

2479-518: The RA and its successor, the Farm Security Administration , can be viewed as social-documentary. Similarly, Shahn’s New Deal art for the RA and FSA exposed American living and working conditions. He also worked for these agencies as a graphic artist and painter. Shahn's fresco mural for the school of Jersey Homesteads is among his most famous works, but the government also hired Shahn to execute

2546-593: The U.S. Army Engineer School at Fort Belvoir , Virginia until 1954. He continued to paint—in a studio above a bowling alley—and exhibit, winning prizes in shows at the Art Institute of Art of Chicago (AIC), Terry Art Institute in Miami, and Corcoran Gallery. Upon returning to Chicago, he decided to teach for a living, initially at a high school, before settling at Northeastern Illinois University (NEIU), where he served until retiring as Art Professor Emeritus in 1987, in order to paint full-time. Segedin exhibited widely, appearing in

2613-626: The affected buildings sit empty. Undergraduate and master's degrees are offered in four colleges: NEIU comprises the following instructional buildings: Northeastern Illinois competed in the National Association of Intercollegiate Athletics for 20 years until joining the higher profile National Collegiate Athletic Association in 1988. After a transitional season at the Division II level, NEIU moved its athletic program to Division I . The Golden Eagles played as independents until finding

2680-595: The art of Henry Darger , artists and aging, visual thinking, and race, gender and ethnicity in the artworld, among others. He has delivered lectures on subjects including Marshall McLuhan , bipolar disorder and art, and painting as information, among others. In 2017, at age 90, he delivered "Making/Teaching Art: The Dangers of Teaching Art" as the keynote address to the Colorado Art Education Association's Fall Conference. Northeastern Illinois University Northeastern Illinois University ( NEIU )

2747-552: The art world. After his death, William Schuman composed "In Praise of Shahn", a modern canticle for orchestra, first performed January 29, 1970, by the New York Philharmonic , Leonard Bernstein conducting. Ben Shahn’s social-realist vision informed his approach to art. Shahn’s examination of the status quo inspired his creative process. Although he often explored polemic themes of modern urban life, organized labor, immigration and injustice, he did so while maintaining

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2814-486: The artist "to discover new truths about man and to reaffirm that his life is significant." References to allegory, the Torah , humanistic content, childhood, science, music and the commonplace are other motifs Shahn draws upon to make the universal personal for his viewers. Wit, candor and sentimentality give his images poignancy. By evoking dynamism, Shahn intended to inspire social change. Shahn stressed that in art, as in life,

2881-419: The combination of opposing orders is vital for progress. His hope for a unity among the diverse peoples of the United States relates to his interest in fusing different visual vocabularies. Shahn mixed different genres of art. His body of art is distinctive for its lack of traditional landscapes , still lifes , and portraits . Shahn used both expressive and precise visual languages, which he united through

2948-623: The consistency of his authoritative line. His background in lithography contributed to his devotion to detail. Shahn is also noted for his use of unique symbolism, which is often compared to the imagery in Paul Klee's drawings. While Shahn's "love for exactitude" is apparent in his graphics, so too is his creativity. In fact, many of his paintings are inventive adaptations of his photography. Evocative juxtapositions characterize his aesthetic. He intentionally paired contrasting scales, colors, and images together to create tension. One signature example

3015-418: The first post-war, artist-run cooperative gallery in Chicago. Segedin served as the gallery's first president. The gallery stands out as a pioneer of the cooperative concept—unique at the time—and served as a model for others that sprung up in Chicago in the 1970s. According to the group, they opened in response to the lack of exhibition opportunities in Chicago, at a time when only four professional galleries (of

3082-617: The game as an existential metaphor for one's public versus private self, and the desire to know the true nature of others. Alan Artner described these works of "magic realism" as meticulously rendered and naturalistic, with an intensity of mood and color, whose "force comes from a strangeness based on past time and its modes of life." Segedin's style has continued to evolve in his seventh and eight decades of work, with new elements, such as pencil and ink detailing or wallpaper patterns, and new themes, such as aging, which he explored wistfully in L Station (Three Ages) (2002), in celebratory fashion in

3149-530: The greatest masters of the twentieth century. Honors, books, and gallery retrospectives continue to rekindle interest in his work...years after his death." The artist was especially active as an academic in the last two decades of his life. He received honorary doctorates from Princeton University and Harvard University , and joined Harvard as a Charles Eliot Norton professor in 1956. His published writings, including The Biography of Painting (1956) and The Shape of Content (1957), became influential works in

3216-532: The human condition on subjects ranging from the Holocaust to war and imperialism to growing up and aging. In his first two decades (1947–1966), Segedin favored cityscapes and people—heads, portraits, and scenes of city dwellers, musicians and religious figures. His style ranged from realistic to expressionist , as in Sax Man (1952), which featured rich, jewel-toned color, gestural brushwork, and an elongated figure with

3283-557: The infamous 1968 Democratic Convention in Chicago. The "Body Count" (1970), "Body Parts" (1971–2), and "Permutations" (1976–9) series contrasted acid-colored, amorphous bodies and body parts with banal props like balloons, ribbons, and mechanical elements to represent the depersonalization that political order can visit on humanity. Curators and critics described them as humanist "inner and outer landscapes," "beautiful, lurid, and frightful," and disturbing canvasses whose "searing colors and eerie, decadent light pit order against organism." In

3350-455: The loss of a loved one, and also the loss of all those people who were part of my life, even those I never knew […] As I look back on my life—my work—what strikes me is how fast time passes, the temporary, fragile quality of all life." Segedin was influenced by the 1930s legacy of social commitment and commentary—artists such as Ben Shahn , Hyman Bloom and Jack Levine —and German expressionists like George Grosz and Otto Dix . His work speaks to

3417-477: The men away from each other and expands the frame to break the symmetry and to include a brownstone building over the top of the wall, and to encompass also a billboard at left. Gestures and poses are exaggerated and a hand is added to the figure at right which is cropped in the photograph. The line markings on the wall are made to converge to further stretch the space. In a 1957 interview, Shahn described his painting as being about “social relationships”. Shahn's art

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3484-629: The mid-1950s, Shahn's accomplishments had reached such a height that he was sent, along with Willem de Kooning , to represent the United States at the 1954 Venice Biennale . He was also elected to the American Academy of Arts and Sciences , the National Institute of Arts and Letters and the Academia dell' Arte e del Disegno in Florence . The Art Directors Club Hall of Fame recognizes him as "one of

3551-439: The neighborhood were delayed because of strenuous objections from the neighborhood, social activists, some of the faculty, students, and alumni. Beginning the pursuit of the neighborhood land in 2014, the properties were acquired by the University through eminent domain in 2016. Construction is still several years away due to decline in student enrollment. In the meantime, long time residences and businesses have been displaced, and

3618-482: The recognition of Diego Rivera. In May and June 1933, he served as an assistant to Diego Rivera while Rivera executed the Rockefeller Center mural. Shahn had a role in fanning the controversy, by circulating a petition among the workers. Also during this period, Shahn met photojournalist Bernarda Bryson , who would later become his second wife. Although this marriage was successful, the mural, his 1934 project for

3685-497: The sport in 1988. In 1977, a men's club soccer team was formed by students from local soccer organizations around Chicago to compete against college varsities from surrounding region. This club, guided by player/coach Frank Hermantz, won all of its games. Varsity status was not granted, however, and the team parted ways. In 2005, a group of students created a new NEIU baseball club. The Eagles were made up of 24 current students who competed against other collegiate baseball clubs in

3752-482: The strained foreign relations of the United States at a time when fascism , Nazism , and communism were on the rise. To illustrate the political and social adversary, Shahn incorporated loaded iconography: Nazi soldiers, anti-Jewish signs and the executed Italian anarchists, Sacco and Vanzetti . Below, Shahn's mother and Albert Einstein lead immigrants on a gangplank situated by the Ellis Island registry center and

3819-626: The title of “teachers college” from all state colleges and universities and the college became Northeastern Illinois State College. In 1971, the school became Northeastern Illinois University after it was granted university status and was given a mandate by the Illinois Legislature "to offer such courses of instruction as shall best serve to qualify teachers for the schools of the State; and to offer such other courses of instruction, conduct such research and offer such public services as are prescribed by

3886-438: The trials of Sacco and Vanzetti communicated the political concerns of his time, rejecting academic prescriptions for subject matter. The Passion of Sacco and Vanzetti was exhibited in 1932 and received acclaim from both the public and critics. This series gave Shahn the confidence to cultivate his personal style, regardless of society’s art standards. Shahn's subsequent series of California labor leader Tom Mooney won him

3953-416: The undulant principle Shahn had learned from Diego Rivera : deep recession of space alternating with human and architectural details projected forward." Moreover, the montage effectively intimates the amalgamation of peoples and cultures populating the urban landscape in the early 20th century. Multiple layers and perspectives fuse together to portray a complex industrialized system. Still, the mural maintains

4020-508: The war years of 1942–43, Shahn worked for the Office of War Information (OWI), but his pieces lacked the preferred patriotism of the day and only two of his posters were published. His art's anti-war sentiment found other forms of expression in a series of paintings from 1944 to 1945, such as Death on the Beach , which depicts the desolation and loneliness of war. In 1945 he painted Liberation about

4087-589: The woman on the right hand half of Shahn's 35mm frame was blown up for the display. From 1961 to 1967, Shahn worked on the stained glass at Temple Beth Zion , a Buffalo, NY synagogue designed by Harrison & Abramovitz . Shahn also began to act as a commercial artist for CBS, Time , Fortune and Harper's . His portrait of Martin Luther King Jr. appeared on the 19 March 1965 cover of Time . Despite Shahn's growing popularity, he only accepted commissions which he felt were of personal or social value. By

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4154-603: Was egg tempera , popular among social realists. Although Shahn attended New York University as a biology student in 1919, he went on to pursue art at City College in 1921 and then at the National Academy of Design . After his marriage to Tillie Goldstein in 1924, the two traveled through North Africa and then to Europe, where he made "the traditional artist pilgrimage." There he studied great European artists such as Henri Matisse , Raoul Dufy , Georges Rouault , Pablo Picasso and Paul Klee . Contemporaries who would make

4221-406: Was encouraged with classes at the School of the Art Institute . After graduating from Crane Technical High School, he attended the University of Illinois Urbana-Champaign, intending to go into chemical or aeronautical engineering. A self-described "Eureka!" moment his junior year, however, convinced him to choose art (BFA, 1948; MFA 1950). In 1952, Segedin began military service and taught drafting at

4288-506: Was founded in 1867 to train elementary and high school teachers. In 1949, Chicago Teachers College (CTC) established the Chicago Teachers College (North Side) branch. The school relocated to the present site at North Park, Chicago in 1961 and changed its name in 1965 to Illinois Teachers' College: Chicago North when control of CTC passed into the hands of the State of Illinois . In 1967, the Illinois Legislature acted to remove

4355-708: Was in the Muskegon Museum of Art 's "Moments of Grace: New Regional Painting" (1999–2000). He is included in Harvest of Freedom: A Survey of Jewish Artists in America (1989) by Louise Dunn Yochim. Segedin was married to his wife, Jan (née Steinberg), for over 45 years, until her death in 2005. He credits her as the "great support," that kept him on the "straight and narrow" path as an artist. They had two children, twins Benjamin and Paul, in 1962. Segedin has pursued diverse cultural interests throughout his life: writing, lecturing, an ongoing monthly discussion group, and membership in

4422-429: Was made around 1933 just after he took up photography and before his period as a FSA photographer. It has striking symmetry rarely achieved amongst the random events of the street. To make the painting of the scene six years later, Shahn transcribed the positions of the handball players including the photographic accident of a tensed arm and leg that appears to sprout from the bomber jacket of the man at left, but he spreads

4489-488: Was torn down in 1959. In 2013, the Chicago Cultural Center held a reunion exhibit to acknowledge Exhibit A's contribution to post-WWII art in Chicago. Segedin was an educator for nearly forty years, beginning with an assistantship (1948–50) at the University of Illinois Urbana-Champaign during graduate school. While in the military, he taught drafting at the U.S. Army Engineer School at Fort Belvoir (1952–54). After

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