  About the Artwork
  
  
  The art of assemblage, preceding pop art, was the aesthetic propellant for Marisol. She explained her two-dimensional approach to sculpture by conceding that she was untrained and a bad carver. She compensated by adopting a method that included odd pieces of cast-off carpentry, stick-on parts, face masks, cast body parts, and common objects of all kinds.
Fittingly, the artist chose as her subject Henry Geldzahler, the hip curator and critic who chronicled and sometimes participated in Happenings, pop art's theatrical sideshow. On two joined columns, the artist drew and painted differently posed versions of his head and striped-shirt-tie-and-pants­clad body.
  
  
  Title
  Double Portrait of Henry Geldzahler
  
  
  Artwork Date
  1967
  
  Artist
  Marisol (Marisol Escobar)
  
  
  
  Life Dates
  born France
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  French
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Carved and painted wood
  
  
  Dimensions
  Overall: 65 5/8 × 31 1/4 × 16 1/2 inches (166.7 × 79.4 × 41.9 cm)
  
  
  Classification
  Sculpture
  
  
  Department
  Contemporary Art after 1950
  
  
  Credit
  Gift of Mr. and Mrs. S. Brooks Barron
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  1993.71
  
  
  Copyright
  Restricted
