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Course: The Seeing America Project > Unit 3
Lesson 5: 1970-now- Duane Hanson, Executive, originally titled, Another Day
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Duane Hanson, Executive, originally titled, Another Day
The sculpture "Executive" by Duane Hanson captures the fatigue of a 1970s businessman. The worn suit, tired posture, and detailed facial features tell a story of hard work and societal change. This artwork reflects the shift from the idealized 1950s family man to a more questioning and disillusioned era. Created by Smarthistory.
Want to join the conversation?
- It looks so real how did they do this(2 votes)
- There's no "they", there's an artist, Duane Hanson, who did it all by himself, more than 50 years ago. He did it using materials and with great skill. I admire that skill, and wish that I had only a little bit of it.(1 vote)
Video transcript
(light instrumental music) - [Steven] We've walked
into one of the galleries in the Toledo Museum of Art,
and there's a man slumped in the corner on a chair. - [Halona] There are not many works of art in the museum that are
so frequently mistaken for being alive as this
sculpture by Duane Hanson. - [Steven] It's called
Executive, and it dates to 1971. But I probably didn't
have to say the date, because all you have to
do is look at his tie. - [Halona] The color of the clothing, the style, the cut all captures
the essence of the 1970s. There's a particular
combination of brown and yellow on the tie that scream of that era. - [Steven] Not to
mention his attache case, but what's interesting is
that the attache case is worn, it's got nicks this is not
pristine and he's not pristine. He looks exhausted. The title is Executive and you get a sense that he's in a relatively
high position in a company because he's wearing a vest,
he's wearing a nice suit. But he seems to have been worn down, not just by the day but maybe by his life. - [Halona] A sense of
tiredness pervades the outfit, his posture, the lines
and etchings on his face, his downward cast glance. - [Steven] He's lost in his own thoughts, and the artist has captured that with this remarkable fidelity. The treatment of of the skin of the face, of the hands is uncanny. Duane Hanson was able to achieve this because he was casting from life, but also because of the
extraordinary delicacy of his paintbrush on the
fiberglass and the resin that looks here so much like skin. - [Halona] What you see is something that speaks so deeply
to the human experience. To the tiredness that
one might feel in midlife from working hard, from having
burdens on their shoulders. So it's the story in
a way of every person, but also this very
particular moment in history. - [Steven] When we think of 1971, we think of the counterculture. We think of the demonstrations
against the Vietnam War. We might be thinking of Woodstock, which had only recently taken place. Through the 1950s and into the 60s in the years after the Second
World War there was the rise of what came to be known
as The Organization Man. This is a man who devoted
his life to his company. But the 1960s opened
up questioning of that, and by the time we get to
the 1970s the questioning of the 60s had turned into
a kind of disillusionment with middle class life and focusing on one's professional life. - [Halona] This is a middle aged man. Presumably that would mean that
this person's career started or was blossoming in the 1950s. That idea that there could
be the white middle class man as the hero of the
traditional family unit, and the traditional
family unit would carry on for future generations unquestioned that idea had been exploded by the 1960s. And even if you weren't a
person actively exploding it, you were in the aftermath of that. - [Steven] And by the early 1970s, not only were there
demonstrations against the war, women were demanding their rights, divorce rates were sky rocketing. The stability that this man had known in the 1950s and even through
most of the 1960s was gone. Here we are talking
about this constellation of social events that
we can easily construct around this single figure. The artist has been able to create a kind of archetype that allows
us to understand the world in which he would have existed. - [Halona] Earlier in his career, Duane Hanson was more interested in group narrative sculptures. And by this point in his career he had moved toward single figures, and these figures
encapsulated a narrative. I think that he realized
that it only took one person to tell the story of themselves, the story of the time,
and the story of the world and that's what you see in this sculpture. - [Steven] But this sculpture
is a little bit unusual for Duane Hanson because it
was actually a commission. - [Halona] The Executive is a gentleman named Melvin Kaufman who was
a business man in New York. So this would have resided in the lobby of a major office
building in New York City. - [Steven] So imagine
coming into that lobby, not in a museum context,
not expecting to see art and seeing this exhausted
executive sitting there for just a little bit too long and then realizing he's not real. (light instrumental music)