Melvin Edwards

 

Sculptures 1964-2010

 September 8 - October 16, 2010
Melvin Edwards: Sculptures 1964-2010
Installation view, Alexander Gray Associates (2010)
Melvin Edwards: Sculptures 1964-2010
Installation view, Alexander Gray Associates (2010)
Melvin Edwards: Sculptures 1964-2010
Installation view, Alexander Gray Associates (2010)
Melvin Edwards: Sculptures 1964-2010
Installation view, Alexander Gray Associates (2010)
Melvin Edwards: Sculptures 1964-2010
Installation view, Alexander Gray Associates (2010)
Melvin Edwards: Sculptures 1964-2010
Installation view, Alexander Gray Associates (2010)
Melvin Edwards: Sculptures 1964-2010
Installation view, Alexander Gray Associates (2010)
Melvin Edwards: Sculptures 1964-2010
Installation view, Alexander Gray Associates (2010)
Melvin Edwards: Sculptures 1964-2010
Installation view, Alexander Gray Associates (2010)
Melvin Edwards: Sculptures 1964-2010
Installation view, Alexander Gray Associates (2010)
Nam (1973) (From the series <i>Lynch Fragments</i>)
Welded steel 
15h x 15w x 7.5d in (38.1h x 38.1w x 19.05d cm)
Nam (1973) (From the series Lynch Fragments)
Welded steel
15h x 15w x 7.5d in (38.1h x 38.1w x 19.05d cm)
Art Education (2002) (From the series <i>Lynch Fragments</i>)
Welded steel
10h x 8w x 6d in (25.4h x 20.32w x 15.24d cm)
Art Education (2002) (From the series Lynch Fragments)
Welded steel
10h x 8w x 6d in (25.4h x 20.32w x 15.24d cm)
Chaino (1964)
Welded steel and chains
62h x 102w x 26d in (157.48h x 259.08w x 66.04d cm)
Chaino (1964)
Welded steel and chains
62h x 102w x 26d in (157.48h x 259.08w x 66.04d cm)
Texas August (2006) (From the series <i>Lynch Fragments</i>)
Welded steel
9h x 8w x 5.5d in (22.86h x 20.32w x 13.97d cm)
Texas August (2006) (From the series Lynch Fragments)
Welded steel
9h x 8w x 5.5d in (22.86h x 20.32w x 13.97d cm)
Bayou Talk (2005) (From the series <i>Lynch Fragments</i>)
Welded steel
9h x 8w x 7d in (22.86h x 20.32w x 17.78d cm)
Bayou Talk (2005) (From the series Lynch Fragments)
Welded steel
9h x 8w x 7d in (22.86h x 20.32w x 17.78d cm)
Five to the Bar (1973)
Welded steel and barbed wire
14h x 20.5w x 20d in (35.56h x 52.07w x 50.8d cm)
Five to the Bar (1973)
Welded steel and barbed wire
14h x 20.5w x 20d in (35.56h x 52.07w x 50.8d cm)
His and Hers  (1964) (From the series <i>Lynch Fragments</i>)
Welded steel
10.75h x 6w x 4.25d in (27.31h x 15.24w x 10.8d cm)
His and Hers (1964) (From the series Lynch Fragments)
Welded steel
10.75h x 6w x 4.25d in (27.31h x 15.24w x 10.8d cm)
Iraq (2003) (From the series <i>Lynch Fragments</i>)
Welded steel
13h x 7w x 7d in (33.02h x 17.78w x 17.78d cm)
Iraq (2003) (From the series Lynch Fragments)
Welded steel
13h x 7w x 7d in (33.02h x 17.78w x 17.78d cm)
Max Bond Architect (2009) (From the series <i>Lynch Fragments</i>)
Welded steel
13h x 10w x 9d in (33.02h x 25.4w x 22.86d cm)
Max Bond Architect (2009) (From the series Lynch Fragments)
Welded steel
13h x 10w x 9d in (33.02h x 25.4w x 22.86d cm)
Machete for Gregory (1974)
Welded steel
31h x 40w in (78.74h x 101.6w cm)
Machete for Gregory (1974)
Welded steel
31h x 40w in (78.74h x 101.6w cm)
New Cult (2007) (From the series <i>Lynch Fragments</i>)
Welded steel
15h x 14w x 7d in (38.1h x 35.56w x 17.78d cm)
New Cult (2007) (From the series Lynch Fragments)
Welded steel
15h x 14w x 7d in (38.1h x 35.56w x 17.78d cm)
Steel Life (1985-91) (From the series <i>Lynch Fragments</i>)
Welded steel
12.5h x 18w x 17.75d in (31.75h x 45.72w x 45.09d cm)
Steel Life (1985-91) (From the series Lynch Fragments)
Welded steel
12.5h x 18w x 17.75d in (31.75h x 45.72w x 45.09d cm)
Tools at Rest (1973)
Welded steel
15h x 35w x 29d in (38.1h x 88.9w x 73.66d cm)
Tools at Rest (1973)
Welded steel
15h x 35w x 29d in (38.1h x 88.9w x 73.66d cm)
Weapon of Freedom  (1986) (From the series <i>Lynch Fragments</i>)
Welded steel
11h x 9w x 6d in (27.94h x 22.86w x 15.24d cm)
Weapon of Freedom (1986) (From the series Lynch Fragments)
Welded steel
11h x 9w x 6d in (27.94h x 22.86w x 15.24d cm)

About the Exhibition

Press Release PDF 112 K

September 8 - October 16, 2010

Alexander Gray Associates was pleased to present its first exhibition of Melvin Edwards’ sculpture. The exhibition spans four decades, including his influential series, Lynch Fragments (on going from 1964) and a selection of large-scale works from the 1960s and 1970s—all of which convey Edwards’ importance both as an American modernist and conceptualist, and the artist’s deep-rooted expressions of social justice. The exhibition ran concurrently with an installation of Edwards’ works in the contemporary galleries at The Museum of Modern Art, New York.

Edwards began his series, Lynch Fragments in 1963. The works on exhibit from this series span three periods: the early 1960s, when he responded to racial violence in American history; in 1973, when his activism concerning the Vietnam War motivated him to return to the series; and from 1978 to the present, when he began making Lynch Fragments to honor individuals, and to explore memory and his interest in African culture. The most recent works, eight of which are included in this show, display the remarkable range of expression Edwards achieves with his method of welding found-objects into mask-like forms—including hammers, chains, and rail road spikes—and how, in the process, he renders violence, humor, and hope from these objects.

Also on view are large-scale environmental sculptures by Edwards from the 1960s and ‘70s. In Chaino (1964), Machete for Gregory (1974), and Five to the Bar (1973), Edwards welds barbed wire, car parts, and chains to create sculptures that investigate volume, weight, and interactivity. Edwards’ interest in modernists like David Smith and Julio Gonález is apparent in Chaino, but the precariousness with which he has suspended a car bumper evokes menace, as does his use of barbed wire in Five to the Bar. In all of these works, Edwards marries the toughness of barbed wire and steel with a refined approach to drawing and architectural space. He also continues to investigate African-American experience—both as history and biography—through the material and formal qualities of these sculptures, and the inherent metaphors of their sources.

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