Melvin Edwards: Five Decades

Columbus Museum of Art

February 12 – May 8, 2016

Steel Life (1985-1991)
Welded steel
12.5h x 18w x 17.75d in (31.8h x 45.7w x 45.1d cm)

Some Bright Morning (1963)
Welded steel
14.5h x 9.3w x 5d in (36.8h x 23.6w x 12.7d cm)

Ace (1963)
Welded steel
8.5h x 5.5w x 5d in (21.6h x 14w x 12.7d cm)

Afro Phoenix No. 1 (1963)
Welded steel
12.5h x 9.5w x 4d in (31.8h x 24.1w x 10.2d cm)

Mojo for 1404 (1964)
Welded steel
10h x 6.5w x 4.5d in (25.4h x 16.5w x 11.4d cm)

Homage to James Benjamin Edwards (1964)
Welded steel
20h x 17w x 12d in (50.8h x 43.2w x 30.5d cm)

Chaino (1964)
Welded steel and chains
62h x 102w x 26d in (157.5h x 259.1w x 66d cm)

The Lifted X (1965)
Welded steel
65h x 45w x 22d in (165.1h x 114.3w x 55.9d cm)

August the Squared Fire (1965)
Welded steel
44h x 30w x 40d in (111.8h x 76.2w x 101.6d cm)

Untitled (Prototype I from Three Small Sculptures) (1965-66)
Welded steel
7h x 7.5w x 6.75d in (17.8h x 19.1w x 17.1d cm)

Untitled (Prototype II Three Small Sculptures) (1965-66)
Welded steel
6.75h x 7.5w x 7.5d in (17.1h x 19.1w x 19.1d cm)

Untitled (Prototype III Three Small Sculptures) (1965-66)
Welded steel
5.5h x 6w x 6.75d in (14h x 15.2w x 17.1d cm)

Cotton Hangup (1966)
Welded steel
32h x 30w x 30d in (81.3h x 76.2w x 76.2d cm)

Double Chain (1966)
Welded steel
16.5h x 16.5w x 11d in (41.9h x 41.9w x 27.9d cm)

Homage to the Music and the Musicians (1966)
Painted, welded steel
35.5h x 42w x 30d in (90.2h x 106.7w x 76.2d cm)

The Fourth Circle (1966)
Painted steel
48h x 72w x 60d in (121.9h x 182.9w x 152.4d cm)

Untitled (Prototype Cuff) (1969)
Welded steel
10.25h x 23w x 2.5d in (26h x 58.4w x 6.4d cm)

Untitled (Prototype Lock) (1969-72)
Painted welded steel
3h x 30.25w x 5d in (7.6h x 76.8w x 12.7d cm)

Untitled (Prototype Triple Circle) (c. 1968-69)
Painted welded steel
10h x 14.5w x 10d in (25.4h x 36.8w x 25.4d cm)

Cayuga (c. 1969-70)
Welded steel
5.75h x 16.25w x 2d in (14.6h x 41.3w x 5.1d cm)

Untitled (Prototype Small Rocker) (c. 1970)
Welded steel
7h x 10.5w x 10d in (17.8h x 26.7w x 25.4d cm)

Studies for The Lifted X (c. 1965)
Ink and graphite on paper
6h x 4w in (15.2h x 10.2w cm)

Study for Pyramid Up and Down Pyramid (1969-1970)
Ink on paper
19.13h x 24w in (48.6h x 61w cm)

Curtain for William and Peter (1969/2012)
Barbed wire and chain
138.5h x 220w in (351.8h x 558.8w cm)

"Look through minds mirror distance and measure time" – Jayne Cortez (1970)
Barbed Wire

Study for barbed wire piece (1970)
Ink on paper
18.13h x 24.13w in (46.1h x 61.3w cm)

Untitled barbed wire study (1970)
Graphite on paper
18.13h x 24.13w in (46.1h x 61.3w cm)

Untitled Barbed Wire Study II (1970)
Graphite on paper
18.13h x 24.13w in (46.1h x 61.3w cm)

Corner for Ana (1970)
Barbed Wire

Study for Homage to Coco (1970)
Watercolor On Paper
18.13h x 24.13w in (46.1h x 61.3w cm)

Homage to Coco (1970)
Painted steel and chain
48h x 96w x 120d in (121.9h x 243.8w x 304.8d cm)

Good Friends in Chicago (1972)
Welded steel
43h x 77.3w x 64.5d in (109.2h x 196.3w x 163.8d cm)

Nam (1973)
Welded steel
15h x 15w x 7.5d in (38.1h x 38.1w x 19.1d cm)

Koyo (1973)
Welded steel
11.5h x 7w x 12d in (29.2h x 17.8w x 30.5d cm)

Spring (1973)
Welded steel
11h x 6w x 8d in (27.9h x 15.2w x 20.3d cm)

Ventana a Isla Negra (1973)
Welded steel and barbed wire
44.4h x 48w x 20d in (112.8h x 121.9w x 50.8d cm)

Untitled (Spray paint drawing) (1974)
Spray paint on newsprint in 5 parts
22.5h x 29.13w in (57.2h x 74w cm)

Upright (1974)
Welded steel and barbed wire
20.8h x 13.1w x 7.5d in (52.8h x 33.3w x 19.1d cm)

Ame Eghan (1975)
Welded steel
12.5h x 19.5w x 19.5d in (31.8h x 49.5w x 49.5d cm)

Avenue B (1975)
Welded steel
23.75h x 30.5w x 18.25d in (60.3h x 77.5w x 46.4d cm)

Nick's Advice (1975)
Steel
19.5h x 23w x 14.5d in (49.5h x 58.4w x 36.8d cm)

Plainfield No.1 (1976)
Steel
11h x 27.5w x 17.5d in (27.9h x 69.9w x 44.5d cm)

A Conversation with Norman Lewis (1979)
Welded steel

Gulley Hammer (1980)
Welded steel
9.8h x 7w x 8d in (24.9h x 17.8w x 20.3d cm)

Katutura (1986)
Welded steel
11.8h x 5.9w x 4.9d in (30h x 15w x 12.4d cm)

Utonga (1988)
Welded steel
8h x 11w x 9d in (20.3h x 27.9w x 22.9d cm)

Sekuru Knows (1988)
Welded steel
14.9h x 11w x 7.3d in (37.8h x 27.9w x 18.5d cm)

Ways of Steel (1988)
Welded steel
17h x 32.3w x 14.6d in (43.2h x 82w x 37.1d cm)

Whispers (1991-92)
Welded steel
16h x 19w x 11.8d in (40.6h x 48.3w x 30d cm)

Dry Days (1992)
Welded steel
21h x 12.5w x 7d in (53.3h x 31.8w x 17.8d cm)

Words of Fanon (1992)
Welded steel
22h x 14w x 7.5d in (55.9h x 35.6w x 19.1d cm)

Soba (2002)
Welded steel
10h x 8.3w x 8.3d in (25.4h x 21.1w x 21.1d cm)

Iraq (2003)
Welded steel
13h x 7w x 7d in (33h x 17.8w x 17.8d cm)

Benefane (2004)
Welded steel
18.5h x 17.5w x 7.75d in (47h x 44.5w x 19.7d cm)

Beyond Rufisque (c. 2004)
Welded steel
12h x 7.25w x 5.75d in (30.5h x 18.4w x 14.6d cm)

Djeri Djeff (c. 2004)
Welded steel
11.25h x 7.25w x 5.75d in (28.6h x 18.4w x 14.6d cm)

Dakar (2004)
Welded steel
27h x 17w x 7.4d in (68.6h x 43.2w x 18.8d cm)

Wayou Mbau (Song of Mbau) (c. 2006)
Welded steel
19.75h x 19.75w x 7d in (50.2h x 50.2w x 17.8d cm)

Press Release

Melvin Edwards: Five Decades

Nasher Sculpture Center, Dallas, TX
January 31 – May 10, 2015

Zimmerli Art Museum at Rutgers University, New Brunswick, NJ
September 1, 2015 – January 3, 2016

Columbus Museum of Art, Columbus, OH
February 12 – May 8, 2016

Melvin Edwards retrospective exhibition Melvin Edwards: Five Decades, curated by Catherine Craft and organized by the Nasher Sculpture Center, Dallas, TX. The presentation at the Columbus Museum of Art is coordinated by Tyler Cann.

The exhibition, the first survey of Edwards' work since 1993, presents a range of his achievements including the Lynch Fragments, seminal large scale sculptures from the 1960s, as well as groundbreaking installations made with barbed-wire dating from the 1960s and 1970s. The exhibition features the recreation of Edwards' landmark 1970 barbed-wire installation at the Whitney Museum of American Art in New York. Melvin Edwards: Five Decades provides a new focus on the role of place in Edwards' art, encompassing his upbringing in Texas and Ohio, his artistic emergence in Los Angeles in the early 1960s, the artist's experiences in New York, and his frequent trips to Africa.

The exhibition is accompanied by a fully illustrated scholarly catalog with essays by curator Catherine Craft, and art historians Alex Potts and Tobias Wofford.