Melvin Edwards: Five Decades

Zimmerli Art Museum

September 1, 2015 – January 10, 2016

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

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

Mamba (1965)
Welded steel
10.5h x 9w x 9.8d in (26.7h x 22.9w x 24.9d 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)

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

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

No Rem (2012)
Welded steel
12h x 8.5w x 7.5d in (30.5h x 21.6w x 19.1d 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)

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)

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

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

Bara Niasse Tugge (2008)
Welded steel
14.5h x 6.5w x 6.8d in (36.8h x 16.5w x 17.3d cm)

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

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

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

Untitled (Prototype Square Sculpture) (1969-72)
Welded steel
8h x 15.5w x 16d in (20.3h x 39.4w x 40.6d cm)

To Wifredo Lam (1982)
Welded steel
24.9h x 31.5w x 19.3d in (63.2h x 80w x 49d cm)

Maquette for Pyramid Up/Pyramid Down (1969)
Wood and barbed wire
13.3h x 15.5w x 15.5d in (33.8h x 39.4w x 39.4d 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)

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)

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)

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

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

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

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

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

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

A Conversation with Norman Lewis (1979)
Welded steel

To Listen (1990)
Stainless Steel
89.5h x 15.5w x 37d in (227.3h x 39.4w x 94d cm)

Conversations with My Father (1974)
Painted welded steel
48.75h x 70.5w x 46.5d in (123.8h x 179.1w x 118.1d 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)

Corner for Ana (1970)
Barbed Wire

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

Pyramid Up and Down (1969/2012)
Barbed Wire

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

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

Cayuga (c. 1969-70)
Welded steel
5.75h x 16.25w x 2d in (14.6h x 41.3w x 5.1d 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)
Collection The Art Institute of Chicago, IL

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

Soba (2002)
Welded steel, 10h x 8.3w x 8.3d in (25.4h x 21.1w x 21.1d cm)
Collection Detroit Institute of Arts, Detroit, MI

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

The Fourth Circle (1966)
Painted steel, 48h x 72w x 60d in (121.9h x 182.9w x 152.4d cm)
Collection Los Angeles County Museum of Art, CA

Double Chain (1966)
Welded steel, 16.5h x 16.5w x 11d in (41.9h x 41.9w x 27.9d cm)
Collection Long Beach Museum of Art, CA

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 Zimmerli is coordinated by Donna Gustafson, Curator of American Art and Mellon Director of Academic Programs.

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 will provide 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.