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Melvin Edwards Sculpture A Thirty-Year Retrospective 1963-1993

Purchase, NY. Neuberger Museum. Texts by Lowrey Sims, Michael Brenson and Josephine Gear

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ISBN 10: 0295973005 / ISBN 13: 9780295973005
Published by Neuberger Museum of Art, 1993
Soft cover
From Joel Rudikoff Art Books (White Plains, NY, U.S.A.)

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About this Item

4to, stiff pictorial wrappers. 143 pp, 131 illustrations (13 in color) plus 31 text figures, 2 portraits, chronology, bibliography. Exhibition catalog for a retrospective of the work of the prominent African-American sculptor. Very good; SIGNED by Edwards with a brief inscription. Bookseller Inventory # 27330

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Bibliographic Details

Title: Melvin Edwards Sculpture A Thirty-Year ...

Publisher: Neuberger Museum of Art

Publication Date: 1993

Binding: Softcover

Edition: First.

About this title


art book

From Booklist:

An African American born in Houston in 1937, Edwards is a major American sculptor and one of the world's masters of abstract steel construction. His works have been widely exhibited, but this fine book and the retrospective exhibition it documents make up the first comprehensive overview. Several excellent essays accompany reproductions of 130 of Edwards' sculptures. One is a biographical sketch that emphasizes the influence of African art and jazz on Edwards' aesthetics and themes. The tangibility of real objects has meant more to Edwards than creating illusions on paper or canvas, and learning to weld was a revelation. Some of Edwards' best-known works are his provocative wall pieces, the "Lynch Fragments," which are discussed at length. Edwards constructed these powerful works out of chains, padlocks, hammers, scissors, spikes, axes, gears, and wrenches; in spite of their industrial elements, these pieces are reminiscent of African masks and generate a vibrantly organic and sexual aura. The book concludes with an insightful essay, by Josephine Gear, about Edwards' glorious freestanding pieces, studies in the union of mass and grace. Gear summarizes Edwards' accomplishments: "Edwards, without fanfare, has long forged cross-cultural influences to produce some of the most powerful and bracing sculpture of our time." Donna Seaman

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