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Mel Edwards

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Melvin "Mel" Edwards (born May 4, 1937)[1][2] is an American artist, teacher, and abstract steel-metal sculptor. Additionally he has worked in drawing and printmaking. His artwork has political content often referencing African-American history, as well as the exploration of themes within slavery.[1] Visually his works are characterized by the use of straight-edged triangular and rectilinear forms in metal. He lives between Upstate New York and in Plainfield, New Jersey.[3]

Melvin Edwards
Born
Melvin Eugene Edwards, Jr.

(1937-05-04) May 4, 1937 (age 87)
Houston, Texas, U.S.
Alma materUniversity of Southern California (BFA)
Known forSculpture
Spouse(s)Karen Hamre, (m. 1960–1969, divorce),
Jayne Cortez, (m. 1976–2012, her death)

He has had more than a dozen one-person show exhibits and been in over four dozen group shows. Edwards has had solo exhibitions at the Whitney Museum of American Art in New York City, the Los Angeles County Museum of Art (LACMA), and the New Jersey State Museum, Trenton, New Jersey.

Early life and education

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Melvin Eugene Edwards Jr. was born on May 4, 1937, in Houston, the eldest of four children born to Thelmarie Edwards and Melvin Edwards Sr.[4] The family moved to McNair, Texas, in 1942 where Edwards started first grade,[5] before moving again to Dayton, Ohio, in 1944 for Melvin Sr.'s job at the Boy Scouts of America.[4] Edwards attended the racially integrated schools Wogoman Elementary and Irving Elementary in Dayton.[5] He has said his first understanding of art came after his fourth grade art teacher at Irving had the class practice figure drawing; while the other students drew cartoon figures, Edwards noticed that his own drawing was a more realistic portrayal: "this was a revelation to me. It was a surprise... that that could be done."[6]

In 1949 his family moved in with Edwards' grandmother in Houston,[4] having returned to Texas for his father's new job with Houston Lighting & Power, though his parents divorced during his childhood.[3] Edwards grew up in Houston during a time of racial segregation,[7] attending E. O. Smith Junior High School and Phillis Wheatley High School.[4] He began seriously making art at a young age, encouraged by both his parents and teachers; his father and a family friend built his first easel when he was 14 years old,[4] and his father was himself an amateur painter.[6] While attending high school, Edwards was one of two students selected from his school to take art classes at the Museum of Fine Arts, Houston;[4] he was also introduced to abstract art by one of his high school teachers.[7] He was also an avid athlete, playing football throughout high school.[8]

After graduating high school Edwards moved to Los Angeles, in 1955, living with his aunt and uncle while working part-time to pay for courses at Los Angeles City College.[8] While in college he worked a number of jobs, including at the post office, in a warehouse, and as a porter in a hospital.[9] Edwards was interested in studying art but also wanted to continue his sports career, so he transferred to the University of Southern California (USC), to study and play football.[8] His first period of study at USC was primarily focused on painting, and his professors included Francis de Erdely, Hans Burkhardt, Hal Gebhardt, and Edward Ewing,[10][4] as well as the art historian Theresa Fulton.[11] He then accepted a scholarship to attend the Los Angeles County Art Institute (now the Otis College of Art and Design), studying under his first sculpture teachers Renzo Fenci and Joe Mugnaini, but he transferred back to USC after six months when he received a scholarship to return to play football.[11] Edwards has said that he nearly failed one of his undergraduate history courses at USC after disagreeing with the professor's Eurocentric views of history.[12] This inspired his later visits to Africa to learn about the history of the continent.[13]

While attending USC Edwards met fellow art student Karen Hamre;[4] the two married in 1960 and Hamre gave birth to their first daughter, Ana, the same year.[9] Edwards also became friends with several other artists in Los Angeles, including Marvin Harden, Daniel LaRue Johnson, Ron Miyashiro, Ed Bereal, and David Novros.[4] Edwards finished the majority of his undergraduate coursework by 1960,[8] although he did not receive his degree until 1965,[14] due to an uncompleted language course necessary for graduation.[15]

Life and career

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1960s

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1960-1964: Early career, first Lynch Fragments

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See also: Lynch Fragments

After finishing the majority of his studies at USC, Edwards asked graduate student and sculptor George Baker to teach him to weld. He took additional night classes with Baker in 1962 to learn more about the technique and process.[4] He also found employment to help support his family, working in a ceramics factory owned by fellow USC graduate Tony Hill. Edwards was trained in specialized finishing techniques to complete the modernist ceramics produced in the factory.[9] In addition, he eventually found work at a film production company owned by Novros' father.[9] The company's office was located near June Wayne's Tamarind Lithography Workshop (now the Tamarind Institute), and he would visit the center on his lunch breaks, meeting influential national artists like George Sugarman, Richard Hunt, Leon Golub, and Louise Nevelson, as well as Museum of Modern Art (MoMA) print curator Riva Castleman.[9]

Edwards spent several years in the early 1960s experimenting with different welding techniques,[16] eventually buying his own equipment and setting up a studio in a garage that Hill owned.[9] In 1963 this experimentation resulted in a small relief sculpture titled Some Bright Morning, comprising a shallow cylindrical form accented by bits of steel, a blade-shaped triangle of steel, and a short chain hanging from the piece with a small lump of metal at its end. This work became the first in his Lynch Fragments series.[16] Edwards said the title of the piece was a reference to a story from Ralph Ginzburg's anthology 100 Years of Lynchings, a compilation of reports on lynchings in the United States published the year prior.[17] The named story relays the narrative of a black family in Florida successfully fighting back against their white neighbors who had threatened to come to the property on "some bright morning" in order to kill them.[18][19] Inspired by developments in the Civil Rights Movement, these welded metal wall reliefs are usually small in size.[20] Edwards has described the series as a metaphor for the struggles experienced by African Americans.[21] He has employed a variety of metal objects to create these works, including hammer heads, scissors, locks, chains, and railroad spikes.[13]

Edwards traveled to New York for the first time in 1963, visiting MoMA after having heard that it was possible to meet well-known artists working as guards.[22] The first person he met at the museum was the artist William Majors, a member of the African-American art group Spiral.[22] On his trip to the city he also met artist Hale Woodruff, another member of Spiral, and showed Woodruff several of his Lynch Fragments sculptures.[15]

1965-1969: Rising recognition, move to New York, Smokehouse

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His first one-person exhibition of sculpture was held in 1965 at the Santa Barbara Museum of Art.[15] He exhibited several of his Lynch Fragments sculptures, along with the first iteration of a work titled Chaino which consisted of a small metal assemblage suspended in midair with chains attached to the walls and a metal rod hanging from the ceiling; he later built a metal armature for Chaino so it could be displayed suspended without the need of a wall or ceiling rod.[23] Writing in Artforum, critic David Gebhard positively reviewed the exhibition, saying that "Perfection of workmanship and a full understanding of material has been united with the formal content of each work."[24] In 1965 he also began teaching at the Chouinard Art Institute (now the California Institute of the Arts).[14] His second and third children, twin daughters, were born the same year.[25]

Edwards' work was included in the historical survey exhibition The Negro in American Art, organized by art historian James Porter at UCLA in 1966. Artist Sam Gilliam was also included in the exhibition, and the two became friends and colleagues after Edwards saw Gilliam's work.[26] He visited New York again in 1966 to search for housing and studio space in the city for his family to relocate. On this trip he helped his friend Robert Grosvenor install a sculpture in the exhibition Primary Structures at the Jewish Museum, which introduced Edwards to a large group of artists working in minimalism.[27]

Edwards moved to New York, in January 1967,[15] relocating with his wife and children.[23] Johnson and Miyashiro, who had both themselves moved to the city from California, helped the family settle.[23] He had been encouraged by other artists, Sugarman in particular, to move to New York, in order to further his career and find more opportunities.[28] He also made the decision to stop creating new sculptures for the Lynch Fragments series, deciding instead to focus on other, larger works.[29][30] Edwards and Hamre decided to separate soon after they moved to New York, and she returned to California with their daughters.[31] The two divorced the following year.[28] After moving to New York, Edwards secured a position teaching art in 1967 at Orange County Community College in the Hudson Valley north of the city.[32]

He was soon introduced to the artist William T. Williams, meeting Williams at a party for Sugarman after the artist Al Held recommended they connect; they quickly became close friends and colleagues.[33] Around this period Edwards also met the painter and writer Frank Bowling, another African-American abstract artist.[32] Bowling quickly became a champion of Edwards' work in his criticism and painted a piece dedicated to Edwards in 1968, Mel Edwards Decides.[34][35]

He moved into a farmhouse in Orange County in the fall of 1968, living alone after his wife and children left New York.[28] During this period he began developing a new series of barbed wire sculptural installations.[28] These works comprise strands of barbed wire and chain strung in different shapes and patterns from walls and ceilings in gallery spaces, extending into the room to form environments rather than discrete individual sculptures.[36][37][38] That summer, Edwards participated in a residency at the Sabathani Community Center in Minneapolis, where he first began to create large painted metal sculptures; the Walker Art Center exhibited the works soon after.[28] Following the residency Edwards traveled to Los Angeles, to install a large solo exhibition at the Barnsdall Art Center, before returning to New York, to join Williams and his new initiative, Smokehouse.[28]

Smokehouse (also known as Smokehouse Associates) was a New York-based community wall-painting initiative developed by Williams;[39] Edwards participated primarily during the summers of 1968 and 1969.[28] The project was born from a desire shared by Williams and others to create participatory public art projects that could have a positive social effect on their communities.[40] Smokehouse created a series of wall paintings consisting of hard-edge graphics and geometric patterns, designed and executed with local community members, all located along several streets in Harlem.[41]

In early 1969, Edwards' friend from Los Angeles, Bob Rogers, suggested that he create illustrations for the poet Jayne Cortez' new poetry book.[28] Edwards and Cortez had met briefly in California, but were reacquainted and became closer in New York, after Edwards provided several drawings for Cortez' book Pissstained Stairs and the Monkey Man's Wares.[28]

Edwards, Williams, and Gilliam exhibited their work together with Williams' former classmate Stephan Kelsey[a] in June 1969 at the Studio Museum in Harlem for the exhibition X to the Fourth Power.[47] Edwards showed the first of his barbed wire installations,[28] including Pyramid Up and Pyramid Down, a pyramidal form made with lengths of barbed wire stretched across a corner of the gallery.[38] Edwards, Williams, and Gilliam, all African-American artists making abstract art, would go on to stage several additional exhibitions as a trio in the 1970s.[42] At the time of the exhibition, some black artists, curators, and activists had begun to view art as a secondary concern to the needs of political developments like the rise of the black power movement, preferring art of the era that served an explicit functional purpose within a social movement rather than art made as aesthetic exploration or for non-political use, including abstract art,[48][49] a debate that was ongoing within the Studio Museum itself.[50] The works Edwards exhibited, along with those of his fellow artists, were explicitly non-representational and did not serve a political function;[48] several reviews of the exhibition focused on this perceived tension.[50]

In the fall of 1969, Bowling curated the exhibition 5+1 at SUNY Stony Brook featuring work by six black artists making abstract art: Edwards, Williams, Johnson, Al Loving, Jack Whitten, and Bowling himself.[51] Edwards exhibited the second of his barbed wire installations, Curtain for William and Peter, a wall of strands of barbed wire hung from the ceiling that ran the entire length of the gallery and divided the space in two, named for Williams and the artist Peter Bradley.[36]

Edwards cited jazz music as an influence on his work.[52]

1970s: Printmaking, teaching

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In March 1970 Edwards staged a solo exhibition at New York's Whitney Museum;[53] he was the first African-American artist to receive a solo show in the museum's history.[54] He installed two new barbed wire installations: Corner for Ana, a set of horizontal barbed wires creating a triangle form in a corner, named for the artist's daughter; and "look through minds mirror distance and measure time", a tunnel-like installation named for a poem by Cortez.[36][34] Additionally, he recreated Pyramid Up and Pyramid Down and Curtain for William and Peter for the show.[36][55] His exhibition at the Whitney was negatively reviewed in Artforum by critic and art theorist Robert Pincus-Witten, who wrote that "Robert Morris has already accomplished" what he believed Edwards was attempting with his sculptures, and disagreed with the museum's supposed decision to "so obviously sponsor the career of a young artist," despite the fact that Edwards had been exhibiting on the west coast for several years.[56] The following year Bowling published a defense of Edwards' show in ARTnews, responding directly to criticisms of Edwards' work, saying that critics had overlooked the signified meanings and multiple references in the sculptures: "[Edwards] reroutes fashion and current art convention to 'signify' something different to someone who grew up in Watts rather than to 'signify' only in the meaning of Jack Burnham and his colleagues."[57]

He also began teaching at the University of Connecticut in 1970.[58] That summer, Edwards took his first trip to Africa,[53] visiting the West African republics of Nigeria, Togo, Benin, and Ghana, with a group comprised mostly of African-American teachers.[59] He has spoken extensively about the influence of his time in Africa on his work, noting in particular his experiences in the Nigerian city of Ibadan.[54][59] After his first trip in 1970, he traveled with Cortez to different parts of Africa many times throughout the 1970s.[59]

In 1972, he began teaching art classes at Livingston College of Rutgers University (now part of the Rutgers School of Arts and Sciences).[60]

The Studio Museum in Harlem hosted Edwards' first retrospective exhibition in 1978, which included a set of his Lynch Fragments sculptures, works from his Rockers series, and a large steel work dedicated to the recently deceased poet Léon-Gontran Damas, whom Edwards had met via Cortez.[61] The exhibition received very little critical attention; the director of the museum, Mary Schmidt Campbell, said that "It was like nothing, like the show didn't happen... It was scary."[61] The exhibition offered Edwards the opportunity to see several Lynch Fragments sculptures together after several years, inspiring him to restart the series and continue creating new works throughout his career.[62][63]

During the 1970s, he participated in a community art space called Communications Village, operated by printmaker Benjamin Leroy Wigfall in Kingston, NY. Andrews made prints with the help of printer assistants who had been taught printmaking by Wigfall, and Edwards exhibited there.[64]

1980s-present: Public sculpture, retrospectives, late-career acclaim

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By 1980, he was a full professor and teaching at the Mason Gross School of Creative and Performing Arts at Rutgers University.[60]

In 1993 Edwards staged a 30-year retrospective exhibition at the Neuberger Museum of Art in Purchase, New York.[65][7]

By 2002, he retired from teaching.

Bodies of work

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Rocker series

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Edwards is also known for smaller freestanding works, the kinetic "Rockers" series.[66] Works from the Rocker series include, Homage to Coco (1970), Good Friends in Chicago (1972), Avenue B (Rocker) (1975), Memories of Coco (1980), A Conversation with Norman Lewis (1980), among others.[67][better source needed] These moving sculptures are inspired by his memories, including one of him falling off his grandmother's rocking-chair and another as a homage to his friendships. Edwards used the term "syncopate" to describe the interaction while rocking, and the relationship of syncopation in African-American music.[67]

Other work

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Edwards is also known for works executed in the medium of printmaking.

He has completed a broad array of large-scale, public sculpture commissions. His public sculptures include: Homage to My Father and the Spirit (1969), installed at Cornell University's Appel Commons; Homage to Billie Holiday and the Young Ones of Soweto (1976–1977), installed at Morgan State University's James E. Lewis Museum of Art;[68] Out of the Struggles of the Past to a Brilliant Future (1982), installed at Mt. Vernon Plaza apartment complex in Columbus, Ohio;[69] Breaking of the Chains (1995), installed on San Diego harbor-front's Martin Luther King Jr. Promenade;[70] and David's Dream (2023), installed outside the David C. Driskell Center at the University of Maryland, College Park.[71]

Exhibitions

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Edwards has participated in a large number of solo shows in the United States and internationally. His solo shows include Melvin Edwards (1965), Santa Barbara Museum of Art, California; Melvin Edwards: Sculptor (1978), Studio Museum in Harlem, New York; The Sculpture of Melvin Edwards, SculptureCenter, New York; Mel Edwards: Lynch Fragment Series (1985), Robeson Gallery, Rutgers University, New Brunswick, New Jersey; and Melvin Edwards (2022), Dia Beacon, Beacon, New York.

A 30-year retrospective of his sculpture was held in 1993 at the Neuberger Museum of Art, Purchase, New York,[65] and a 50-year retrospective titled Melvin Edwards: Five Decades was held in 2015 at the Nasher Sculpture Center, Dallas.[72][73] Melvin Edwards: Crossroads, an exhibition of 23 sculptures and installations, exploring the cross-cultural connections in the artist's work, was presented at the Baltimore Museum of Art from 2019 to 2020.[74]

He has also participated in many group exhibitions, including the 56th Venice Biennale (2015), Havana Biennial (2019), and Afro-Atlantic Histories (2018, 2021–2022).

Personal life

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Edwards was married in 1960 to Karen Hamre; together they had three children.[13] In 1969, the couple separated; Hamre and the children stayed in Los Angeles while Edwards had already moved to New York City.[75]

In 1976, Edwards married the poet Jayne Cortez.[76] Cortez and Edwards worked together: he illustrated her first book Pissstained Stairs and the Monkey Man's Wares (1969), and she wrote a series of poems to accompany her husband's work Lynch Fragments.[52][75]

His art studios are located in upstate New York and in Plainfield, New Jersey, and he often travels to Dakar, Senegal.[3]

Awards and honors

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Notable works in public collections

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See also

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Notes, citations, and references

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Notes

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  1. ^ Kelsey's first name is spelled variously as "Stephan" by Binstock[42] and Schmidt Campbell,[43] as "Stephen" by Godfrey,[44] and as "Steven" by Craft[45] and Booker.[46]

Citations

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  1. ^ a b Lewis, Samella S. (2003). "Melvin Edwards". African American Art and Artists. Berkeley, California: University of California Press. pp. 210–211. ISBN 0520239350. OCLC 51086366.
  2. ^ Lisa S. Weitzman, "Edwards, Melvin 1937–", encyclopedia.com.
  3. ^ a b c Kauffman, Aubrey J. (September 30, 2015). "Sculptor Mel Edward's 50 Years of Work on View at Zimmerli". U.S. 1 Newspaper, Princeton Info. Retrieved May 9, 2020.
  4. ^ a b c d e f g h i j Craft (2015), "Chronology", p. 190
  5. ^ a b Kenny (1993), p. 129
  6. ^ a b Sims (1993), p. 9
  7. ^ a b c Kino, Carol (October 17, 2012). "Rediscovering Someone Recognized". The New York Times. sec. AR, p. 21. OCLC 1645522. Archived from the original on June 5, 2024. Retrieved May 6, 2020.
  8. ^ a b c d Craft (2015), "This Life as a Sculptor", p. 11
  9. ^ a b c d e f Sims (1993), p. 12
  10. ^ Keane, Tim (November 22, 2014). "Man of Steel: The Welded Transfigurations of Melvin Edwards". Hyperallergic. OCLC 881810209. Archived from the original on June 5, 2024. Retrieved May 9, 2020.
  11. ^ a b Kenny (1993), p. 130
  12. ^ Brenson (1993), p. 27: "College was not always the alternative to narrowness he assumed it would be. 'It's kind of funny,' he says, 'you grow up in Texas and you're only supposed to think like the neighborhood intellect thinks, you know, but some people there knew there was more to the world than that, and so why would I get in a university and have a teacher tell me Africa didn't have anything until Europeans came, and that happened to me one summer at U.S.C. when l took a history class, and I told him, well, you're wrong. I got a D, no way I would get a D in history, there's no way, it was from that argument and I knew it.'"
  13. ^ a b c Jegede, Dele (2009). Encyclopedia of African American Artists. Westport, Connecticut: Greenwood Press. pp. 77–80. ISBN 9780313080609. OCLC 466422666.
  14. ^ a b Kenny (1993), p. 131
  15. ^ a b c d Sims (1993), p. 15
  16. ^ a b Craft (2015), "This Life as a Sculptor", p. 13
  17. ^ Craft (2015), "This Life as a Sculptor", p. 14
  18. ^ Brenson (1993), p. 28
  19. ^ Edwards (1982), p. 95, quoted in Craft (2015), "This Life as a Sculptor", p. 14
  20. ^ Brenson (1993), p. 23
  21. ^ Andrews, Gail C. (2010). Birmingham Museum of Art: Guide to the Collection. Birmingham, Alabama: Birmingham Museum of Art. p. 254. ISBN 9781904832775. OCLC 698774010.
  22. ^ a b Sims (1993), p. 14
  23. ^ a b c Craft (2015), "This Life as a Sculptor", p. 17
  24. ^ Gebhard, David (May 1965). "Melvin Edwards". Artforum. Vol. 3, no. 8. OCLC 20458258. Archived from the original on November 12, 2023. Retrieved December 16, 2024.
  25. ^ Brenson (1993), p. 26
  26. ^ Binstock (2005), ch. 2: "Discarding the Frame", p. 58
  27. ^ Craft (2015), "This Life as a Sculptor", pp. 18–19
  28. ^ a b c d e f g h i j Craft (2015), "Chronology", p. 191
  29. ^ Brenson (1993), p. 29: "The first period of Lynch Fragments ended when Edwards moved to New York. 'I stopped them because I left L.A. in January 1967. I was doing other things all along, and I felt I had gotten good esthetic mileage out of them that I wasn’t getting as much out of the larger-scale pieces, and I thought I needed that.'"
  30. ^ Craft (2015), "This Life as a Sculptor", p. 17: "Although he brought a few Lynch Fragments with him, he had also decided that the move signaled an end to his work on the series: 'That first convenience of the move from California to New York, was, well, you could close the door on the period, just by moving three thousand miles. You can't take it all with you in your station wagon.'"
  31. ^ Craft (2015), "This Life as a Sculptor", p. 24
  32. ^ a b Kenny (1993), p. 132
  33. ^ Booker (2022), "Smokehouse: Abstract Potential", pp. 11–12
  34. ^ a b Godfrey (2015)
  35. ^ Keefe, Alexander (January 2016). "Frank Bowling". Artforum. Vol. 54, no. 5. OCLC 20458258. Archived from the original on November 9, 2023. Retrieved November 10, 2023.
  36. ^ a b c d Craft (2015), "This Life as a Sculptor", p. 25
  37. ^ Godfrey (2019), p. 104
  38. ^ a b Booker (2022), "Smokehouse: Abstract Potential", p. 30
  39. ^ Booker (2022), "Smokehouse: Abstract Potential", p. 8
  40. ^ Booker (2022), "Smokehouse: Abstract Potential", p. 9
  41. ^ Booker (2022), "Smokehouse: Abstract Potential", pp. 9–10
  42. ^ a b Binstock (2005), ch. 2: "Discarding the Frame", p. 79
  43. ^ Schmidt Campbell (1982), p. 9
  44. ^ Godfrey (2019), p. 108, note 2.
  45. ^ Craft (2015), "This Life as a Sculptor", p. 32, note 59
  46. ^ Booker (2022), "Smokehouse: Abstract Potential", p. 28
  47. ^ Binstock (2005), ch. 2: "Discarding the Frame", p. 57
  48. ^ a b Sims (1993), p. 17
  49. ^ Godfrey (2019), pp. 93, 95
  50. ^ a b Binstock (2005), ch. 2: "Discarding the Frame", pp. 60–61
  51. ^ Booker (2022), "Smokehouse: Abstract Potential", pp. 27–28
  52. ^ a b Widener, Daniel (2010). "Studios in the Street: Creative Community and Visual Arts". Black Arts West: Culture and Struggle in Postwar Los Angeles. Durham, North Carolina: Duke University Press. pp. 173–174. ISBN 9780822392620. OCLC 458583418.
  53. ^ a b Sims (1993), p. 18
  54. ^ a b Moura (2018), p. 11
  55. ^ Booker (2022), "Smokehouse: Abstract Potential", p. 30, note 57
  56. ^ Pincus-Witten (1970), quoted in Godfrey (2015) and Craft (2015), "This Life as a Sculptor", p. 23
  57. ^ Bowling (1971), quoted in Godfrey (2015)
  58. ^ Marter, Joan (May 2016). "Melvin Edwards: Liberation and Remembrance". Sculpture. Vol. 35, no. 4. OCLC 14039712.
  59. ^ a b c Wolff (2018), p. 24
  60. ^ a b "Melvin Edwards · Experimental Printmaking Institute". Lafayette College. April 3, 2017. Retrieved May 9, 2020.
  61. ^ a b Craft (2015), "This Life as a Sculptor", p. 26
  62. ^ Brenson (1993), p. 29
  63. ^ Craft (2015), "This Life as a Sculptor", pp. 26–27
  64. ^ Fendrich, Laurie (October 20, 2022). "When an artist becomes a community: The life and work of Benjamin Wigfall". Two Coats of Paint. Retrieved May 17, 2023.
  65. ^ a b Zimmer, William (April 18, 1993). "ART; Freestanding Metaphors of Suffering and Strength". The New York Times. sec. WC, p. 24. OCLC 1645522. Archived from the original on December 20, 2022. Retrieved December 16, 2024.
  66. ^ Edwards, Daniel (July 5, 2017), "Twentieth-century display case archive", Sculpture and the Vitrine, Routledge, pp. 197–208, ISBN 9781315088235
  67. ^ a b Craft, Catherine (2013). "Conversations with Melvin Edwards Extended Version". Nasher Sculpture Center. Retrieved May 7, 2020.
  68. ^ Arnold (2015), p. 182
  69. ^ Arnold (2015), p. 183
  70. ^ Arnold (2015), p. 186
  71. ^ Siler, Brenda C. (April 10, 2024). "Sculpture Unveiled in Appreciation for Artist and Educator David C. Driskell". The Washington Informer. OCLC 60630464. Archived from the original on April 10, 2024. Retrieved June 30, 2024.
  72. ^ Weeks, Jerome (January 31, 2015). "Melvin Edwards At The Nasher: Man of Steel". Art & Seek. KERA. Archived from the original on June 16, 2024.
  73. ^ Esplund, Lance (March 31, 2015). "Review of 'Melvin Edwards: Five Decades' at the Nasher Sculpture Center". The Wall Street Journal. OCLC 781541372. Retrieved December 15, 2024.
  74. ^ Edwards, Melvin (January–February 2020). "Object Lessons: Melvin Edwards". Sculpture. Vol. 39, no. 1. Archived from the original on September 9, 2024.
  75. ^ a b Williams, William T. (February 19, 2018). "William T. Williams by Mona Hadler". Bomb (Interview). Interviewed by Hadler, Mona. OCLC 61313615. Archived from the original on June 5, 2024. Retrieved May 6, 2020.
  76. ^ Encyclopedia of African American Women Writers. Vol. 1. Westport, Connecticut: Greenwood Press. p. 121. ISBN 9780313334290. OCLC 71507821.
  77. ^ Fellows Archived January 14, 2014, at the Wayback Machine, The John Simon Guggenheim Memorial Foundation.
  78. ^ a b Otfinoski, Steven (2014) [First published 2003]. African Americans in the Visual Arts. New York: Facts on File. p. 74. ISBN 9781438107776. OCLC 234074485.
  79. ^ "Honorary Doctor of Fine Arts: Melvin Edwards" Archived May 23, 2014, at the Wayback Machine, Commencement Honorees 2014, Massachusetts College of Art and Design.
  80. ^ "Some Bright Morning: The Art Of Melvin Edwards" at African Film Festival, New York, 2016.
  81. ^ "August the Squared Fire". San Francisco Museum of Modern Art. Archived from the original on August 5, 2019. Retrieved June 30, 2022.
  82. ^ "The Lifted X". Museum of Modern Art. Archived from the original on May 2, 2022. Retrieved June 30, 2022.
  83. ^ "The Fourth Circle". Los Angeles County Museum of Art. Archived from the original on June 30, 2022. Retrieved June 30, 2022.
  84. ^ "Curtain (for William and Peter)". Tate. Archived from the original on May 9, 2021. Retrieved June 30, 2022.
  85. ^ "Pyramid Up and Pyramid Down". Whitney Museum. Archived from the original on July 4, 2021. Retrieved June 30, 2022.
  86. ^ "Untitled (Wall Hanging)". Crystal Bridges Museum of American Art. Archived from the original on June 30, 2022. Retrieved June 30, 2022.
  87. ^ "Working Thought". Studio Museum in Harlem. August 31, 2017. Archived from the original on September 25, 2020. Retrieved June 30, 2022.
  88. ^ "Justice for Tropic-Ana (dedicated to Ana Mendieta)". Carnegie Museum of Art. Archived from the original on June 30, 2022. Retrieved June 30, 2022.
  89. ^ "Cup of?". Museum of Modern Art. Archived from the original on September 17, 2021. Retrieved June 30, 2022.
  90. ^ "Ready Now Now". Met Museum. Metropolitan Museum of Art. 1988. Archived from the original on July 23, 2021. Retrieved June 30, 2022.
  91. ^ "Takawira - J". Brooklyn Museum. Archived from the original on January 19, 2022. Retrieved June 30, 2022.
  92. ^ "Good Word from Cayenne". Museum of Fine Arts, Houston. Archived from the original on June 30, 2022. Retrieved June 30, 2022.
  93. ^ "Thomas Jefferson Park". NYC Gov Parks. Archived from the original on April 10, 2022. Retrieved June 30, 2022.
  94. ^ "Off and Gone". Museum of Contemporary Art, Chicago. Archived from the original on June 30, 2022. Retrieved June 30, 2022.
  95. ^ "Tambo". Smithsonian American Art Museum. Archived from the original on February 1, 2021. Retrieved June 30, 2022.
  96. ^ "Siempre Gilberto de la Nuez". National Gallery of Art. January 7, 1994. Archived from the original on June 30, 2022. Retrieved June 30, 2022.
  97. ^ "Deni Malick". Fralin Museum of Art. Archived from the original on June 30, 2022. Retrieved June 30, 2022.
  98. ^ "Fragments & Shadows". Metropolitan Museum of Art. Archived from the original on July 23, 2021. Retrieved June 30, 2022.
  99. ^ "Fragments & Shadows". Museum of Modern Art. Archived from the original on April 20, 2021. Retrieved June 30, 2022.
  100. ^ "Soba". Detroit Institute of Arts. Archived from the original on June 30, 2022. Retrieved June 30, 2022.
  101. ^ "Scales of Injustice". Baltimore Museum of Art. Archived from the original on June 30, 2022. Retrieved June 30, 2022.

Cited references

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Further reading

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