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Metallskulpturen des afroamerikanischen Künstlers #melvinedwards in der #galeriebuchholz
#galleryweekendberlin #lynchfragments

#melvinedwards !!! thru 5.20

Melvin Edwards, Steel Life (Spring Again), 2017, welded steel, 19 1/2 x 13 x 7 3/4", @alexandergrayassociates, NY through May 20. #melvinedwards #alexandergray #nyshows #closingsoon

Melvin Edwards, Iraq, 2003; Daiga Grantina, V in BB, 2016; Matthew Lutz-Kinoy, Servanta of the Dry Facade, Delft Blue, 2016 #melvinedwards #daigagrantina #matthewlutzkinoy

Maple is curious too ❤️ @alexklimt1 #melvinedwards #dachshund #nyc

Melvin Edwards's "Two is One," 2016, part of the artist's solo exhibition "In Oklahoma," on view at @alexandergrayassociates through May 20, 2017 #MelvinEdwards

"It’s not often that the two speak together, so this talk offers a rare chance to see them in conversation." - @artnewsmag on tonight's first salon with @dreadscottart and #MelvinEdwards. Join us at 6:30 by tuning in on Facebook as we broadcast the event LIVE! If you would like to attend in person, a few tickets are available (purchase via the link in our bio or at the door). #nationalacademician #nationalacademymuseum #artnyc

Preview | Frieze New York | Main Section

@alexandergrayassociates will present a selection of work by Melvin Edwards (b.1937), spanning his five decade career, including large-scale sculpture, works on paper, and examples from the artist’s renowned series “Lynch Fragments.” Coinciding with the artist’s critically acclaimed retrospective, organized by the @NasherSculptureCenter in Dallas and currently on view at the @columbusmuseum, and on the heels of Edwards’ participation in the 2015 56th @la_biennale_di_venezia, the works on view present an intimate portrait of the artist as a committed sculptor, deeply engaged with formal concerns and socio-political narrative.
Pivotal within Edwards’ practice, the “Lynch Fragments” are wall sculptures that incorporate complex forms rendered from welding steel objects. He began the series in 1963, a year of widespread racial and political violence in the United States. The “Lynch Fragments” often incorporate geometric bases to establish a consistent foundation for different forms welding steel forms. Edwards typically incorporates chains, hammers, nails, padlocks, scissors, spikes, and wrenches, as evidenced in Freedom Fighter (1992 - pictured) and A Symptom of (1999). These wall reliefs present abstract forms using materials that retain referentiality. The dimensions and placement of the works are crucial to their effect, evoking the human head and the attendant complexities and nuances of identity, both personal and political.
Frieze New York returns to Randall's Island Park next week (May 5 - 8). Purchase your tickets now at frieze.com (link in bio). #friezeweek #friezeNY #melvinedwards

Melvin Edwards' work 'Corner for Ana' is featured in "Space Forced Construction" curated by Matthew Witkovsky and Katerine Chuchalina, and organised with the Art Institute of Chicago, at V-A-C Foundation's new Venetian headquarters. #MelvinEdwards #VeniceBiennale2017 #SFGartist #Installation


#MelvinEdwards left: Combination, 2005; right: Beyond Cabo Verde, 2006 at #GalerieBuchholz #Berlin

There are many things I love about Mel Edwards. One of the more unexpected ones is that he was among the first American artists to engage in cultural diplomacy with Cuba, after President Carter partially thawed relations in 1979. Edwards participated in one of the early trips organized by Ana Mendieta to bring artists from the U.S. to Havana, along with Lucy Lippard, May Stevens, and other leftist critics and artists. Throughout his career Edwards has engaged with sculptural traditions from the global south, doing research in Africa, South Asia, and Latin America—a dialogue that might in part account for the haunting, almost animistic power of some of his metal assemblages. Another thing I love about Edwards is the relentless, unabashed consistency of his practice. This sculpture here, made just this year, could just as easily have been made forty years ago if you compare it with the work he was making then. While some might take this up as a point to critique, I would argue that it suggests Edwards has yet to exhaust the powerful idiom he created. My co-curator at the Whitney ISP Magdalyn Asimakis writes about the ability of sculpture to disrupt essentialist identification by complicating our embodied relationships with the world. In his sculptures, Edwards takes found objects with traditional bodily associations—typically utilitarian—and completely subverts them, rendering them useless and drawing our attention both to their material forms and to the systems in which they circulate. By disrupting and thwarting our processes of identification, Edwards reveals how much we rely on patterns and presumptions to navigate the material world, in the process suggesting that even the subtlest of alterations can open up space to reroute and find new paths forward.

Melvin Edwards, Steel Life (After Winter), 2017


One of my favorite artists! His exhibit in NY made my day! #artlife #artthatspeaks #melvinedwards

Can a sculpture be performative? The more I think about this seemingly odd question, the more I think the answer might be yes. The late British writer and performer Ian White wrote a brilliant blog toward the end of his life, in which he meditated on artworks as a means of reading the past toward the future in the present. He described performance not as a fetishized live event, but rather as the creation of temporal instability—a momentary, inherently fleeting encounter with something that disrupts the normal flow of time. In these moments of irresolution and awkwardness, White located great potential. I think it’s interesting to read Melvin Edwards’ sculptures along these lines. Welded, torqued, and mangled together, the objects he incorporates bear innumerable associations (personal and general), and yet these these histories rely on Edwards’ visceral material processes to be activated—processes that are frozen in time in the final results. Here, Edwards’s tensed chains amplify the dynamic equilibrium embedded in the work. Before we can even make sense of this sculpture, our viewership of it becomes bodily, confronted as we are with a threatening tangle of energy that seems ready to burst at any moment, in any direction. And in this heightened, vulnerable state, the specific content Edwards is engaged with—racialized histories of violence and labor, for example—invade our conscience with a slow, burning intensity.

Melvin Edwards, Chaino, 1964


Mel Edwards installation at the V-A-C Foundation in Venice. #vacfoundation #baltimoremuseumofart #venicebiennale #melvinedwards #alexandergrey

Melvin Edwards began making his Lynch Fragments during the civil rights movement of the 1960s, and continues to produce them to this day. Small, visceral constructions of found metal objects welded together in an open-ended process, the sculptures collapse the centuries of pain, suffering, labor, violence, and exploitation that define a significant portion of African American history into symbolic aggregations of material. Edwards draws on the practice of assemblage and subverts the macho tradition of metal-welding sculptors to produce these fragments, whose small scale and eye-level display encourage an intimate encounter with their tortured tangles of mangled objects. They are shrapnel bombs, pregnant with symbolism and latent energy waiting to explode. The chains call to mind the shackles of slavery and the chain gangs that came after. The spikes evoke the hard manual labor of building American infrastructure as well as the implements of torture that coerced it. Other objects reference agricultural production, daily life on plantations and in prisons, as well as contemporary everyday life. What really gets me about Edwards is how he channeled the ethos of minimalist sculpture—its use of found and industrial materials, its interest in how objects inform the space around them—toward intensely emotional and political ends, as opposed to his contemporaries more austere rejection of content. Like the minimalists, his sculptures hold no answers within them, and instead direct our attention outward toward the systems in which they circulate in our search for meaning. In Edwards’ hands, welding takes on a rich metaphorical meaning, becoming a way both to acknowledge the painful histories embedded in objects and, perhaps, to blunt their force and redirect it toward something else.

Melvin Edwards, Djeri Djef, 2004


Our thoughts between the lines 💭 #MelvinEdwards at #GalerieBuchholz

Joe Ray | David Hammons | Melvin Edwards | Houston Conwill | Senga Nengudi (et al )

#davidhammons #melvinedwards #senganengudi #joeray #houstonconwill #dianerosensteingallery @levygorvygallery @brettgorvy #venicebiennale2017

Melvin Edwards, Galerie Buchholz #melvinedwards @galeriebuchholz #berlin

#melvinedwards at galerie bucholz

Today is the last day to see “Melvin Edwards: In Oklahoma” at Alexander Gray Associates, New York. Included in the exhibition is “ARK-LA-TEX OK” (2016). The work consists of four individually-made Lynch Fragments, exhibited in a corner of the Gallery, connected to each other by barbed wire, representing a mode of experimentation within his signature metal-welding practice. The material contrast creates what the artist describes as distinction between “the mass and the linear.” Edwards activates the architecture around the work through his use of a material that he has frequently referred to as a tool for “drawing in space.” The title refers to the bordering states of Arkansas, Louisiana, Texas and Oklahoma, all key gathering points for African American communities following the Great Migration (1910 – 1970). Edwards has personal connections to the region; he was born in Houston, TX, his grandmother was born in Minden, LA, his late wife, Jayne Cortez’s family had lived in Arkansas, and Edwards made ARK-LA-TEX OK during his 2016 residency in Oklahoma City.
#MelvinEdwards #ContemporaryArt #Sculpture #Architecture #Art

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