Menu ENLang Search
Lang English العربية 中文 Nederlands Français Deutsch Italiano 日本語 한국어 Português Русский язык Español
Detect
Melvin Edwards: Brighter Days

Melvin Edwards: Brighter Days

In solidarity with the Black Lives Matter movement and out of respect for the Occupy City Hall protests, Public Art Fund and Melvin Edwards decided to postpone Melvin Edwards: Brighter Days at the end of June. This important solo exhibition of the artist’s work has been in development since 2018 and was due to open in City Hall Park in July. We remain committed to presenting the exhibition when the time is right—as early as October 1, 2020 or later if necessary—however, at this pivotal moment at City Hall Park, it is of paramount importance to us that the collective voices speaking out and taking action against systemic racism remain at center stage.
— Public Art Fund

About the Exhibition

For more than 60 years, New York-based artist Melvin Edwards has created seminal sculpture that addresses identity and cultural history grounded by his belief in the civic, social, and aesthetic value of public art. Public Art Fund first showed Edwards’ work in 1991, and this summer will present the first major survey of the artist’s public works at City Hall Park. A series of large-scale sculptures created from 1970 to today will offer an in-depth look at the legacy and impact of Edwards’ practice. The exhibition will explore two key recurring motifs—the chain and rocking chair—which carry deep personal symbolism and speak to African-American culture. Edwards uses chain links in different formal iterations: to suggest oppression, but also connection and linkage between generations and communities, and broken chains to evoke liberation or rupture. The sculptures will resonate with the history of City Hall Park as both an African burial ground and as the site of the first public reading of the Declaration of Independence. Edwards’ practice combines geometric and abstract forms that draw from a breadth of experiences that have shaped him, reflecting his engagement with the history of race, labor, violence, and themes of the African Diaspora, while expanding the formal and conceptual boundaries of contemporary sculpture.

This exhibition is curated by Public Art Fund Curator Daniel S. Palmer