The African American Ideal in the Sculptures of Richmond Barthé

and Mel Edwards.

By James Diana

ARH 3631-15

Curatorial Statement

The sculptures of Richmond Barthé and Mel Edwards clearly explore the African American Ideal relevant to the individual artist’s time and viewpoint. These Ideals have many striking similarities but also differ in ways. Richmond Barthé’s work displays symbols of African American people in prominent and statuesque form. From the bust of Booker T. Washington to his work “Boxer” we see the African American male as a symbol of strength and prestige. Barthé muses with images of Africana in his pieces “Feral Benga” and “Inner Music.” Through these pieces, we can clearly see Barthé’s portrayal of an ideal African American; stately, dignified and relevant to his place and time but with a clear consciousness of his own history.

Our second Artist, Mel Edwards, parallels this notion of strength. In “Gate of Ogun” we see a representation of the Yoruba god of metal, Ogun. Edwards has traveled extensively in Africa and many of his works reflect the roots of the African American in Africa and the early history of them in America. Much of Edwards work is politically driven and laden with symbolism. Three pieces in this exhibition are taken from the Lynch Fragment series. In these pieces we can see a conglomerate of many symbols of slavery coupled with early western machinery. It is important to note that both of these artist deal with their ancestral past but use it as a means to understanding and advancing forward.

Richmond Barthé, Boxer, 1976.

In this piece we see a depiction of the Cuban featherweight “Kid Chocolate.” His stance is one of power and grace. This is a clear and reoccurring theme in much of Barthé’s work.

Richmond Barthé, Booker T.

Washington, 1973.

Barthé created many busts like this one. This representation is of the African American educator Booker T. Washington. It serves as a symbols of African American stateliness and dignity. We see here a mastery of the male form.

Richmond Barthé, Paul Robeson as Othello, 1975.

Another example of Barthé’s supreme bust work. Here, A sculpture of Paul Leroy Robeson, and African American actor.

Richmond Barthé, Feral Benga, 1937.

This is a representation of François Benga, a Senegalese cabaret dancer who, along with Josephine Baker, created a sensation in Paris. This elongated form shows Barthé’s mastery of the male form coupled with the sensation of movement.

Richmond Barthé, Inner Music, 1965.

Another mastery depiction of the male for, this piece reflects upon the spiritual representation of the African American spirit. Like “boxer,” this figure is poised but with an unmistakable power and dignity.

Mel Edwards, Gate of Ogun, 1983.

This piece clearly shows Edwards inspiration from his travels in Africa. Made from stainless steel, this piece is a symbol for power and strength; qualities given to the Yoruba Deity from which this piece is named.

Mel Edwards, Southern Sunrise,

1983.

Here, we see Edwards technical skills revealed. Sharp and contrasting Shapes come together to for this publicly displayed piece. Though unable to see in the picture, the metal surfaces of the sculpture reflect the sun’s rays and give it a certain energizing glow.

Mel Edwards, Katutura, 1986.

This piece, taken from the Lynch Fragment series, reflects upon the notion of slavery in early America. The title “fragmented” can serve as a double metaphor; one, showing that slavery itself has been abolished here, and two, showing the fragmentation or separation of African Americans from their ancestral Africa.

Mel Edwards, Cup of?, 1988.

This welded steel piece introduces real and recognizable object. Familiar objects coupled with a notion, slavery, with which many viewers are directly unfamiliar thrusts the issue into plain sight.

Mel Edwards, Sekuru Knows, 1988.

This last piece presents an interesting question. Again we can see the notion of slavery. Yet here there are scissors loosely bound by chains. Are our liberating methods able to cut the chains of oppression? Are they even truly bound to begin with?