The document summarizes sculptures by Richmond Barthé and Mel Edwards that explore the African American ideal. Barthé's works, such as "Boxer" and busts of prominent African Americans, portray figures with strength, dignity, and a connection to African history. Edwards' sculptures incorporate symbols of slavery and African roots, with pieces like "Gate of Ogun" reflecting his travels in Africa and the Lynch Fragment series juxtaposing slavery symbols with machinery. Both artists represent the African American experience while seeking to understand and progress the race.

1. The African American Ideal in the
Sculptures of Richmond Barthé and Mel
Edwards.
By James Diana
ARH 3631-15

2. 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.

3. 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.

4. 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.

5. 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.

6. 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.

7. 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.

8. 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.

9. 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.

10. 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.

11. 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.

12. 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?