Ground Breaking: Works from the Collection of Joseph & Blanche Blank
welded with the artist's signature and date 89
28¾ by 28 by 12½ in. (73 by cm.)
This work is in very good and sound condition overall. All elements are present and stable. There are tonal and textural variations to the surface, inherent to the artist's working method and chosen media. There is oxidation to the upper part of the sculpture, visible upon close inspection. There is surface dust and some debris to the crevices, visible upon close inspection.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
"Though it’s [the sculpture] laid down flat, you can turn it this way or that way and look at it in a comprehensive, three-dimensional way. And you don’t have to decide what’s the front or back in the beginning. Though I think fairly early on, most times, I decide that pretty early. But later on, I found I could start out one way, and it looked very definitely like ‘this is the front, that’s the top,’ and then I’d reverse it or change the angles. And then you’ve got a totally different set of sculptural dynamics. So, reconfiguring, tilting, reversing, and coming back tomorrow and thinking about it in a totally different way was a part of things. Especially because I was improvising always. You know, I didn’t have drawings to go by, didn’t want drawings to go by. I only wanted to go by what the work was giving me itself."
(Melvin Edwards, Quoted in Nasher Sculpture Center’s Conversations with Melvin Edwards)