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1964 Liston vs. Clay—1965 Ali vs. Liston by LeRoy Neiman December 2, 2004–January 8, 2005 Exhibition sponsored by HBO |
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| First Fight—Cassius Clay declares he's the king | ||||||||||||||
| When America's favorite living artist, LeRoy Neiman, set out to sketch the momentous, history-making heavyweight championship prize fights between Sonny Liston and Cassius Clay/Muhammad Ali, he had no idea of publishing a book or exhibiting the works as a collection unto themselves. Newly rediscovered in his studio on New York City’s Upper West Side, the forty-year-old original sketchbook is reborn and lovingly reproduced in both an exhibition at The powerHouse Gallery as well as in a limited edition book reproduced in a stunning 1:1 facsimile, recreating in words and images those two controversial fights, along with the dramatic events of the times surrounding them. The exhibition features twenty-one oversized, fine art archival inkjet reproductions from the sketchbook personally selected and signed by the artist. These unique reproductions will be mounted and will be for sale at prices to be determined. Also on view will be a selection of the artist’s private memorabilia with original fight posters and vintage photographs from the era. Click here for further information on sales. Imbued with a deep appreciation of and familiarity with the protagonists involved, Neiman’s superb draftsmanship and unique flair brings the poetry-spouting wordsmith, nose-thumbing show-off, and consummate entertainer Cassius Clay back to life in high contrast to the glowering, scowling, non-verbal, ex-jailbird Sonny Liston. From an intimate, first-person perspective, Neiman records the taunting and trash talking dealt by both fighters, and includes real newspaper clippings of the day slamming Ali for converting to Islam. Also seen passing through, witnessing the spectacle, are personalities of the day including Malcolm X and Elijah Muhammad. Neiman’s insider’s eye recounts the full unfolding of events, from the fighters’ early stats through the training camps in Miami, Boston, and Maine, the first fight, round by round, to its disputed outcome, Clay’s shocking announcement of his membership to the Black Muslims, the reluctance of the press to acknowledge his name change, the rerouted Boston rematch, and finally the second fight as it moved swiftly and suddenly to the famous “phantom punch” conclusion. Converging significantly with the tenor of that rivalry was the sensational backdrop of the 1960s—its psychedelic machinations, anti-war protests, race riots, and assassinations—which Neiman comments on with the perspective of a man who has created his art through five decades of America’s social, political, and racial tableaux. Augmenting Neiman’s inimitable artwork are collages of newspaper clippings, press releases, and other artifacts the artist gathered at the time, interjecting into the narrative and astounding sense of presence. More than an astute rendering of a fascinating time in the history of boxing and American culture, The LeRoy Neiman Sketchbook: 1964 Liston vs. Clay—1965 Ali vs. Liston is itself a masterpiece to be perused, displayed, and rediscovered as a rare objet d’art, superbly capturing what was perhaps the zenith of the American sport. LeROY NEIMAN: |
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68 Charlton Street (between Hudson and Varick) New York, NY 10014-4601 (212) 604-9074, ext. 100 Monday–Friday 11:00–7:00 Saturday 12:00–6:00 for print sales contact |
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