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Muhammad Ali (F & S II. 181)
“I really got to love the athletes because they are the really big stars.” Andy Warhol.
‘Float like a butterfly, sting like a bee’ – this portfolio most certainly stings the eye of the viewer with Andy Warhol’s exuberant and vivacious Pop Art transformation of the iconic boxer Muhammad Ali. Created in 1978, this collection of screenprints depicts four images of Ali, each one given a pop art makeover, making a statement that Ali is as relevant and socially important as any other of Warhol’s muses, such as Marilyn Monroe or Mick Jagger. Commissioned as part of a wider portfolio by Richard Weisman, the portfolio aimed to highlight the most significant athletes of the 1970s, suggesting they are surpassing actors and musicians as the most revered celebrities in popular culture. As Warhol said himself, “I really got to love the athletes because they are the really big stars.” This theme of celebrity is one that has fascinated Warhol throughout his career, from his earliest portraits of Marilyn Monroe, to politicians, and perhaps most notably, to athletes.
This print stands out from the rest of the portfolio as it only depicts one feature of the iconic boxer: his iconic boxing fist. The clenched fist is highlighted by a block of brick-red that encases it, perhaps to represent the blood of his opponents, juxtaposing with the royal blue background, and flash of turquoise around his fist. The geometric blocks of colour add a sense of separation and disjointment within the print, perhaps suggesting a separation between Ali the coveted boxer-turned-celebrity, and the real man behind the fist. Ali was a strong social activist, refusing to be drafted for the Vietnam war, upholding a status as a conscientious objector. Ali stated: "War is against the teachings of the Qur'an. I'm not trying to dodge the draft. We are not supposed to take part in no wars unless declared by Allah or The Messenger. We don't take part in Christian wars or wars of any unbelievers". Ali elaborated further: "Why should they ask me to put on a uniform and go ten thousand miles from home and drop bombs and bullets on brown people in Vietnam while so-called Negro people in Louisville are treated like dogs and denied simple human rights?". His actions turned him into a counter-culture icon, and was a figure of racial pride for African Americans during the civil rights movement. Therefore, this fist can be interpreted as not only a fist about to fight, but a raised fist demanding to fight for social justice.
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