Showing posts with label Muhammad Ali. Show all posts
Showing posts with label Muhammad Ali. Show all posts

Tuesday, May 26, 2020

Bob Gomel : Eyewitness - When history was made, he was there




Via Bob Gomel Eyewitness




Bob Gomel and David Scarbrough share a love of storytelling through photography.

During the past decade, the two men and their spouses, Sandy Gomel and Mary Scarbrough, became friends. Bob’s shot of The Beatles in poolside lounge chairs hangs in the Scarbroughs’ home. It was Mary’s birthday gift to David for his 60th birthday.

David said, “The history Bob witnessed is important. So are the effort and creativity necessary to make extraordinary images of these historic moments. Many of the images are made even more powerful by Bob’s perspective on how they were created.”

David convinced Bob to reflect on his work for LIFE magazine in the 1960s and his subsequent career. Over dinner one evening, the Scarbroughs proposed making a documentary of Bob’s career. Bob said, “David offered a compelling idea to consider. After a few days, I said, ‘Let’s do it.’”

The documentary project came together quickly. A small studio was set up in Scarbrough’s retail computer electronics shop in Houston. Sessions were shot on Sundays when the shop was closed and outside noise was minimal. As many filmmakers do now, David chose to record the videos in 4K on two iPhones in a two-shot setup. A MacBook Pro and Adobe Premier Pro would be used to edit the video.

The recordings began with a discussion of the Cassius Clay and Sonny Liston fights. The project quickly gained momentum, as David executed his vision for the project, and the stories of more of the epic photos came to life.

“The challenge was to balance Bob’s unique ability to talk about the images and history, and to ensure the viewer remained immersed in the image itself,” David said. “I hope the viewer can briefly live in the moment of the images.”

Bob said, “The decade of the 1960s was historically powerful. We witnessed so much — from the terrific to the terrible. I’m grateful that David remains interested in the history of the 1960s and that his documentary helped share my perspective on the extraordinary events of the decade and on my life as a photographer.”

Ray Macland, the LIFE Picture Editor in 1960, hired a group of young photographers he dubbed “The Young Lions”. There were 5 of us - 

Farrell Grehan, Ken Hyman, Bill Ray, John Loengard & myself.

"With John Loengard's passing on May 24, 2020, that leaves just me."





Tuesday, April 23, 2019

EXHIBITION: BOB GOMEL


Black Muslim Leader Malcolm X Photographing Cassius Clay Surrounded by Fans After He Beat Sonny Liston for the Heavy Weight Championship, Miami, February, 1964


 Opening reception with LIFE magazine photographer Bob Gomel

Friday, April 26  5-7 pm


The triumphs and tragedies of the 1960s provided photographer Bob Gomel and his LIFE magazine colleague’s extraordinary opportunities to advance American photojournalism. "LIFE was the world's best forum for photojournalists. We were encouraged to push creative and technical boundaries. There was no better place to work in that extraordinary decade." The exhibition includes images of presidents John F. Kennedy, Richard Nixon, The Beatles, Marilyn Monroe, Malcolm X, and sports figures such as boxer Muhammad Ali, baseball legend Sandy Koufax, and golfer Arnold Palmer. Several unpublished images - including one of 90 heads of state gathered around the catafalque at the Kennedy funeral and another of John F. Kennedy emerging from America's first space capsule at the Johnson Space Center in Houston - are in the exhibition.



Also featured is Gomel's perhaps most known photograph: of then 8 - year old John F. Kennedy Jr. standing solemnly at the funeral ofhis uncle, Robert Kennedy, in front of St. Patrick’s Cathedral in New York. This photograph appeared in a two-page spread in the June 1968 “Special Kennedy Issue” of LIFE magazine.



Bob Gomel was born (1933) and raised in New York City. After serving four years in the U.S. Navy, he was promptly offered a job at the Associated Press. But by then, he had changed his mind about what he wanted to do. “I just felt one picture wasn’t sufficient to tell a story,” he explains. “I was interested in exploring something in depth. And, of course, the mecca was Life magazine.”He turned down the offer from AP, and began working for LIFE in 1959, producing many memorable images. When LIFE ceased being a weekly in the early 1970s, he began making photographs for other major magazines. Also in the 1970s, he branched out into advertising photography. Among other accounts, he helped introduce Merrill Lynch’s Bullish on America campaign.



Bob says, “Each time I raised a camera to my eye I wondered how to make a viewer say, “wow.” What followed were the use of double exposures to tell a more complete story; placing remote cameras where no human being could be; adapting equipment to reveal what could not ordinarily be captured on film. My goal with people was to penetrate the veneer, to reveal the true personality or character. The ideal was sometimes mitigated by circumstances, a lack of time or access. But more often than not what the mind conceived could be translated into successful photographic images. Life Magazine in the 60s sold 8,000,000 copies a week. It was a great honor to be a part of that information highway.”

Tuesday, July 10, 2018

New book from Steve Schapiro: ALI




Via PDN News

In June, 1963, on assignment for Sports Illustrated, photographer Steve Schapiro traveled to Louisville, Kentucky to spend time with the young Olympic champion boxer Cassius Clay, and accompany him on a road trip to New York City. At 21 years old, Clay was yet to adopt the mantle of Muhammad Ali, but his boastful persona, intelligence, black pride, and sharp tongue were already fully formed.

Over the course of their five days together, Schapiro revealed both sides of the young Ali: the one side posing and preening for the camera, ever conscious of his image; the other, unguarded and unselfconscious, in candid images of the young fighter at home with his family and immersed in his community and neighborhood.

Ali collects the best of Schapiro’s images of the late fighter; many in print for the very first time. They offer a glimpse of a star on the rise. “It is an indelible portrait of the early life of one of the most talented, graceful, controversial, athletic, and influential American figures of the 20th century,” writes the publisher, powerHouse Books, in the press release.

Steve Schapiro is a distinguished photographer whose pictures have graced the covers of Vanity Fair, Time, Sports Illustrated, Life, Look, Paris Match, and People, and are found in many museum collections. He has published seven books of his work: American Edge, Schapiro’s Heroes, The Godfather Family Album, Taxi Driver, Then and Now, Bliss, Bowie, and The Fire Next Time

Tuesday, December 13, 2016

"Harry Benson: Shoot First" at CCA in Santa Fe




Via Center for Contemporary Arts, Santa Fe

Renowned photographer Harry Benson initially rose to fame alongside The Beatles, having been assigned to cover their inaugural trip to the United States in 1964. With unprecedented “behind the scenes” access, Benson captured some of the most vibrant and intimate portraits ever taken of the most popular band in history. His extensive portfolio includes iconic images of Winston Churchill, Bobby Fischer, Muhammad Ali, Greta Garbo, Michael Jackson, Dr. Martin Luther King, Jr., and the Robert F. Kennedy assassination, and his work has appeared in publications including Life, Vanity Fair and The New Yorker. Justin Bare and Matthew Miele’s film shows how Benson, now 86, shows no intention of stopping. (U.S., 2016, 87m, Magnolia Pictures) Starts December 16


Center for Contemporary Arts • 505.982.1338
1050 Old Pecos Trail Santa Fe, NM 87505

Streaming information here.

Related: Washington Post: ‘Harry Benson: Shoot First’ breezes through the photographer’s story

  Rolling Stone: 'Harry Benson: Shoot First' Review: Photographer Doc Is Stellar Portrait of an Artist

Friday, July 15, 2016

NEIL LEIFER: RELENTLESS


Monroe Gallery of Photography, 112 Don Gaspar, Santa Fe, NM, in conjunction with the Briscoe Center for American History, is pleased to host a special exhibition and book signing celebrating Neil Leifer's most recent book, "Relentless”. The exhibition opens with a reception and book signing with the photographer on Friday, July 29, 5 – 7:30 PM.

Neil Leifer is the best-known sports photographer of the past half century.  Now, in Relentless, a collaborative publication of the Dolph Briscoe Center and the University of Texas Press, Leifer takes us behind the scenes of some fifty of his most iconic pictures. Starting with his shot of Baltimore Colt Alan Ameche scoring the game-winning touchdown against the New York Giants during sudden death overtime in the 1958 NFL Championship game at Yankee Stadium—taken on Leifer’s sixteenth birthday—he tells enthralling, often hilarious stories of getting to the right place at the right time to capture many of the legendary athletes of the twentieth century, including Mickey Mantle, Arthur Ashe, Willie Mays, Sugar Ray Robinson, Joe Namath, and Arnold Palmer, as well as shooting presidential and celebrity portraits and covering a variety of subjects for Time. Recapping both an incredibly successful career and the transformation of photojournalism since the era of the great photo magazines, Relentless effectively chronicles fifty years of American popular culture

Relentless:  400 pages with 276 black & white and color photos, $45, is available from the Gallery.



1963 world series final game - sandy koufax (jumping/celebrating), maury wills, dodger stadium, los angeles, ca by neil leifer

Neil Leifer: 1963 World Series Final Game - Sandy Koufax celebrating with Maury Wills, Dodger Stadium, Los Angeles, CA

Saturday, June 4, 2016

Muhammad Ali, Titan of Boxing and the 20th Century, Dies at 74

Cassius Clay, Miami, 1964
Bob Gomel: Cassius Clay, Miami, 1964


The New York Times:  Muhammad Ali, Titan of Boxing and the 20th Century, Dies at 74

Muhammad Ali Knocks Out Sonny Liston, Lewiston, Maine, May 25, 1965

Neil Leifer:  Muhammad Ali Knocks Out Sonny Liston, Lewiston, Maine, May 25, 1965                                

A look back at selected Muhammad Ali posts from our blog:

Sonny Liston landed on canvas below Muhammad Ali’s feet on May 25, 1965, and Neil Leifer snapped a photo

On Friday, March 6, 1964, Cassius Clay became Muhammad Ali

Cassius Clay couldn’t sleep in Miami Beach after beating Sonny Liston there in the legendary 1964 bout

March 8: Today In History: 'The Fight Of The Century'


Muhammad Ali (Cassius Clay - Monopoly), Louisville, Kentucky, 1963
Steve Schapiro: Muhammad Ali (Cassius Clay - Monopoly), Louisville, Kentucky, 1963


Visit our Pop-Up Tribute exhibition now on view in the gallery.
Neil Leifer will be signing copies of his new book Relentless: The Stories behind the Photographs 
 in the gallery July 29, 2016
Pre-orders available

Friday, May 22, 2015

Sonny Liston landed on canvas below Muhammad Ali’s feet on May 25, 1965, and Neil Leifer snapped a photo


Muhammad Ali Knocks Out Sonny Liston, Lewiston, Maine, May 25, 1965

Via Slate

The photo languished unlauded—before it was (much later) recognized as one of the greatest sports photos of all time; Ali became the most hated figure in American sports—before he was (much later) named “The Sportsman of the Century”; and Liston was subjected to intense scrutiny—before (not much later) he fizzled into a mostly forgotten footnote.

Like many sports fans, I’d glimpsed this picture for years—in random Ali articles, atop “best of” lists, even on T-shirts—but it wasn’t until doing my own research, excavating layers, that I discovered its most astounding attribute:
 
Everything you’d initially imagine about the image is wrong.
 
But first, just look at that photo! It instantly hits your eyes haloed in a corona of potency—structured so soundly as to seem staged, this forceful frieze of physical dominance. The Victor yells, the Loser displays himself vanquished, and the Watchers are all caught in that moment. The kinetic poetry of moving bodies, momentarily frozen, such is the stuff of the best sports photos—this has that.
There are also the incongruities! The Victor, appearing to proclaim dominance, is in fact pleading for the bested man to rise; and, for that matter, there is secretly a second bested rival below Ali; and though this looks like the moment after a vicious put-down punch, the photo was actually preceded by the puniest of blows, a “phantom punch,” as it would later be known—a wispy, theoretical mini-hook that none in attendance even observed. That Crowd so multitudinous that it stretches beyond the horizon line? They were actually the smallest assembled crowd in heavyweight championship history—there to witness a bumbling conclusion, filled with calls that the fix was in. This bout: still boxing’s biggest unsolved mystery. This image: still iconic, even (especially) with the controversy, for a sport as mythologized as it is crooked. Click for full article.

Thursday, May 14, 2015

Cassius Clay couldn’t sleep in Miami Beach after beating Sonny Liston there in the legendary 1964 bout

Black Muslim leader Malcolm X photographing Cassius Clay, Miami, 1964
Until recently, Bob Gomel remembered his photograph of Malcolm X and Cassius and Cassius  Clay as " It was February 26, 1964 in a Miami restaurant after Clay won the heavyweight championship from Sonny Liston. Howard Bingham, Ali's personal photographer is seen at the far right above Ali. Clay's brother Rahaman is seated to Cassius's left (only a fist is visible in the famous frame.) The name and exact location of the restaurant are paled into insignificance.” But now the location has been identified.



Via Miami Herald
May 8, 2015


When the rescue of Hampton House began six years ago, vagrants and drug addicts slept in the motel where Malcolm X once stayed. A tree grew out of the swimming pool where Martin Luther King Jr. swam. The walls were crumbling around the courtyard where Ebony magazine had photographed Muhammad Ali and his new wife and baby.

Amid the ruin, there was no hint of Hampton House’s heyday in the 1960s as the premier getaway for black Americans visiting segregated Miami, where beachfront icons like the Fontainebleau were off limits even to celebrities of color.

On Friday, the decay of Hampton House officially lifted as local leaders celebrated a $6 million rehab of the historic 1953 motel — a largely county-funded effort that’s been in the works for about 15 years.

“We got it done,” Miami-Dade Commissioner Audrey Edmonson told a crowd gathered for the ribbon-cutting ceremony for the motel at the corner of Northwest 27th Avenue and 42nd Street.
Facing demolition in 2000, the Hampton House is being relaunched as a community hub, with a museum, space for a restaurant and motel rooms being converted into office space for community groups, recording studios and rehearsal space for musicians.

Organizers hope to revive the Hampton House’s legacy of live entertainment, too. Its jazz club once drew evening crowds from throughout Miami, making Hampton a night-life hub for local African Americans. Traveling celebrities gave it star power.

Segregation meant Miami’s famous crop of luxury oceanfront hotels weren’t available for black people, so Cassius Clay couldn’t sleep in Miami Beach after beating Sonny Liston there in the legendary 1964 bout. The boxer went back to the Hampton House for a bowl of ice cream, and to celebrate with Malcolm X. A month later, Clay changed his name to Muhammad Ali.
“This was an oasis in a sea of racism,” Khalilah Camacho Ali said from the Hampton House’s new event space, an open-ceiling hall created out of the old jazz club and some motel rooms above.
On the wall hangs a photo of her leaning over Muhammad Ali as he cradles their infant daughter on a Hampton House pool chair. Ebony took the photo, and included it in a 1969 cover spread featuring the couple.

King stayed at the Hampton House often enough that one ground-floor room came to be known as his suite. A photographer snapped King in swim trunks from the pool. And he is said to have delivered an early version of his “I Have a Dream” speech during an event at Hampton House before it made history on the National Mall in 1963.

Historic Hampton House Motel reopens in Miami

The historic Hampton House Motel in Miami reopened Friday, May 8, 2015, with a ceremony to mark the occasion. The motel was frequented by black celebrities and civil rights activists such as Cassius Clay, Malcolm X and Martin Luther King Jr. in the middle part of the last century.

A white Jewish couple presided over the Hampton House’s golden years. Harry and Florence Markowitz owned land and apartment buildings in Miami’s Brownsville neighborhood, including what would later become the Hampton House location. In 1954, they leased the land to the Booker Terrace Motel and Apartments.
 
That venture floundered, and the Markowitzes decided to make it a more upscale destination and renamed it the Hampton House after a neigborhood naming contest. They brought in the jazz club to the 50-room motel, started a popular restaurant with late-night fare, and began pursuing black conventions and church groups to boost business. Baseball great Jackie Robinson used Hampton House for a golf tournament he held each year in the Miami area, and the two-story motel marketed itself as the “Social Center of the South.”

The motel closed in the 1970s, and the Markowitzes sold it before the building slipped into disrepair through the 1980s and ’90s. Sons Bob, 74, and Jerry, 66, attended Friday’s ceremony. Bob was asked how his parents would have reacted to seeing Hampton House restored. “I’m getting choked up to even say it,” he replied. “They would be overwhelmed.”

Integration is mostly blamed for the motel’s decline: With black residents and visitors able to frequent beach hotels, the Hampton House lost its edge.


Hampton House had thrived as a gathering spot for local African Americans in the 1960s. At the time, Overtown was fading as the heart of black Miami’s middle class, with more families moving into the new Liberty Square housing complex that sits about 35 blocks from Hampton House.


 
Edmonson, the county commissioner whose district includes the motel, recalls her mother and friends gathering at Hampton House for their regular tea parties. A young Edmonson was occasionally called on for the afternoon’s entertainment, and she was too nervous to look at anyone but her mother while reciting the poem Trees before the ladies decked out in white gloves.

“I remember the Hampton House,” Edmonson told Friday’s crowd assembled on folding chairs in the motel’s parking lot. “I am so proud to say I grew up in this community.”

The Hampton House’s neighborhood in Brownsville now includes some of the poorest stretches of Miami. Miami-Dade wants to raze and rebuild the Liberty Square complex in an effort to root out crime there and revitalize the neighborhood. Census figures from 2010 show Brownsville’s population growing for the first time in 40 years. About 15,000 people live there.

Hampton House organizers hope there will be enough interest in the area that they can generate revenue by renting out the old coffee shop as a restaurant. It’s been restored with a new version of the original mural from somewhere in the Caribbean, and yellow-vinyl stools along the lunch counter. It was the site of perhaps the most famous photo ever taken at Hampton House: Malcolm X, having gotten himself behind the counter, snapping his own photo of Clay after his victory against Liston.

For Enid Pinkney, founding president of the Historic Hampton House Community Trust and long-time champion of the restoration effort, the building’s return offers another chance to link prosperity with Hampton House.

“We’ll have a place in Miami,” she said in a trust video released last year, “where we can go and be proud of the effort that went into bringing that back as an economic engine in the community.”

This article was updated to correct the distance between the Liberty Square housing complex and Hampton House.
 

Friday, March 6, 2015

On Friday, March 6, 1964, Cassius Clay became Muhammad Ali


Black Muslim leader Malcolm X photographing Cassius Clay, Miami, 1964
© Bob Gomel



 
Day later, bolstered by his mentor Malcom X, Clay stepped in front of a room of journalists to declare his conversion to the Nation of Islam. After fielding hostile questions, he voiced the words that would become his lifelong anthem and would forever change the world of sports: “I don’t have to be what you want me to be.”

Recently, Bob recalled: It was February 26, 1964 in a Miami restaurant after Clay won the heavyweight championship from Sonny Liston. Howard Bingham, Ali's personal photographer is seen at the far right above Ali.  Clay's brother Rahaman is seated to Cassius's left (only a fist is visible in the famous frame.) The name and exact location of the restaurant are paled into insignificance.”



Related: Ali vs. Liston in Miami Beach: The Night ‘the Greatest’ Was Born

              YouTube: March 6, 1964: Cassius Clay becomes Muhammad Ali

Friday, September 27, 2013

Sports photography legend Neil Leifer talks about life’s work at retrospective show



Via The Baltimore Sun

Famed photographer Neil Leifer – whose iconic photography is currently on exhibit at the  Sports Legends Museum, – will tell you without hesitation, which of his many photographs is his favorite picture taken during his illustrious career. And it’s not one you might expect.



 
 
 
The 54-picture photography exhibit “Images We Remember-The World of Neil Leifer continues through October 2014 at Sports Legends Museum. The museum will host a Behind the Lens event with Leifer September 28, where he will discuss his photography career, the transition to producing directing films and answer audience questions.

Tuesday, September 3, 2013

Bob Gomel's 80th Birthday Photo Montage


 



A video that took 80 years to make. The LIFE and times of my father, Photographer BOB GOMEL. If he is not in the photo, he took the photo.

My dad was born (1933) and raised in New York City. After serving in the Navy, he began working for LIFE in 1959, producing many memorable images. When LIFE ceased being a weekly in the early 1970s, he began taking photographs for other major magazines. Also in the 1970s, he branched out into advertising photography.
--Cory Gomel

Related:

'One Night In Miami', More Than Clay Beats Liston

Acclaimed LIFE photographer Bob Gomel looks back

BOB GOMEL: LIFE IN THE 1960'S

Unpublished JFK Photos: Houston Remembers President Kennedy's 1962        "Moon Speech" At Rice Stadium

Bob Gomel: “Photography is all about having something to say before you pick the camera up to your eye and push the button”



Monday, August 12, 2013

'One Night In Miami', More Than Clay Beats Liston



Black Muslim leader Malcolm X photographing Cassius Clay, Miami, 1964



This morning National Public Radio did a piece on a new play, "One Night in Miami",  the premise of which is that no one knows where Malcolm X and Cassius Clay (Muhammad Ali) went after the February, 1964 fight in Miami

WE DO!

"The following day, bolstered by his mentor Malcom X, Clay stepped in front of a room of journalists to declare his conversion to the Nation of Islam. After fielding hostile questions, he voiced the words that would become his lifelong anthem and would forever change the world of sports: “I don’t have to be what you want me to be.”

 
Recently, Bob Gomel recalled: It was February 26, 1964 in a Miami restaurant after Clay won the heavyweight championship from Sonny Liston. Howard Bingham, Ali's personal photographer is seen at the far right above Ali.  Clay's brother Rahaman is seated to Cassius's left (only a fist is visible in the famous frame.) The name and exact location of the restaurant are paled into insignificance.”

 

Wednesday, October 3, 2012

Acclaimed LIFE photographer Bob Gomel looks back



p 25 VA Main
 

One of his fabled JFK shots. - Courtesy Bob Gomel
 
 

October 3, 2012



That's LIFE
Acclaimed photographer Bob Gomel looks back
 
Asked what it was like to be a photojournalist for LIFE magazine during its 1960s heyday, Bob Gomel does not hesitate to answer. “It was the mecca,” he says with a combination of excitement and nostalgia.


“In my wildest dreams, I thought about things like that, and it never really occurred to me that I would ever become part of that wonderful, elitist group of photographers,” the renowned photog tells SFR. “There was no place higher that you could aspire to.”


Gomel’s iconic images have stood both the tests of time and digital media: a meta Malcolm X photographing then Cassius Clay inside a Miami diner; JFK examining the first space capsule; candid shots of the Beatles relaxing the day prior to their career-defining Ed Sullivan Show appearance.


“It’s a trip down memory lane,” he says of the images he selected for LIFE in the 1960s, his forthcoming exhibit at Monroe Gallery. “Everybody realizes now, retrospectively, that the people that we photographed all became iconic, [but] we had no idea of their value historically when we were doing it.”


“It’s amazing to me how 50-years-ago images can be still relevant today,” Gomel, who describes his current schedule as still “busy as can be,” continues.


Not bad for a kid from the Bronx who was first captivated by photography at age 10, after admiring a picture his science teacher had shot and hung inside the classroom
.
“[It] was a beautiful sepia-toned print of a cobblestone street with a manhole cover in the middle, and a pigeon on it,” he recalls. “I looked at that thing and thought, ‘My God, that’s just beautiful,’ and I was mesmerized.”


Curious, he joined the “little photo club” at his public school, and his lifetime affair with still images began.


“I got hooked!” he says.


The one thing missing in the equation was convincing his parents to fork over the then-whopping $83.75 to purchase his dream instrument, a Ciro-flex camera.


“It was the first post-World War II camera made in America,” he points out.


His parents didn’t budge, so the young Gomel started a bike route delivering groceries to earn the dough.
“I remember once, in the middle of the winter, driving up the snowy hills with that bike, the front wheel basket loaded, and I slipped and fell over,” Gomel reminisces. “A dozen eggs cracked and so, not knowing what to do, I went home and replaced the broken eggs with ones from my mother’s refrigerator and continued to deliver that order,” he laughs. “It’s really what sticks in your mind [after] all these many years.”

He took over a closet in his family home and turned it into a makeshift darkroom.


“It was a cheap imitation of the German Rolleiflex, but I cut my teeth on that Ciro-flex,” he says of his first camera, adding that because there was no real formal training available, he mastered his craft based on “trial and error.”

Focused, he would later land his dream job at LIFE, where he became a trailblazer implementing now-standard maneuvers like double exposure and camera rigging—like when he took a groundbreaking aerial shot of the casket containing the body of President Dwight D Eisenhower in the US Capitol’s rotunda from 280 feet above ground.

“If you can envision a picture and you haven’t got any immediate idea of how to do it, you seek out ways,” he explains.

His visit to Santa Fe, it turns out, will be something of a class reunion, as both former LIFE managing editor Dick Stolley and former reporter Hal Wingo—the twosome that would later found People magazine—live in town.

“I don’t get a chance to see many of my colleagues because the TIME-LIFE alumni association basically orients interests and activities around New York City—luncheons and what have you,” Gomel, who is now Houston-based, says. “It’s not practical for me to be able to join them on those occasions.”

With one foot in the retirement door and the other still active in sporadic travel photography, Gomel says, he often gets the itch to immerse himself in photojournalism once more. One event that cemented this, he says, was a trip to New York in 2001. After several delays, he flew back home the evening of Sept. 10.

“I was sound asleep the following morning when my friend called me something around 7:30 am and said, ‘Turn on your television set,’” he says. “When I saw what was going on, I realized I was right there a few hours before, and God—it was killing me not to have been able to be a part of that event and that I had just missed it. So the answer to your question, do I miss it? You bet.”


Opening reception with Bob Gomel
Friday, October 5   5 - 7 PM
Exhibition continues through November 8, 2012

Listen to Art Beat radio interview: Life Magazine and photographer Bob Gomel

Tuesday, January 17, 2012

HAPPY 70th BIRTHDAY: MUHAMMAD ALI



Cassius Clay, Lexington, Kentucky, 1963
Steve Schapiro: Cassius Clay, Lexington, Kentucky, 1963


Via Life.com:
Muhammad Ali: The Greatest Pictures
Via TIME Light Box:
Happy Birthday, Muhammad Ali: 70 Iconic Images for 70 Years
Via ArtDaily.org:
Muhammad Ali is coming home to Louisville to celebrate another milestone — his 70th birthday:
Muhammad Ali returning to Kentucky for 70th birthday- fundraiser for center and museum organized

Via MSNBC:
Muhammad Ali soaked in familiar cheers and chants along with a rendition of "Happy Birthday" on Saturday night as friends and admirers celebrated the boxing champ's coming 70th birthday at a party in his Kentucky hometown.

As party-goers mingled in a lobby of the Muhammad Ali Center before the party, Ali walked slowly to a second-floor balcony overlooking them. The crowd immediately began to clap, then broke into chants of "Ali! Ali!" followed by singing as Ali watched for about two minutes.

Neil Leifer:

But my favorite subject, no matter what the sport, was and still is Muhammad Ali.

I took my most famous picture on May 25, 1965, when Ali stopped Sonny Liston with one punch in the first round of their heavyweight championship fight in Lewiston, Maine. When Sports Illustrated published its special issue, "The Century's Greatest Sports Photos," my picture of Ali standing over Liston was the cover, and I was honored and thrilled by SI's choice. "It is a great picture of a key moment, filled with emotion and destined to remain etched in the minds of its viewers," says Steve Fine, SI's director of photography. "You can describe this picture to someone, without showing it to them, and they know exactly what you're talking about. It's a true icon of sports photojournalism." This image represents the way people want to remember Ali: strength, confidence and braggadocio. A two-minute fight might be a major disappointment for the fans, but for a photographer, it doesn't matter whether it goes 15 rounds or 15 seconds. All any editor ever expected from me was a great knockout picture. In Lewiston, the knockout happened exactly where I wanted it to, and my only thought was, "Stay right there, Sonny! Please don't get up!"


 Muhammad Ali Knocks Out Sonny Liston, Lewiston, Maine, May 25, 1965
Muhammad Ali Knocks Out Sonny Liston, Lewiston, Maine, May 25, 1965


Saturday, November 19, 2011

The Sports Photography of Neil Leifer



Photo Finish: The Sports Photography of Neil Leifer



NEWSEUM
Concourse level
On exhibit through August 12, 2012



WASHINGTON — Experience some of the greatest moments in sports history through the lens of legendary sports photographer, Neil Leifer.

The exhibit, "Photo Finish: The Sports Photography of Neil Leifer," includes 50 images from the prolific career of a man who began taking pictures as a teenager and went on to become one of the most celebrated sports photographers in history.

The exhibit opens Nov. 18 and features Leifer's best-known photos, including one of the most famous sports photographs of all time: boxer Muhammad Ali standing over Sonny Liston after knocking him out in the first round of their 1965 title fight.

Each photograph in the exhibit is accompanied by the story behind the image, told in Leifer's own words. The exhibit also includes an original Newseum-produced video in which the photographer talks about his photos and his subjects.

This exhibit was created in collaboration with Sports Illustrated.

Slide show here

Monday, November 14, 2011

Bob Gomel: “Photography is all about having something to say before you pick the camera up to your eye and push the button”

A Thousand Words
Malcolm X photographs Cassius Clay on February 25, 1964, the night the boxer knocked out Sonny Liston to become heavyweight champion. The next day Clay revealed that he was a member of the Nation of Islam.


Via New York University Alumni Magazine

Former Life photographer Bob Gomel reflects on the many American stories told with his camera

by Andrea Crawford

A brash 22-year-old dancing around the ring, his gloved fists raised in victory as he proclaims himself “the king of the world”: This may be the most famous image of Muhammad Ali when he was still Cassius Clay—and had just defeated heavyweight champion Sonny Liston in one of boxing’s most stunning upsets. Bob Gomel was there shooting photos for Life magazine, having journeyed to Miami Beach in February 1964 to shadow Clay in the days leading up to the bout. But it was an image Gomel (STERN ’55) captured during the afterparty—of Malcolm X snapping a photo of the new world champion—that the Library of Congress deemed worthy of acquiring last year. From behind the bar, the former Nation of Islam spokesperson smiles broadly as he holds the camera to his face. The seated Clay wears a tuxedo and bow tie, his hands resting in loose fists on the counter. He appears to mug for the camera.

It’s a moment of connection between friends, revealing a playful side of two powerful men whose public personas were often serious, angry, or in Clay’s case, downright crazy. The photograph also bares a secret between them: The boxer had been persuaded by promoters not to announce his conversion to Islam before the fight. The following day, he would make the announcement to the world.

Getting behind the scenes and using photographs to tell a story was what Life did best, and it was what attracted Gomel to the picture magazines. As a young man, he turned down other journalism jobs and went without work for nearly a year waiting to break in. When the chance came, Gomel made the most of it. From 1959 to 1969—the magazine’s last decade as the country’s premier newsweekly—he photographed a long, impressive list of world leaders (John F. Kennedy, Richard Nixon, Nikita Khrushchev, Patrice Lumumba, David Ben-Gurion, Jawaharlal Nehru), actors (Marilyn Monroe, Warren Beatty, Joan Crawford), athletes (Arthur Ashe, Willie Mays, Sandy Koufax, Arnold Palmer, Joe Namath), and other personalities of the era (Jane Jacobs, Robert Moses, Benjamin Spock). When President-elect Kennedy took a walk with 3-year-old Caroline on the day her brother, John Jr., was born; when Martin Luther King Jr. gave his speech at the March on Washington; when the Beatles appeared on The Ed Sullivan Show; Gomel captured it all on film.


top: Perhaps Gomel’s most famous photograph was this bird’s-eye image of Dwight D. Eisenhower’s casket lying in state at the Capitol Rotunda in 1969. Gomel rigged strobe lights around the 200-foot dome, strung a wire with a pulley to place the camera in the middle, and ran a zip cord—to trigger the camera—to where he would be standing with the rest of the press. The resulting photograph appeared on the cover of Life magazine. above left: This image of President John F. Kennedy inspecting the space capsule in 1962 remains one of Gomel’s favorites. “It’s John Kennedy, but it’s not the way we anticipate seeing him,” Gomel says. “It’s just one of those off-guard moments that nobody focuses on.” above right: Marilyn Monroe attends a party for Broadway’s The Sound of Music in 1961, one year before her death.
Like any enduring image, says Ben Breard, who featured many of Gomel’s works in an exhibition earlier this year at Afterimage Gallery in Dallas, the photographs are important not only because of their historical and cultural significance. “Of course, there’s an element of being at the right place at the right time to capture the moment, but then you’ve got to do it artistically,” Breard says. The images reveal the photographer’s sense of humor and humanity. “There’s a positive feel to his work,” Breard adds. “It’s uplifting. Even though those were hard times the country went through, [there’s] a hopeful aspect to everything.”

Born in Manhattan and raised in the Bronx, Gomel discovered photography as a boy, struck by an image taken by his teacher hanging in his classroom at the Ethical Culture School on Central Park West. It was a black-and-white picture of a manhole cover on a cobblestone street with some pigeons around it. “I sat next to that picture, and I was just entranced by it,” he says. Gomel joined the teacher’s photography club and began learning on a borrowed camera. When World War II ended, he got a job delivering groceries by bicycle to buy his first camera and soon convinced his parents—his father was an optometrist; his mother, an NYU graduate, was a teacher—to let him appropriate a closet for his darkroom.


 
 
top: John Lennon cannonballs into a pool in 1964 as his fellow Beatles Paul McCartney (center) and Ringo Starr brace for the inevitable splash. the band was in miami for their second live performance on the ed sullivan show—which was watched by 70 million americans.above Left: Famed pediatrician Dr. Benjamin Spock—best-selling author of the common sense book of baby and child care—is entertained by two young patients during an examination in September 1962.above right: After filming concluded, but before the release of The Graduate, Gomel spent a day with Dustin Hoffman—hanging out with his girlfriend, posing for a sculptor, and, as seen here, picking up his unemployment check.
 
When Gomel arrived at his mother’s alma mater in 1950, he began working for student publications, covering basketball games, which NYU then played at Madison Square Garden. There, he befriended “the fellows who worked the night shift” for the Daily Mirror, the Daily News, the Associated Press, and UPI (then called ACME Newspictures), and he started tagging along on their assignments. After graduating from NYU and serving four years in the U.S. Navy, he was promptly offered a job at the Associated Press. But by then, he had changed his mind about what he wanted to do. “I just felt one picture wasn’t sufficient to tell a story,” he explains. “I was interested in exploring something in depth. And, of course, the mecca was Life magazine.” He turned down the offer from AP.
At Life he was able to shoot the stories that appealed to him, and the recent exhibition included some of his favorites. For one photo-essay, he documented what happens to the family dog when the children return to school, highlighting one forlorn basset hound, in particular. For another series, he arranged for humorist Art Buchwald to go back to Marine boot camp incognito for a week, to relive his days as a recruit. The humor and power of these images endure, even for those too young to know Art Buchwald.
Gomel, who later worked in advertising shooting national campaigns for clients such as Volkswagen, Pan Am, Merrill Lynch, and Shell Oil, also tested technological and creative boundaries at Life. His image of the Manhattan skyline during a blackout in November 1965 is striking, with a full moon illuminating the dark sky. But from his vantage point on the Brooklyn waterfront that night, the moon was behind him. “It occurred to me that the only way we’re all getting along this evening is because we have a full moon,” he says. “I wanted to tell that…in a single picture.” So he rewound his film, changed lenses, turned around and clicked, placing the glowing orb just where he wanted it to be in the dark quadrant of the frame. After a long debate, Gomel says, the editors decided to run it—the first double-exposure Life used in a news story.
Gomel believes photographers have the responsibility to be truthful reporters but also must be clear about what story they’re trying to tell. “Photography is all about having something to say before you pick the camera up to your eye and push the button,” he says. “Are you happy about something, displeased about something? And if so, how are you going to express that on a piece of film?”

More of Bob Gomel's photographs here.

Wednesday, April 27, 2011

44 YEARS AGO: MUHAMMAD ALI STRIPPED OF HEAVYWEIGHT CHAMPIONSHIP



Bon Gomel: Heavyweight boxer Cassius Clay, aka Muhammad Ali, posing outside the Alvin theater where "The Great White Hope" is playing, New York, 1968

Clay Refuses Army Oath; Stripped of Boxing Crown

The New York Times
By ROBERT LIPSYTE


Houston, April 28 (1967)--Cassius Clay refused today, as expected, to take the one step forward that would have constituted induction into the armed forces. There was no immediate Government action.

Although Government authorities here foresaw several months of preliminary moves before Clay would be arrested and charged with a felony, boxing organizations instantly stripped the 25-year- old fighter of his world heavyweight championship.

"It will take at least 30 days for Clay to be indicted and it probably will be another year and a half before he could be sent to prison since there undoubtedly will be appeals through the courts," United States Attorney Morton Susman said.

Statement Is Issued

Clay, in a statement distributed a few minutes after the announcement of his refusal, said:
"I have searched my conscience and I find I cannot be true to my belief in my religion by accepting such a call." He has maintained throughout recent unsuccessful civil litigation that he is entitled to draft exemption as an appointed minister of the Lost-Found Nation of Islam, the so- called Black Muslim sect.

Clay, who prefers his Muslim name of Muhammad Ali, anticipated the moves against his title in his statement, calling them a "continuation of the same artificially induced prejudice and discrimination" that had led to the defeat of his various suits and appeals in Federal courts, including the Supreme Court.

Hayden C. Covington of New York, Clay's lawyer, said that further civil action to stay criminal proceedings would be initiated. If convicted of refusal to submit to induction, Clay is subject to a maximum sentence of five years imprisonment and a $10,000 fine.

Mr. Covington, who has defended many Jehovah's Witnesses in similar cases, has repeatedly told Clay during the last few days, "You'll be unhappy in the fiery furnace of criminal proceedings but you'll come out unsinged."

As a plaintiff in civil action, the Negro fighter has touched on such politically and socially explosive areas as alleged racial imbalance on local Texas draft boards, alleged discriminatory action by the Government in response to public pressure, and the rights of a minority religion to appoint clergymen.

Full-Time Occupation

As a prospective defendant in criminal proceedings, Clay is expected to attempt to establish that "preaching and teaching" the tenets of the Muslims is a full-time occupation and that boxing is the "avocation" that financially supports his unpaid ministerial duties.

Today, Clay reported to the Armed Forces Examining and Entrance Station on the third floor of the Federally drab United States Custom House a few minutes before 8 A.M., the ordered time. San Jacinto Street, in downtown Houston, was already crowded with television crews and newsmen when Clay stepped out of a taxi cab with Covington, Quinnan Hodges, the local associate counsel, and Chauncey Eskridge of Chicago, a lawyer for the Rev. Martin Luther King, as well as for Clay and others.

Half a dozen Negro men, apparently en route to work, applauded Clay and shouted: "He gets more publicity than Johnson." Clay was quickly taken upstairs and disappeared into the maw of the induction procedure for more than five hours.

Two information officers supplied a stream of printed and oral releases throughout the procedure, including a detailed schedule of examinations and records processing, as well as instant confirmation of Clay's acceptable blood test and the fact that he had obeyed Muslim dietary strictures by passing up the ham sandwich included in the inductees' box lunches.

Such information, however, did not forestall the instigation, by television crews, of a small demonstration outside the Custom House. During the morning, five white youngsters from the Friends World Institute, a nonaccredited school in Westbury, L.I., who had driven all night from a study project in Oklahoma, and half a dozen local Negro youths, several wearing Black Power buttons, had appeared on the street.

Groups Use Signs

Continuous and sometimes insulting interviewers eventually provoked both groups, separately, to appear with signs. The white group merely asked for the end of the Vietnam war and greater efforts for civil rights.

The Negro eventually swelled into a group of about two dozen circling pickets carrying hastily scrawled, "Burn, Baby, Burn" signs and singing, "Nothing kills a nigger like too much love." A few of the pickets wore discarded bedsheets and table linen wound into African-type garments, but most were young women dragged into the little demonstration on their lunch hours.

There was a touch of sadness and gross exaggeration throughout the most widely observed noninduction in history. At breakfast this morning in the Hotel America, Clay had stared out a window into a dingy, cold morning and said: "Every time I fight it gets cold and rainy. Then dingy and cool, no sun in sight nowhere."

He had shrugged when Mr. Hodges had showed him an anonymously sent newspaper clipping in which a photograph of the local associate counsel had been marked "Houston's great nigger lawyer."

Sadly, too, 22-year-old John McCullough, a graduate of Sam Houston State College, said: "It's his prerogative if he's sincere in his religion, but it's his duty as a citizen to go in. I'm a coward, too."

46 Called to Report

Then Mr. McCullough, who is white, went up the steps to be inducted. He was one of the 46 young men, including Clay, who were called to report on this day.

For Clay, the day ended at 1:10 P.M. Houston time, when Lieut. Col. J. Edwin McKee, commander of the station, announced that "Mr. Muhammad Ali has just refused to be inducted."

In a prepared statement, Colonel McKee said that notification of the refusal would be forwarded to the United States Attorney General's office, and the national and local Selective Service boards. This is the first administrative step toward possible arrest, and an injunction to stop it had been denied to Clay yesterday in the United States District Court here.

Clay was initially registered for the draft in Louisville, where he was born. He obtained a transfer to a Houston board because his ministerial duties had made this city his new official residence. He had spent most of his time until last summer in Chicago, where the Muslin headquarters are situated, in Miami, where he trained, or in the cities in which he was fighting.

After Colonel McKee's brief statement, Clay was brought into a pressroom and led into range of 13 television cameras and several dozen microphones. He refused to speak as he handed out Xeroxed copies of his statement to selected newsmen, including representatives of the major networks, wire services and The New York Times.

The statement thanked those instrumental in his boxing career as well as those who have offered support and guidance, including Elijah Muhammad, the leader of the Muslims; Mohammed Oweida, Secretary General of the High Council for Islamic Affairs, and Floyd McKissick, president of the Congress of Racial Equality.

The statement, in part, declared:

"It is in the light of my consciousness as a Muslim minister and my own personal convictions that I take my stand in rejecting the call to be inducted in the armed services. I do so with the full realization of its implications and possible consequences. I have searched my conscience and I find I cannot be true to my belief in my religion by accepting such a call.

"My decision is a private and individual one and I realize that this is a most crucial decision. In taking it I am dependent solely upon Allah as the final judge of these actions brought about by my own conscience.

"I strongly object to the fact that so many newspapers have given the American public and the world the impression that I have only two alternatives in taking this stand: either I go to jail or go to the Army. There is another alternative and that alternative is justice. If justice prevails, if my Constitutional rights are upheld, I will be forced to go neither to the Army nor jail. In the end I am confident that justice will come my way for the truth must eventually prevail.

"I am looking forward to immediately continuing my profession.

"As to the threat voiced by certain elements to 'strip' me of my title, this is merely a continuation of the same artificially induced prejudice and discrimination.

"Regardless of the difference in my outlook, I insist upon my right to pursue my livelihood in accordance with the same rights granted to other men and women who have disagreed with the policies of whatever Administration was in power at the time.

"I have the world heavyweight title not because it was 'given' to me, not because of my race or religion, but because I won it in the ring through my own boxing ability.

"Those who want to 'take' it and hold a series of auction-type bouts not only do me a disservice but actually disgrace themselves. I am certain that the sports fans and fair-minded people throughout America would never accept such a 'title-holder.'"

Clay returned to his hotel and went to sleep after the day's activities. He is expected to leave the city, possibly for Washington, in the morning.



Tuesday, April 26, 2011

Elvis Presley and Muhammad Ali Photographs Tell Stories of Two American Icons


Andrew Berg, 12, of Souderton, Pa., views photographs of Muhammad Ali by Neil Leifer, right, and an anonymous photographer, left, at the James A. Michener Museum in Doylestown, Pa. Two American superstars have crossed paths in suburban Philadelphia at the museum, where a pair of photography exhibits called American Icons offers a peek into the lives of Elvis Presley and Muhammad Ali. AP Photo/Matt Rourke.

Via artdaily.org

By: Kathy Matheson, Associated Press


DOYLESTOWN, PA (AP).- In a culture saturated with celebrity magazines, paparazzi and red carpets, it's hard to imagine capturing an image of a young Elvis Presley alone on the sidewalk in New York. Or a picture of Muhammad Ali at play with neighborhood kids in a parking lot.

No screaming fans, no camera flashes, no entourages.

These unguarded moments are among dozens featured in "Ali and Elvis: American Icons," a pair of photography exhibits sharing gallery space through May 15 at the James A. Michener Museum in Doylestown, Pa., about 25 miles north of Philadelphia. This is the first time the exhibits have been displayed together.

The Smithsonian-curated "Elvis at 21" show offers a glimpse into Presley's life just as his star begins to rise. Needing publicity photos, Presley's record company hired photographer Alfred Wertheimer in 1956 to shadow the rock-n-roll prince who would become The King.

Wertheimer had extraordinary access, said Smithsonian project director Marquette Folley.

"After this year, 1956, no one can ever get this close again," Folley said. "The walls go up."

The images of Ali, taken by multiple photographers, chronicle his years from teen boxer to his reign as The Greatest to a beloved figure battling Parkinson's disease. They were first displayed at a Hofstra University symposium on Ali in 2008.

Putting the exhibits together was simply an effort to take a broader look at the concepts of fame and the making of icons, said Brian Peterson, chief curator at the Michener Museum.

Certainly the two superstars had similarities. Both sons of the South, Presley and Ali enjoyed worldwide popularity but also alarmed some people with their swagger and attitude — Elvis with his thrusting pelvis and use of African-American rhythms in his music, Ali with his braggadocio and conversion to Islam.

Wertheimer's 56 images — most enlarged to 3-by-4-foot prints — capture Presley's electrifying stage persona but also his more intimate moments: standing in solitude in front of New York's Warwick Hotel; sprawling on a couch reading fan mail; and interacting with his family.

Wertheimer also chronicles one summer week that found the American idol rehearsing alone at a piano for an appearance on Steve Allen's show in New York, kissing a giddy fan backstage in Richmond, Va., and splashing in his swimming pool at home in Memphis, Tenn.

"I was basically putting Elvis under my microscope," Wertheimer, now 81, told The Associated Press. "He permitted closeness."

The bulk of "Muhammad Ali: The Making of an Icon" features shots of the heavyweight champ in and around the ring: training in Miami; absorbing blows from George Foreman in Zaire; and looming over a floored Sonny Liston in Neil Leifer's famous frame from 1965.

But the exhibit starts with less familiar and more personal images from when Ali was known as Cassius Clay — shadowboxing with his family, preening in front of a mirror and riding a bike with adoring local children. It ends with pictures of Ali the celebrity and humanitarian, lighting the Olympic torch in Atlanta and receiving the Presidential Medal of Freedom.

Curator Hava Gurevich said the power of the 50-image show lies in its combination of fine art, documentary and news photography.

"It's like a kaleidoscopic view of Muhammad Ali's life," Gurevich said.

Peterson, the Michener curator, said he didn't find out until after booking them that Presley and Ali had actually crossed paths. Elvis visited Ali's training camp in Pennsylvania's Pocono Mountains and gave him a rhinestone cape; Ali gave The King an autographed pair of gold boxing gloves.

"I can't say it was part of our grand plan," Peterson said. "(But) it made us feel we were kind of on the right track."

The next stop for "Elvis at 21" is the William J. Clinton museum in Little Rock, Ark. The next stop for "Muhammad Ali: The Making of an Icon" is the Historic City Hall Arts & Cultural Center in Lake Charles, La.

Copyright 2011 The Associated Press

Tuesday, March 8, 2011

Today In History: 'The Fight Of The Century'

Muhammad Ali dodges a hook thrown by Joe Frazier. Although Ali lost the match, he proved his stamina by standing through 15 rounds.
John Shearer/LIFE

Muhammad Ali dodges a hook thrown by Joe Frazier. Although Ali lost the match, he proved his stamina by standing through 15 rounds.

Via NPR Picture Show
by Claire O'Neill
March 8, 2011


Today, 40 years ago, there was a big event. The media called it "The Fight of the Century." In Life magazine, it was "The Battle Of Undefeated Champs."


After more than three years in forced retirement for refusing to fight in Vietnam, Muhammad Ali was back to contend in the world heavyweight championship. He was pitted against the reigning champ, Joe Frazier. And they were each, no matter what, to receive an unprecedented $2.5 million for entering the ring.


To honor the momentous fight, Life has published a gallery of photos, many never before seen, taken by John Shearer, who at the time was merely in his 20s. (Joining Shearer as a Life photographer at the fight was amateur photographer Frank Sinatra.)

In addition to shooting the fight, though, Shearer documented the two contenders in the time leading up to the fight: the media circus that surrounded them both; the outspoken — and sometimes unsportsmanlike — antipathy between them; even Ali's small gut (three years is a long time to go without a fight).

Those three years caught up with Ali in the last round, when Frazier received the title by a unanimous decision. Another three years later, though, Ali won the title back.



Muhammad Ali taunts Joe Frazier in  Pennsylvania at Frazier's training headquarters. Both Shearer's photos and the 1971 Life article portray the outspoken aggression between the fighters.
John Shearer/LIFE

Muhammad Ali taunts Joe Frazier in Pennsylvania at Frazier's training headquarters. Both Shearer's photos and the 1971 Life article portray the outspoken aggression between the fighters.


Ali, along with Puerto Rican light heavyweight Jose Torres (in  suit) and others, gather at legendary boxing promoter Chris  Dundee's gym in Miami Beach, Fla., in February 1971.
John Shearer
Ali, along with Puerto Rican light heavyweight Jose Torres (in suit) and others, gather at legendary boxing promoter Chris Dundee's gym in Miami Beach, Fla., in February 1971.