Collections And Critiques

The Robert Riggs lithographs now on exhibition at the Grace Horn Galleries are good examples of the work of the man generally considered to be Claude Bellow's most able successor. Concerning themselves solely with the prize ring, the ten lithographs form an excellent instance of what can be accomplished by capable mediocrity when given an opportunity to express itself. Mr. Riggs has been clever enough to realize the wealth of artistic material in the vigorous, stinking lewdness of the small-time professional ring, and although he is hampered by a lack of highly skilled technical ability, he has succeeded well in congealing on paper, the brutal spirit of his subject.

In a lithograph called "Out" Mr. Riggs has portrayed a fighter sagging to the floor and catching at his opponent's body for support as he falls. The referee is moving rapidly toward them. The victor, himself half punch-drunk, is swaying crazily, arms raised above his head. There is an excellent sincerity about this lithograph that is quite commendable. The limp body of the vanquished; the tense, triumphant face of the victor; and the referee's alert attitude have been well caught. But it must also be admitted that the body of the victor is not too carefully drawn. The large muscle in the right armpit is unfortunately exaggerated, and both deltoids have not been given the treatment they deserve on a well-muscled body. The referee's body, too, is a bit out of proportion.

Two pictures, "In This Corner. . .", a glimpse of a negro welterweight hunched on his stool under the shadow of his handlers while the referee howls out the announcements, and "The Neighborhood Champ," a picture of an ugly plug climbing into the ring while his uglier friends cheer, deserve especial attention. Mr. Riggs has succeeded in catching excellently the impact of the environment on the different personalities, the tenseness of the fighters, the nonchalance of the handlers, and the exhibitionism of the referee.