The iconic Rocky Balboa statue at the Philadelphia Museum of Art is set to be a focal point in a provocative new exhibition that delves into the cultural significance of monuments. The exhibition, titled *Rising Up: Rocky and the Making of Monuments*, opens this weekend, coinciding with the 50th anniversary of the beloved Rocky film franchise. It seeks to explore the complex narratives surrounding monuments, celebrity, and the human spirit, particularly in the context of boxing’s rich history.
A Cultural Touchstone
Since its installation in 1982, the Rocky statue has become a magnet for tourists, drawing an estimated four million visitors each year. The statue, which depicts the fictional underdog boxer played by Sylvester Stallone, stands proudly on the museum’s famed “Rocky Steps.” For many, Rocky is not just a character; he embodies resilience and the struggle against adversity.
Curator Paul Farber, who co-founded Monument Lab, a non-profit dedicated to rethinking monuments’ role in society, has taken a keen interest in the statue’s impact. “It’s a cultural meeting ground,” Farber remarked in an interview with ArtNews, highlighting the statue’s role as a global pilgrimage site for those seeking inspiration through hardship. However, he also raises a critical point: “It bears mentioning that the most mythical Philadelphian is a white boxer who never lived, while many Black Philadelphia boxers have played significant roles in their communities.”
This observation prompts deeper reflection on who is celebrated in public spaces and why.
The Exhibition’s Objectives
The exhibition aims to answer a pressing question: In a time when monuments are being scrutinised and re-evaluated, why do millions flock to the Rocky statue? Farber suggests that throughout history, fighters have emerged as public figures, representing the struggles and triumphs of the human experience. To illustrate this, the exhibition features an array of artefacts, from ancient Greek sculptures to 19th-century artworks and contemporary pieces by renowned artists such as Andy Warhol and Jean-Michel Basquiat.
At the heart of the exhibition is the bronze statue from *Rocky III*, a piece that has sparked its own controversies over the years. “We had a very fraught relationship with a statue that started off as a movie prop,” said Louis Marchesano, deputy director of curatorial affairs and conservation at the museum. This statement underscores the ongoing debate about what constitutes art and how public perception can evolve.
Stallone himself has contributed to the dialogue, expressing in a series of voicemails to Farber that the museum’s steps felt like an “intellectual bastion.” He noted how the setting plays a pivotal role in defining Rocky’s journey—a narrative of rising from poverty to success, culminating in the triumphant ascent of the museum steps.
The Artist’s Perspective
A Thomas Schomberg, the sculptor who created the statue, has grappled with the question of whether the Rocky statue is merely a film prop or a legitimate work of art. “I spent a lot of time with the artist,” Farber shared. “It haunted me.” Schomberg’s hesitation reflects a broader uncertainty about the place of pop culture in the art world, raising questions about the boundaries of artistic expression.
The exhibition juxtaposes the Rocky statue with older representations of boxers and athletes, inviting visitors to consider how societal values shape our understanding of heroism and legacy.
Why it Matters
As society grapples with the legacy of monuments and the stories they tell, *Rising Up: Rocky and the Making of Monuments* offers a timely exploration of identity, history, and representation. By foregrounding the Rocky statue—a symbol of resilience for many while simultaneously revealing the complexities of race and representation—this exhibition challenges us to rethink the narratives we celebrate in public spaces. It compels us to ask who gets to be a hero and whose stories are etched into the fabric of our communities. In an era of re-evaluation, this exhibition serves as a reminder that monuments are not just stone and bronze; they are living dialogues that reflect our values and aspirations.
