Browse Items (77 total)

This abbreviated note from LeRoy Neiman provides a kind of poetic web of the artist’s journeying career. The writing touches on everything from his lack of institutional support (i.e. “no grants, no Fulbrights, ect.”) to a metaphorical look at…

This note from LeRoy Neiman provides an abridged chronology of cultural icons, artistic events, and historical milestones, spanning from 1934 through the mid-1960s, that proved influential on the artist’s work. The document is divided into three…

This note from LeRoy Neiman looks at the beginnings of the artist’s relationship with Hammer Galleries. Providing a brief profiles of the three “Hammer Brothers” (Harry, Victor, and Armand), Neiman sketches a convivial, slapstick contour of the…

This note from LeRoy Neiman provides a general overview of Italian Mannerist Jacopo da Pontormo’s biography. Neiman begins with an assertion of Pontormo’s “obsession” with Michelangelo. This declaration then bleeds into a discussion of the painter’s…

A note from LeRoy Neiman on various projects, including serving on the New York City Advisory for Cultural Affairs from 1994 to 1997; the document also features an illustration of Henny Youngman's "Coat of Arms."

This note from LeRoy Neiman provides a rich visual description of workers in Las Vegas. The document, titled “Baccarat,” is one of many notes the artist wrote on gambling and more specifically the aesthetics of the city. In addition, the record,…

This note from LeRoy Neiman gives a kind of narrative account of baccarat. Neiman made a series of works—including Desert Inn Baccarat and Baccarat, paintings both made in the early 1990s and widely distributed as posters and prints—depicting the…

This note from LeRoy Neiman provides brief histories and descriptions for a variety of standard gambling “table games. Neiman made a collection of works—paintings, drawings, prints, and posters—engaging gambling as well as site specific pieces for a…

This note from LeRoy Neiman provides an anecdotal account of his lack of athleticism as a child, with the exception of wrestling for Washington High School, a disposition which he in the document attributes to a degree of social misgiving.

This note from LeRoy Neiman, once again, draws a comparison between the narrative content of an older artwork and the artist’s child. This particular record juxtaposes a print by Cornelius Bloemaert (c. late 17th century) acquisitoned by the…