Note on Art

Dublin Core

Title

Note on Art

Subject

A note from LeRoy Neiman detailing TV appearances.

Description

This note from LeRoy Neiman provides a brief chronology of TV appearances the artist made during his career. The narrative delineated begins with ABC’s (i.e. Roone Arledge’s) observation of the artist documenting the Fischer-Spassy chess game in 1972 via sketch. The last page—reverse of the second—roughly itemizes specialized coverage for particualr networks. That said, the document itself is more of a personal assessment than a standard CV. And given its narrative style and content addressed, the record was most likely made the in preparation for the chapter “As Seen on TV (and Everywhere Else)” in Neiman’s memoir, All Told.

Creator

LeRoy Neiman

Source

LeRoy Neiman Foundation

Publisher

LeRoy Neiman Foundation

Date

c. 1990-2011

Contributor

LeRoy Neiman

Rights

Property of the LeRoy Neiman Foundation; please consult the organization's archivist for further details.

Relation

Notes

Format

Image/jpeg

Language

English

Type

Document

Identifier

LN_Notes_1906_01_01; LN_Notes_1906_01_02; LN_Notes_1906_02_01; LN_Notes_1906_02_02

Coverage

New York (N.Y.) New York

Text Item Type Metadata

Text

A[n] expression of thanks to R.A. (Roone Arledge)
In the early 70s ABC became interested in using my service as an on-camera artist. They sent me to Reykjavik Island to sketch live the Fischer-Spassky chess world championship match– I brought my sketches back for an appearance on the Sat “Wide World of Sports” in the studio. Later a sketched the Great Ali-Frazier fight at the Garden and appeared with Ali and Cossell the next day on Wide World with a drawing from each round and a discussion because due to some complication no film or photo stills were allowed
I did [?] and discussed them on camera with Frank Gifford at the Riggs-Kurg tennis match in Atlanta
The Olympics at Munich in ’72 with first Peter Jennings and later solo with daily sketches from various venues including the terrible Israeli tragedy between then and the ’76 Olympics in Montreal I did some the Belmont and the KY Derby pre-race on Seattle [?]
The mural at Montreal was the real big one causing lots of attention (to be [?]) to my painting and me
(Blue Chip artist, World Class)
(Thrown out ONLY IN NY[:]
Christmas tree completely decorated thrown out on sidewalk Dec 27 ’86 on W 67 AFFLUENCE)
(Hot Cookie) /

From that point R decided I would be only used for super major events—Well nothing measured up to the magnitude and exposure of the Games but big events kept passing by for years and I wasn’t invited. A Pete piece I did was cancelled. I had worked in the past with Garogiola (NBC) at the World Series and Tim Ryan at the Stanley Cup. So I became restless—In order to get into the full range of ones expression in any art momentum is essential. I felt good done these on-the-spot camera gigs—brief and very venial with insights, that gave me an added dimension. It was creative and a fist on the tube (People kept writing me) and asking me on [the] street, when next LeRoy?
I felt neglected, sort of like an employee of ABC hoping I’d get work—month after month passed no commination with R. – unavailable. (My momentum curtailed) focused and inspired by my experience on live TV. I wanted action. I did a few piece with CBS in Tokyo, Royal Ascot, Pan Ann games in Puerto Rico, the shrine Football at Stanford—then the opportunity to do the Super Bowl at New Orleans in ’67 on the computer for CBS. I did it successfully.
Be response, big audience.
R. was upset – said I [?] was disloyal /

I was told I would never be used again. No more Olympics—So I accepted Official artist for the Lake Placid Winter Games. NO TV. I after did a number of regional shows of events and then official for the Sarejavo Winter Games and LA games both covered by ABC. I did TV for Tokyo (TV)
The Goodwill games in Moscow
Now 10 years after my last ABC short I want to thank RA for turning on me whatever his reasons. I would have developed into a TV personality had I kept (being used) being repeated. The momentum required that I desired would have made me more effective and smooth I might even have developed into a (TV personality) star. and would up like Cossell and other Media personalities whose total image is (dependent on) the tube.
Being discovered allowed me to concentrate on my general work to develop wider and I still can make TV appearances when they ask and not be one (in the fold) of them – but myself.
(It was a close call. Some immediate gain opportunity may not be best in the long run) /

TV ART
ABC Olympics
NBC Hockey
CBC Super Bowl
Talk Shows – EXHIBITIONS – Book Tours
Artist’s Choice Chicago
Merv
Charlie Rose
Mike Douglas
Dinah
Regis
Cossell

Original Format

Marker and color pencil on paper.

Files

LN_Notes_1906_01_01.jpg
LN_Notes_1906_01_02.jpg
LN_Notes_1906_02_01.jpg
LN_Notes_1906_02_02.jpg

Citation

LeRoy Neiman, “Note on Art,” LeRoy Neiman Foundation, accessed May 19, 2024, https://leroyneimanfoundation.omeka.net/items/show/177.