A Quote by LeRoy Neiman

The big shock of my life was Abstract Expressionism - Pollock, de Kooning, those guys. It changed my work. I was an academically trained student, and suddenly you could pour paint, smear it on, broom it on!
I was a student at Harvard, and that's where I learned about so-called avant-garde music. Jackson Pollock, abstract expressionism and painting were well known at this time.
I wanted my work to be seen for free in a public space, I want to be up there with Pollock and de Kooning, one of the big boys.
You have to act and this is something that happened in abstract expressionism too, it was a discovery particularly in De Kooning's paintings, great paintings. There's a lot of speed in his work and the speed produces things that only speed can produce.
Abstract Expressionism - the first American movement to have a worldwide influence - was remarkably short-lived: It heated up after World War II and was all but done for by 1960 (although visit any art school today and you'll find a would-be Willem de Kooning).
When I began as an artist, I already did not like expressionism, or abstract expressionism, because abstract painting had already been done. I did not want to belong to any one group or the other, and I'm not one or the other.
The word 'abstract' comes from the light tower of the philosophers. One of their spotlights that they have particularly focused on 'Art'. [Abstraction was] not so much what you could paint but rather what you could not paint. You could not paint a house or a tree or a mountain. It was then that subject matter came into existence as something you ought not have.
Pollock really invented something. No one painted like him - or de Kooning or Still.
I remember being handed a score composed by Mozart at the age of eleven. What could I say? I felt like de Kooning, who was asked to comment on a certain abstract painting, and answered in the negative. He was then told it was the work of a celebrated monkey. 'That's different. For a monkey, it's terrific'.
A student of James McNeill Whistler tells the great artist, 'I tend to paint what I see.' Whistler replies, 'Ah! The shock will come when you see what you paint!
Big E, he's a strong dude. Ryback's a strong dude. But if you put Batista next to those guys, he was 6'6'', 320 lbs. Those guys are pushing 6'1''-6'2''. But Batista was wide. He was a big old dude. Those guys could beat him in a bench press contest, but I'd rather look like Dave.
I switched up so that I could work 12-hour shifts at the firm on the weekends so I could have days free to paint. But it was almost like I had a secret life, because I wasn't showing any of my work. It was just in my house. In '89, I got a grant from the National Endowment for the Arts. That's when I started to get into group shows. Suddenly I sort of "came out" as an artist.
And that Newman wasn't, and yet to me Pollock is just as radical and unlike Expressionism as Newman.
I think we're in an age where artists really have an incredible range of materials at their command now. They can use almost anything from household items - Jackson Pollock used house paint - to, you know, advanced computer systems, to good old oil paint and acrylic paint.
I never played sports or got into the whole guy camaraderie of, like, 'I love you, man! Seniors forever!' So suddenly being in the military with these guys who were under these very heightened circumstances, isolated from their families, living this very kind of Greek lifestyle, it changed my life in a really big way.
In the past 10 years, I've looked at life as this Pollock stuff. And now I'm almost in the post Pollock phase.
Abstract Expressionism was invented by New York drunks.
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