Roulette II 1996

Editor: This is LeRoy Neiman’s "Roulette II," from 1996. It’s acrylic on canvas, with really thick, almost sculptural paint. It gives the impression of a frenetic energy. What is your read on this work? Curator: The impasto technique is key here. Consider how the materiality itself reflects the feverish, tactile world of gambling. Neiman doesn't just depict a roulette game, he builds it. What is the role of color here, do you think? Editor: It is very expressionistic, vibrant, and not attempting to imitate realism. It amplifies the chaotic energy. Would you say that is pushing against traditional academic boundaries? Curator: Absolutely. This challenges the separation of "high" art from everyday experience, and from the social reality that casino represent. What kind of labor goes into the glitz and glamour of a casino, and how does Neiman’s process—the active, physical application of paint—mirror this? It feels almost mass-produced, a frenetic depiction, not one of unique individual artistry. Editor: That’s an interesting parallel—almost an artistic mass-production mirroring the casino floor! So, it isn’t just about depicting a scene, but revealing a kind of socio-economic commentary. Curator: Precisely! Consider the consumption habits tied to these spaces and their complicated narratives. Neiman's process renders it bare. What do you make of the subject matter then, now? Editor: That the painting itself almost embodies the raw energy and the push and pull between glamour and labour! Curator: Exactly. Examining his choice of materials provides more context than simply considering the imagery. It provides the how AND the why of Neiman. Editor: Thanks, seeing it that way, makes a big difference for how I see materiality in art.