Neil Jenney
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Neil Jenney is an American painter and sculptor born on November 6, 1945, in Torrington, Connecticut, and working in New York City.[1][2]
He attended
He initially painted mostly with acrylics in a deliberately crude style, but soon taught himself to do more-refined oil painting on wood panels; more recently, he has used canvas for his larger works.[1] Since 1969, the artist has emphasized framing of his artwork, with various types of physical frames or with painted frames. He is interested in both the symbolic and physical framing of his artworks.[1] His paintings often feature a stark dark-colored frame, with a stenciled title of the work.[3]
In 1978, his painting style was described by art critic Marcia Tucker as "Bad Painting", a description which he has embraced. Jenney describes his style as "realism", but it is an idiosyncratic use of the word on his part, meaning "a style in which narrative truths are found in the simple relationships of objects". That same year, he was awarded a Guggenheim Fellowship[4] for Fine Arts.
His body of work during 1969–1970, which is the period for which he was first known, was a reaction to
Often, Jenney's work of this period depicted pairs of objects which had evocative cause and effect relationships (such as a saw and a piece of cut wood, as are depicted in the 1969 piece Sawn and Saw). In an April 15, 2001, review in the
"...aren't really bad at least not bad bad. That pejorative adjective, in Mr. Jenney's case, comes with
Conceptual Art, and if they were, in part, a rebuff to its disembodied verities, they also partook of its intellectual detachment."
His painting Here and There (1969), which depicts a white fence dividing a field of drippy, green brushstrokes, was in the 2004 exhibition The Undiscovered Country at the Hammer Museum in Los Angeles.
His painting Meltdown Morning (1975) is in the permanent collection of the Philadelphia Museum of Art.[5] The artwork measures 25 by 112 inches (64 by 284 cm), and presents a horizontal slit-like closeup view of a tree trunk with a few delicate leaves. In the far background is a mushroom cloud depicted in pastel pink, purple, and gold. About half of the surface of the panel is devoted to a black frame box, boldly stating the title of the work.[6]
Jenney's artworks have often had an environmental theme, commenting on pollution, militarism, and other environmental threats. His more recent work has focused on landscapes and tropical vegetation.[2]
Jenney's work is in many museums, including the
References
- ^ a b c d e f g "Neil Jenney". Gagosian. 12 April 2018. Retrieved 2023-08-09.
- ^ a b c "Neil Jenney: Biography". Artnet. Artnet Worldwide Corporation. Retrieved 2023-08-09.
- ^ "Neil Jenney. Biosphere #4. 1971-76". MoMA. The Museum of Modern Art. Retrieved 2023-08-09.
- ^ "Neil Jenney - John Simon Guggenheim Memorial Foundation". www.gf.org. Retrieved 2024-06-05.
- ^ "Meltdown Morning". Philadelphia Museum of Art. Retrieved 2023-08-09.
- ISBN 0-534-62568-1.
- ^ "Neil Jenney". MoMA. The Museum of Modern Art. Retrieved 2023-08-09.
- ^ "Neil Jenney: Dealers". Artnet. Artnet Worldwide Corporation. Retrieved 2023-08-09.
Sources
- Ausstellungskatalog: documenta 5. Befragung der Realität – Bildwelten heute; Katalog (als Aktenordner) Band 1: (Material); Band 2: (Exponatliste); Kassel 1972
- documenta Archiv (Hrsg.); Wiedervorlage d5 – Eine Befragung des Archivs zur documenta 1972; Kassel/Ostfildern 2001, ISBN 3-7757-1121-X