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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. Since 1969, the artist has emphasized framing of his artwork, with various types of physical frames
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a mile high and connotes an art that combines the dead-end figuration of Pop, the dead-end materiality of
Minimalism and a sense of humor that is, if not dead-end, then sharply deadpan. Mr. Jenney painted the pictures during the heyday of
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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.
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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
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224:. 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
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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.
167:"in those two years Mr. Jenney helped put representational painting on a new course and established precedents for the art of the 1970s, 80s and 90s".
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205:(1969), which depicts a white fence dividing a field of drippy, green brushstrokes, was in the 2004 exhibition
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of his artworks. His paintings often feature a stark dark-colored frame, with a stenciled title of the work.
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from 1964 to 1966. In 1966 he moved to New York City, where he continues to reside. He initially worked as a
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188:"...aren't really bad at least not bad bad. That pejorative adjective, in Mr. Jenney's case, comes with
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His body of work during 1969–1970, which is the period for which he was first known, was a reaction to
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250:(Washington DC). He shows with Gagosian, the Alan Brown Gallery, and the Barbara Mathes Gallery.
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138:", a description which he has embraced. Jenney describes his style as "
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157:. The work's impact was large for such a brief period: according to
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is an
American painter and sculptor born on November 6, 1945, in
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Wiedervorlage d5 – Eine
Befragung des Archivs zur documenta 1972
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361:"Neil Jenney - John Simon Guggenheim Memorial Foundation"
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In 1978, his painting style was described by art critic
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of his show of work from the late 60s and early 70s at
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documenta 5. Befragung der Realität – Bildwelten heute
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or with painted frames. He is interested in both the
109:scrounged some of his art materials from dumpsters
234:Jenney's work is in many museums, including the
527:Massachusetts College of Art and Design alumni
220:(1975) is in the permanent collection of the
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409:Exploring Art: A Global, Thematic Approach
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69:Learn how and when to remove this message
111:. His early artwork focused on interior
32:This article includes a list of general
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184:, Mario Naves said that the paintings:
174:). In an April 15, 2001, review in the
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336:"Neil Jenney. Biosphere #4. 1971-76"
557:20th-century American male artists
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38:it lacks sufficient corresponding
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464:. Artnet Worldwide Corporation
317:. Artnet Worldwide Corporation
244:Whitney Museum of American Art
240:The Metropolitan Museum of Art
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101:Massachusetts College of Art
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439:. The Museum of Modern Art
389:Philadelphia Museum of Art
342:. The Museum of Modern Art
222:Philadelphia Museum of Art
311:"Neil Jenney: Biography"
207:The Undiscovered Country
248:Corcoran Gallery of Art
113:environmental sculpture
53:more precise citations.
542:American male painters
458:"Neil Jenney: Dealers"
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365:www.gf.org
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254:References
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