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“Works of the Jenney Archive\,” presents a portion o f Neil Jenney’s retained efforts\, and the works of friends accumulated ove r the past half century.

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Gagosian Gallery is pleased to present “Works of the Jenney Archive.”\n

Neil Jenney's distinctive art emerged in the late 1960s in direct response to the dominance of Minimalism and Pho torealism. Working first as an abstract painter\, then as a sculptor evinci ng form through the use of attenuated line\, he developed a purposefully ro ugh\, gestural painting style in works that came to be known as “bad painti ng\,” inspiring the polemical group exhibition “Bad Painting” at the New Mu seum in 1978. Considering himself to be a realist painter and have a style to be not only a set of aesthetic principles but also a personal philosophi cal dictum\, Jenney sought to forge a new type of realism in which narrativ e truth could be indicated by the simple fact of proximate relations\, such as Husband and Wife\, Girl and Doll\, or Them and Us (all 1969).

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In the seventies\, Jenney decided to take up the opposite challenge\, and began producing stud ies of the natural world that he called “good painting.” With titles such a s North American Vegetae (2006–07)\, North American Aquatica (2006)\, and North America Depicted (2011–12)\, the Good P aintings treat ecological issues pertaining to the native North Americ an landscape with a sense of subjectivity that verges on mythological. Craf ted in layers of oil paint on board\, these paintings provide a solution to the mechanical perfection and emotional indifference of Photorealism\, whi le remaining exacting in their representation. Atmospheric (Impressionist) color and refined classical lines combine to produce landscapes that are al most hallucinatory in their attention to detail. Encased in hyperbolic wood en picture frames with bold typographic titles at the lower or side edge\, the paintings are windows onto meta-realities. At the same time\, their bla tant framing ensures a distinct separation from the illusory world\; they a re as sculptural as they are painterly.  Evoking the Luminist and the Hudso n River School painters of the mid-nineteenth century\, the Good Painti ngs convey the temporal coexistence of their subjects in both the real and the imagined world.

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“Works of th e Jenney Archive\,” on view throughout all floors of Gagosian Gallery at 98 0 Madison Avenue\, will feature a room of Good Paintings made since 1971\, as well as editions\, silkscreened oil on canvas\, of statements\, maxims\, rules\, aphorisms\, etc. such as “ART IS A SOCIAL SCIENCE\,” “IN LAW WE TR UST\,” “IDEALISM IS UNAVOIDABLE\,” and “PAINTING IS SCULPTURE\;" as well as several sculptures from the 1960s. Works by artists who Jenney knows perso nally and collects—Truman Egleston\, Kay Mollison\, William Wegman\, Peter Bramley\, Ros Barron\, Harris Barron\, Robert Lobe\, John Duff\, Gary Steph an\, Louise Lawler\, Mary Obering\, Thornton Willis\, Sally Ross\, Cewzan G rayson\, Curtis Jenney\, Bernard Edwards\, Timothy Hoffman\, Joseph McNamar a\, Peter Saari\, Master Sung\, Claire Ferguson\, Peter Reginato—will form part of an exhibition that he has curated to provide insight into his uniqu e perspective and inspirations.

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Neil Jenney was born in 1945 in Torrington\, Connecticut\, and raised in Westfield\, Massachusetts. His work is in major permanent collect ions\, including the Metropolitan Museum of Art\, New York\; Whitney Museum of American Art\, New York\; the Museum of Modern Art\, New York\; and Los Angeles County Museum of Art. Exhibitions include a retrospective at the B erkeley Art Museum\, University of California (1981\, traveled to Contempor ary Arts Museum\, Houston\; Corcoran Gallery of Art\, Washington\, D.C.\; S tedelijk Museum\, Amsterdam\; Louisiana Museum of Modern Art\, Humlebaek\, Denmark\; and Kunsthalle Basel)\; Whitney Biennial (1969\, 1973\, 1981\, 19 87)\;  “New Image Painting\,” Whitney Museum of American Art\, New York (19 78)\; and “Bad Painting\,” New Museum of Contemporary Art\, New York (1978) . Jenney was part of the group exhibition\, “Representations of America” (1 977–78\, organized by The Metropolitan Museum of Art\, New York\, and the F ine Arts Museums of San Francisco for the Pushkin Museum\, Moscow\, Russia\ ; the Hermitage\, Saint Petersburg\, Russia\; and The Palace of Art\, Minsk \, Belarus)\, and at the time he was the youngest American artist to have s hown in the post-war Soviet Union..

DTEND:20130427 DTSTAMP:20140425T033759 DTSTART:20130307 GEO:40.774761;-73.963265 LOCATION:Gagosian Gallery - 980 Madison Ave.\,980 Madison Ave. \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Works of the Jenney Archive\, Harris Barron\, Ros Barron\, Peter Br amley\, John Duff\, Bernard Edwards\, Truman Egleston\, Claire Ferguson\, C ewzan Grayson\, Tim Hoffman\, Curtis Jenney\, Neil Jenney\, Louise Lawler\, Robert Lobe\, Joseph McNamara\, Kay Mollison\, Mary Obering\, Peter Regina to\, Sally Ross\, Peter Saari\, Gary Stephan\, Master Sung\, William Wegman \, Thornton Willis UID:262062 END:VEVENT BEGIN:VEVENT DTEND:20130307T200000 DTSTAMP:20140425T033759 DTSTART:20130307T180000 GEO:40.774761;-73.963265 LOCATION:Gagosian Gallery - 980 Madison Ave.\,980 Madison Ave. \nNew York\, NY 10075 SEQUENCE:0 SUMMARY:Works of the Jenney Archive\, Harris Barron\, Ros Barron\, Peter Br amley\, John Duff\, Bernard Edwards\, Truman Egleston\, Claire Ferguson\, C ewzan Grayson\, Tim Hoffman\, Curtis Jenney\, Neil Jenney\, Louise Lawler\, Robert Lobe\, Joseph McNamara\, Kay Mollison\, Mary Obering\, Peter Regina to\, Sally Ross\, Peter Saari\, Gary Stephan\, Master Sung\, William Wegman \, Thornton Willis UID:262063 END:VEVENT END:VCALENDAR