In the late ’60s and early ’70s, Neil Jenney represented a sort of one-man, tongue-in-cheek revival of figurative painting, amid the hostility toward the medium that characterized a period dominated by Minimalism and Conceptual Art. Aping kindergarten finger painting, Jenney called his style "bad painting"; later, he began creating "good painting" that referenced the far more proficient realism of 19th-century landscape scenes. This exhibit includes examples of both approaches, items that the artist had kept for himself rather than sell to collectors.
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