Reviews
"Robert Lobe + Nature"
Quiet Lunch 03/19/18 L. BRANDON KRALL
"Robert Lobe’s recent sculptures are 'like field reports from adventures of discovery in a forest lab doubling as studio, canvas and text.'"
"New Realism !!? Hyper-Surrealism ?!! Bring It – On !!"
Art Lovers New York 02/03/17 NANCY SMITH
LEONARD DUFRESNE, b. 1941.
‘Sweeping’, 2011.
11.25 x 14.25 x 2 inches. acrylic on panel.
($16K)
"Feeling both very contemporary, and very turn of the century . . , Americana too. I bet this guy is due for a ... big revival !! Just like WALTER ROBINSON. collectors, pull out your checkbooks. That’s a very low ball price and a sweet series of paintings, no doubt. American realism – at its folk art heart / best."
CLICK HERE > http://www.artloversnewyork.com/zine/the-bomb/2017/02/03/mercer-tullis-new-sur-realism/
"The Painting of the Future"
Language and Philosophy 03/06/16 WALTER IDLEWILD
"Viewed from a distance, a painting with representational components seems to possess the clarity of a photograph. As a viewer walks closer, however, manifestations of the human hand begin to appear."
"Neil Jenney Makes Improvements to Famous Picassos"
THE CREATORS PROJECT 02/21/16 Gabrielle Bruney
"Appropriation art is great, but sometimes it can feel like artists appropriate for the sole sake of shocking audiences. The best appropriation art instead engages in dialogue with the original work and its artist's intent, just as Neil Jenney's Improved Picassos do."
http://thecreatorsproject.vice.com/blog/neil-jenney-improved-picassos
"Neil Jenney’s “Improved Picasso” Portraits with his Signature Frames"
ART REPORT 02/18/16 Adriana Pauly
"The self-taught artist has been known for bypassing the traditional steps in an artist’s career, taking charge of his own work, presentation and distribution; his decision to open a pop-up gallery in his loft is only the latest radical act the 71-year-old pulled in his career."
http://artreport.com/neil-jenneys-improved-picasso-portraits-with-his-signature-frames/
"NEIL JENNEY SHOWING HIS 'IMPROVED PICASSOS' AT THE WEST BROADWAY GALLERY"
WIDEWALLS 02/14/16 By Lorenzo Pereira
"Simply, Jenney has used different styles in his art, and therefore, it’s difficult to classify his art by using strict categorization."
http://www.widewalls.ch/neil-jenney-the-west-broadway-gallery/
"IS NEIL JENNEY TOO REAL FOR THE ART WORLD?"
New York Observer 01/19/16 By Ryan Steadman
"Although he’s as he says “under the radar” these days, Neil Jenney is a pivotal figure in the history of 20th century American art. His breakout body of work from 1969-70, a forceful reaction against Minimalism, dragged both painting and figuration back from the brink of extinction. His brushy, vernacular paintings were (lovingly and ironically) dubbed “Bad Painting” by art critic and curator Marcia Tucker, who curated a landmark 1978 show of the same moniker at the New Museum where Mr. Jenney’s work was a standout among standouts. Now, he’s mounted a new, two-man show of his own work and alongside the repoussé metal wall works of his longtime friend, Robert Lobe. We spoke to him about being called “funky,” why frames are important and his unique path onto museum walls."
http://observer.com/2016/01/is-neil-jenney-too-real-for-the-art-world/
"Lofty Ambition: Neil Jenney Frames Himself"
Art Info 01/15/16 By Scott Indrisdek
"In many ways, West Broadway is simply an extension of what Jenney has been doing all along: Using the good fortune of the loft to showcase his own work, without depending on traditional art world mechanics. “I’ve had my space and been able to show 12 months a year,” he explained. "I have a network of collectors and out-of-town dealers who bring their clients by. And I’ve suffered in the market because I didn’t have public activity and transactions — it was kind of secret.""
http://www.blouinartinfo.com/news/story/1312969/lofty-ambition-neil-jenney-frames-himself
"The Boston Years 1964-1966"
Sweet Corn Productions - December 1966
"The Intaglio interviewers have discovered a young, sensitive promising talent. Neil Jenney, unable to work in the school classroom situation, has turned out, in his Worthington Street studio, a staggering amount of significant paintings."