New York

Neil Jenney

Goldowsky Gallery and Whitney Gallery

Neil Jenney’s new paintings—more accomplished than those included last year in the Whitney “Anti-Illusion: Procedures/Materials” exhibition—opt for vigorous hyperbole. Less about direct transcription for all that is directly transcriptive about them, they appear to be illustrations of illustrations. Tool and Sign, Wood and Saw, Cat and Dog, Girl and Doll, all these confrontation close-ups echo what we Americans immediately take for real news—Man bites Dog. If nature at one remove is discardable for Jenney, then nature is not really at the core of Jenney’s representationalism; Oldenburg is. The drawing is firm and crunchily florid in Oldenburg’s 18th-century manner. Each depiction is dazzling as it drowns in a sea of glaucous brushwork. More tossaway facility.

Jenney has declared himself both a painter and a sculptor or a kind of undivided entity torn between two species. The posture is not

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