As always, thanks James! Wanted to say that when I hear people speaking of the Italian Renaissance distinction between disegno (drawing) and colore (color) I sometimes get the impression the meaning is misunderstood. Disegno was said to be the foundation of painting by the Florentine painters who made fully developed drawings before applying colors. The style of colore painting is best represented by Titian (a Venetian) who went straight into the canvas with his colors without doing preliminary drawings. Colore, therefore, doesn't mean color as in colorfulness. Colore is the name for paints. Your paints are your colors. And Titian's mature paintings are tonal - not brightly colored. In fact, the Florentines made the more colorful paintings - think of Fra Angelico, Fillipo Lippi, Michelangelo, Bronzino, etc. They drew out their designs and filled them with brilliant colors. I think that's what confuses people - they expect colore-style paintings to be more colorful. The opposite is true.
Wow! Awesome! Your descriptive accompaniment adds so much Loren, thank you. Especially great to see the Neil Jenney's, that was a real treat. Those frames make me think of alterpieces and devotional icons as well as offering a slit window view from inside a bunker. Reverence, anxiety, perversity and a technique that borders on insanity make for a heady brew. The time span across the production dates of the whole show, as well as individual works is fascinating . I feel there's something meaningful in that too. Which is especially poignant considering the apparent speed with which the 'Bad' paintings were made. Resolute and defiant but with a sensibility that seems to speak of the end of times. Incredible!
After the initial reception of Neil's "Bad Paintings" and the attention and market they found, there were rumors (only rumors) that many of these works were pre-dated, and he kept producing them long after the "bad Painting" period passed.
Thank you Kate, JK/LM I so appreciate you bringing NY to Gig Harbor and insightful investigation of ART. total healing, only focus necessary other than nature
Thanks James for two interesting reviews. I really liked Neil Jenney's paintings, and really appreciate his skill as a carpenter, but honestly, I feel most of the time his frames are doing his painting a diservice. So many times they are distracting, and they do the opposite of drawing me in to see more. And lest I forget Thank you Kate!
Thank you Sensei Kalm-san for another enriching walking lesson in looking and appreciating art. I learned what Flasche is, for one. Joanne's work seems so free of pretense, and just friendly and accessible. Making it look so easy, and also full of happiness. I bet an absolute ton of young artists take her success as a breath of hope against a possible jadedness from the big bad art world. Mr. Jenney is not my cuppa, but appreciate your thorough review as ever. ありがとうございます! And arigatto Kate-san!
Neil Jenney is one of my favorite artists. Whether you like the work or not, he's such a unique character in the New York art scene that I've gotta hold him in high regard...JK
Found the JG show a bit off-putting. Some of the color combo's worked but for the most part they had a kind of a maladroit vibe to them. The reds and yellows were a bit too aggressive for me plus the drawing elements just didn't seem to marry well with the patches of color. Technically I'd also be a bit concerned about the possible non-archival quality of the ink markers. In a similar bad painting vein I much preferred the Joe Bradley show at David Zwiner from a few weeks ago.
![Six Hundred Strike [EPIC: The Musical] Full Animatic](http://i.ytimg.com/vi/zov6NXIAuow/mqdefault.jpg)
Your commentary, as always, is excellent. Neil Jenney has produced some of the nicest furniture I've seen for a while.
And it's extremely durable...JK
As always, thanks James! Wanted to say that when I hear people speaking of the Italian Renaissance distinction between disegno (drawing) and colore (color) I sometimes get the impression the meaning is misunderstood. Disegno was said to be the foundation of painting by the Florentine painters who made fully developed drawings before applying colors. The style of colore painting is best represented by Titian (a Venetian) who went straight into the canvas with his colors without doing preliminary drawings. Colore, therefore, doesn't mean color as in colorfulness. Colore is the name for paints. Your paints are your colors. And Titian's mature paintings are tonal - not brightly colored. In fact, the Florentines made the more colorful paintings - think of Fra Angelico, Fillipo Lippi, Michelangelo, Bronzino, etc. They drew out their designs and filled them with brilliant colors. I think that's what confuses people - they expect colore-style paintings to be more colorful. The opposite is true.
Very helpful comment, appreciate it. 👍
That's fascinating, thank you @singlespies!
Bravo!
Wow! Awesome! Your descriptive accompaniment adds so much Loren, thank you. Especially great to see the Neil Jenney's, that was a real treat. Those frames make me think of alterpieces and devotional icons as well as offering a slit window view from inside a bunker. Reverence, anxiety, perversity and a technique that borders on insanity make for a heady brew. The time span across the production dates of the whole show, as well as individual works is fascinating . I feel there's something meaningful in that too. Which is especially poignant considering the apparent speed with which the 'Bad' paintings were made. Resolute and defiant but with a sensibility that seems to speak of the end of times. Incredible!
After the initial reception of Neil's "Bad Paintings" and the attention and market they found, there were rumors (only rumors) that many of these works were pre-dated, and he kept producing them long after the "bad Painting" period passed.
Thank you Kate, JK/LM I so appreciate you bringing NY to Gig Harbor and insightful investigation of ART. total healing, only focus necessary other than nature
Nice to hear from you Christina. Hope things are going well in Gig Harbor...JK
Thanks! @jameskalmroughcut please consider taking us to see Ray Johnson's work at Starr Gallery.
Thanks James for two interesting reviews. I really liked Neil Jenney's paintings, and really appreciate his skill as a carpenter, but honestly, I feel most of the time his frames are doing his painting a diservice. So many times they are distracting, and they do the opposite of drawing me in to see more. And lest I forget Thank you Kate!
Two amazing artists and completely different from each other! I’m so glad I watched this! Thanks James and Kate of course 👍
AWESOME! Thanks for showing.
Thank you Sensei Kalm-san for another enriching walking lesson in looking and appreciating art. I learned what Flasche is, for one. Joanne's work seems so free of pretense, and just friendly and accessible. Making it look so easy, and also full of happiness. I bet an absolute ton of young artists take her success as a breath of hope against a possible jadedness from the big bad art world. Mr. Jenney is not my cuppa, but appreciate your thorough review as ever. ありがとうございます! And arigatto Kate-san!
Neil Jenney is one of my favorite artists. Whether you like the work or not, he's such a unique character in the New York art scene that I've gotta hold him in high regard...JK
@@jameskalmroughcut Yes indeed, no disrespect intended. Taste cannot be disputed! Thanks again JK!
Thank you Kate !!!!!!!!
To make wonderful Art is very, very difficult,oh, yes😮😯☘️
Joanne’s take on or conversation with Albert Oehlen…
Found the JG show a bit off-putting. Some of the color combo's worked but for the most part they had a kind of a maladroit vibe to them. The reds and yellows were a bit too aggressive for me plus the drawing elements just didn't seem to marry well with the patches of color. Technically I'd also be a bit concerned about the possible non-archival quality of the ink markers. In a similar bad painting vein I much preferred the Joe Bradley show at David Zwiner from a few weeks ago.
It’s ok not to like my work but my
Markers are acrylic or oil markers and are archival.
If Neil is going to paint something idealized, he might as well have painted some controversial ideology. I see no bravery there. 🙏🏼😊