Neil Jenney is a self-taught artiste born on November 6, 1945. He attended Massachusetts College of Art in 1964. In 1966 he moved to New York City where he currently resides.
His painting style was described by the art critic Marcia Tucker in 1978 as Bad Painting, a bill which he has embraced. Jenney describes his style as realism, but it is an idiosyncratic use of the word on his part, meaning: a style in which narrative truths are found in the simple relationships of objects. His body of play a part during 1969–1970, which is the mature for which he was first known, was a reply to minimalism and photo-realism. The work's impact was large for such a brief period: according to New York Times art critic Roberta Smith "in those two years Mr. Jenney helped put representational painting upon a further course and received precedents for the art of the 1970s, 80s and 90s."
Often, Jenney's enactment of this time depicted pairs of objects which had evocative cause and effect relationships (such as a motto and a piece of clip wood, as are depicted in the 1969 piece Sawn and Saw.) In an April 15, 2001 review in the New York Observer of his con of deed from the late 60s and in the future 70s at Gagosian Gallery, Mario Naves said that the paintings:
His painting Here and There (1969), which depicts a white fence dividing a auditorium of drippy, green brushstrokes, was in the 2004 exhibition The Undiscovered Country at the Hammer Museum in Los Angeles. His sham is in many museums including the Museum of Modern Art, The Metropolitan Museum of Art, the Whitney Museum of American Art, and the Corcoran Gallery of Art in Washington D.C. He currently shows similar to the Barbara Mathes Gallery. His painting "Meltdown Morning" is on display at the Philadelphia Museum of Art.