Michael Krebber, Installation view, Museu de Serralves, 2016 Michael Krebber has spent the past forty years in pursuit of new routes into and out of painting, ever-conscious of claims for the medium's exhaustion yet committed to its endurance all the same. His conceptual approach—developed through studies with Markus Lüpertz and assistantships with Georg Baselitz and Martin Kippenberger—endeared Krebber to the Cologne art scene of the 1980s and ’90s, alongside peers like Cosima von Bonin, Jutta Koether, and Josef Strau. Like them, Krebber animates European neo-avant-garde strategies that came before, mounting an open-ended critique of art’s systems and processes through subtle visual cues. Yet his apparently diffident attitude—often likened to Baudelaire’s dandy or Melville’s Bartleby—renders Krebber unique. His self-effacing yet expansive definition of painting has admitted a wide range of formats, variously exhibiting patterned textiles, posters, and scores of canvases that bear just a few tentative marks. Those slight gestures embody what John Kelsey calls “an ongoing hesitation between repetition and interruption (or between having an idea and having no idea),” keeping the practice of painting alive while short-circuiting art world expectations for its dominance and decorum. Always in good humor, Krebber has in turn preoccupied art’s social imagination as a mercurial source of sly invention. But if Krebber’s persona sometimes precedes him, his paintings reveal an abiding dedication to aesthetics and craft with their deft, even delicate, handling. “Could Krebber have predicted the possibility that his art could actually be touching?” asks Michael Sanchez. “That his joke-work, and the politeness of its delivery, can make one want to cry?” Krebber’s intellectual approach has long been laced with affect (he often speaks of his “embarrassment”), and his engagement with painting is ultimately as focused on its persistence as it is on its deconstruction (fitting, given his longtime post as professor of painting at Frankfurt’s acclaimed Städelschule). As Kelsey writes, Krebber’s tack is “to repeat and to stop painting in order to go to work on the wider system that makes painting what it is today, what it was yesterday, and what it might be or stop being tomorrow.”
Oil on canvas; 250.4 x 250.5 cm. German painter, printmaker, and sculptor who is considered to be a pioneering Neo-Expressionist. Baselitz was part of a wave of German painters who in the late 1970s rejected abstraction for highly expressive paintings with recognizable subject matter ( Neo-Expressionism). His trademark work was painted and displayed upside down to emphasize its surface rather than its subject matter. Baselitz began art studies in 1956 at the Academy of Fine and Applied Art in East Berlin. He was expelled and left East Berlin in 1957 for West Berlin. There he entered the Academy of Fine Arts, completing postgraduate studies in 1962. During this period he also changed his surname to Baselitz. From his youth he was interested in the tradition of German Expressionist painting and its reliance on “primitive” sources such as non-Western art, folk art, children's art, and the art of the insane. Like his predecessors Ernst Ludwig Kirchner and Emil Nolde (both involved in a group known as Die Brücke), Baselitz employed a deliberately crude style of rendering and a heightened palette in order to convey raw emotion. In the mid-1960s Baselitz turned to the subject of heroes, rebels, and shepherds, often fragmenting the figures and continuing to make the thick impasto carry much of his paintings' emotional content. He also often used shocking or disturbing imagery to provoke a response in the viewer. In 1969 he began to paint and display his subjects upside down. Baselitz also created art in other media; his etchings, woodcuts, and wood sculptures are as direct and expressionistically charged as his mature paintings. His first American retrospective was organized in 1995 at the Guggenheim Museum in New York.
Tomio Koyama Gallery 小山登美夫ギャラリー
Hauser & Wirth was founded in 1992 in Zurich by Iwan Wirth, Manuela Wirth and Ursula Hauser, who were joined in 2000 by Partner and President Marc Payot
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