Greene Naftali
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 s 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 p
Michael Krebber Edit Profile
artist
Michael Krebber is a German conceptual artist.
Background
Michael Krebber was born on April 26, , in Cologne, Nordrhein-Westfalen, Germany.
Education
Krebber studied painting at the Academy of Fine Arts in Karlsruhe under Markus Lüpertz.
Career
Krebber was an assistant in the studios of superstar German artists Martin Kippenberger and Georg Baselitz. But unlike the aforementioned German painters, Krebber’s paintings and drawings are often minimal and occasionally inscrutable. A recent series that’s become highly sought-after is his so-called “Snail” set of paintings, which sometimes consist of only one line. Other series have the uncanny feel of unfinished abstract paintings.
Michael Krebber has been leading a double life as a rumor for many years. He fostered this iridescence by exhibiting little or nothing. From a certain moment onward, the painter showed a bit more, but it was always about how much an artist ought to display. The scene of that critical self-staging as an actor of art was s Cologne. On account of this prelude, it was for a long time difficult to distinguis
Biography
Born in Cologne
Lives and works in New York and Cologne
Solo Exhibitions
Greene Naftali, New York
&#;Esprit de Corps&#;, Galerie Buchholz, Cologne
&#;New Work&#;, Greene Naftali, New York
&#;Studiofloor and Diamond Paintings&#;, curated by Vincenzo de Bellis, Fondazione Antonio Dalle Nogare, Bolzano
&#;Kan In Chen&#;, Gaga & Reena Spaulings Fine Art, Los Angeles
&#;Spot on: Michael Krebber&#;, Museum Brandhorst, Munich
&#;Wirklichkeit erschlägt Kunst&#;, Galerie Buchholz, Berlin
Greene Naftali, New York
Morena di Luna, Hove
&#;Works on Works on Paper&#;, Galerie Buchholz, Berlin (with Albert Oehlen)
Kunsthalle Bern (catalogue)
dépendance, Brussels
&#;Cartouche paintings&#;, Galerie Chantal Crousel, Paris
&#;Flat Finish&#;, Galerie Buchholz, Berlin & Cologne
&#;The Living Wedge&#;, Serralves, Porto (catalogue)
&#;Ground Floor&#;, Greene Naftali Gallery, New York
Maureen Paley, London
Wolfgang-Hahn-Preis , Museum Ludwig, Cologne (with R.H. Quaytman)
&#;Systemic Relevance&#;, Galerie Buchholz, Berlin
&#;We not&#;,
Michael Krebber
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Since the ’s, Michael Krebber has been one of the central figures of the Cologne-based art scene and is internationally known for his influence on a new generation of artists for whom he is laying bare the conditions and conventions of the painting (and painter) by means of tentative gestural markings, evacuated canvases, diffident ready-mades, and for challenging traditional exhibition displays.
Krebber’s abstractions always appear to operate at the brink of disappearance as they continuously substitute ciphers of doubt, delay, withdrawal, and hesitation for the medium’s ancestral values of expression, plenitude, and presentences.
Michael Krebber taught at the Städelschule in Frankfurt from to
In , he moved from Cologne to New York, and presented the following year at Galerie Chantal Crousel his very first series of paintings produced in his Soho studio.
He has has had major solo exhibitions at Kunsthalle Bern, Bern (); Serralves Museum of Contemporary Art, Porto (); CAPC, Musée d’art Contemporain, Bordeaux (); Real Fine Arts, New York (); International Project Space, Birmingham (); Miami City Ballet, Berlin (); Kölnischer Ku
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