Critics’ Picks

Michael Krebber, MP-KREBM-00089, 2015, acrylic on canvas, 78 3/4 x 59".


Michael Krebber

Maureen Paley
21 Herald Street
September 5–October 10

Michael Krebber’s latest paintings are all gesturo-minimalism—little marks and dabs staining otherwise pristine canvases. At least the ones on the ground floor, the clear highlights of this exhibition, demonstrating the limits a painting can reach while still remaining a painting. MP-KREBM-00090 (all works 2015), is just a copper dash running down the right side of the canvas: a scar that will never heal. MP-KREBM-0089: pure rhythm and splotch. Two thick marine blue handles sit at center roughly equidistant from the sides of the canvas. There is a lighter blue dash in the upper right corner. On the left, there’s that copper dab again, this time a bit smaller—an afterthought, we’d call it, if it didn’t seem so considered.

Upstairs, the canvases are nearly all completely covered in paint. MP-KREBM-00092 limits itself to blues of varied hues. Its centerpiece is a whirl that resembles a tornado funnel. The most densely structured painting in the show is MP-KREBM-00091, with its inferences of architectural structures looming somewhere beneath the layers of blue and yellow. Still, Krebber sticks to a general anti-alloverness in these works. Rounding it all up are four pieces rendered in paper with ballpoint pen. Among these, there is a treelike swirl to MP-KREBM-00097, while MP-KREBM-00098 leaves us with an earlike curve.