Los Angeles

Chris Martin

Daniel Weinberg Gallery

Chris Martin, an American, and Michael Krebber, a German, were both born in 1954. Krebber has suggested that he might be a failed actor who is seen by others as a Conceptual artist, one who finds ways to paint, because it’s a good idea, often by various kinds of not-painting (using stretched gingham or horse blankets instead of oil on canvas). Martin is quite different, and not only because he lacks Krebber’s notoriety. Rather than not-painting or overpainting, Martin paints by painting-over, sometimes spending years on single works (two of his most recent are dated 1983–2005 and 1973–2005). These disparities figure, almost metonymically, the supposed difference between German and American painting, the former taken to be much more hot-wired to “Conceptual” practices.

Critical mapping of the antipodal artists’ parallel attributes—both paint as a way to test painting’s limits—has produced,

Sign-in to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.