Michael Krebber at Greene Naftali

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Krebber seems to be preferring to these days. A brand established rescinding pleasant discussions of the elusive "krebberesque."  In 2013 Krebberesque was actually academically defined in the 8th edition of Quinton and Rohling's Aesthetic Jargon falling between between Kowtow kraut and Kremlin Stoogism. Excitement and Myth has given way to branded production. Having once "suddenly instructed his students never to paint again" now producing paintings at a brisk clip.


see too: Group Show at Greene Naftali

Puppies Puppies at Vilma Gold

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The sweet blood of all those Disney characters is actually corn, barrels of it, the dream of american heartland rendered sickly sweet, sweeter than sugar and cheaper to produce, our cellular frames now an industrial byproduct delivering and adapting consumers taste for saccharinity without restraint. A debate about whether or not these corny subjects are inherently harmful, their omnipresence in American diets surely presents later in life. The internet's rule 34 once predicted that if it existed there was porn of it, but has come to mean images of childhood cartoons engaging in sexual acts. Sweetness imprints in kids it seems. Rule 34 continues to grow as a google search (though interestingly less so in the UK where this ultra sweetness is not found.)  The corny fantasy without balance is an addictive substance, a better commodity, we never experience nourishment or taste so much as direct dopamine reverb, foods and disney treated to ever more focused scientific research achieving not only a more pleasing product but one never delivering satiation. Artists can at least deliver some form of relief to the fantasy by erotically showing off their ends' bitter taste, a fantasy cornhole.

See too: Venice vs. Triennial

Josh Smith at at Eva Presenhuber

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Half decade ago the most reviled painter on campuses, now they sorta look just like any other painting made today. Whether this is because Smith as the last Naumanian understood the wild importance of Ford's speed (and in-distinction) creating busywork spam into cultural consensus, or any true influence is hard to discern.

See too: Ann Craven at Confort Moderne, Zak Prekop at Shane Campbell

Anders Clausen at Between Bridges

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 You could believe these feathers of various metals and materials are strange turn for Clausen, coming from cold micro-interaction of detachment's emotional resonance, of interface a replacement for interfacing, but its is the same form of emotional micro-attention, of feathers beginning to look like birds with brand strategies. Maybe it's hard to tell the difference between fetish and sentiment, or between a fetishistic attention to detail and tenderness, fastidious and compulsion.

Elad Lassry at David Kordansky

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If Lassry's photographs feel fetishistic it's because, like Furries costumed in fursuits as substitute for the slick lines of the anthropomorphic cartoon animals they desire sex with, Lassry's photographs dress their photograph as slick objects to anthropomorphize the objectifying seduction of photography's cartoon version, wearing a "fursuit" of the image color coded to the frame. Lassry's "photographs" self-objectify under gaze as tactile and plastic visual pleasure. They more cryptic the photo - deprived of its raisons, however "straight" - the more its surface appears in blankness, the blank allure of sexual consumability of surface and seduction, lozenges of virtual material. These ultra expensive objects "carved from single timbers of Claro walnut wood" will disperse into homes and be collected by those seeing them dispersed, consumed like cherries in Pac-Man.

See too: Lucy Skaer at Murray Guy

Rainer Ganahl at Kai Matsumiya

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Institutional critique, was, at its base, a reflexive gesture, navel gazing en abyme, setting up a giant system of mirrors of various funhouse effects within the institution, but if we've learned nothing its that silvered surfaces sell really well. We desire nothing more than to see ourselves. And seeing everyone else is like ourselves in a strange mirror. And seeing other art patrons is like seeing ourselves in relation to ourselves, seeing a grand and baroque vaulting network of ourselves in a hierarchy of ourselves. And seeing a Jeff Koons painting is like seeing ourselves replaced with Barbie plastic.  We see ourselves in so many ways. It's all we really want.

See too: Peter Piller at Capitain Petzel , “Seven Reeds” at Overduin & Co.

Istanbul Biennial

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Assigning numbers to all artists and then a  random number generator to choose: Merve Kılıçer. 
Merve Kılıçer's images can be found here: istanbul-biennial/iksv_14b_sahirugureren_498, #499, #500, #501, #502, #503, #504, #505

Merve Kılıçer's biography from page 90 of the guidebook reads:
"1987, Istanbul. Lives and works in Istanbul. Mater.ial,  2014–15, 2 custom-made tables, 2 handmade artist’s books "

"There are two books in the library with prints in them. They tell the stories of Tiamat and Inanna. They are creation stories. Her prints are also stories – successive layers of etching on a metal plate with puntasecca and acquaforte."