For all Krebber’s hoodwinks, in the grand and continuing view of his practice over decades, the oeuvre looks tame, conservative. Compare a walk through Chelsea today sees violent lashing out in the struggle for visibility. What allowed Krebber to be, here in “youth” 90’s - 00’s, unflappable. Perhaps presence of famous friends. This of course his subversion, the aiming at self’s feet for well placed shots, and a long trail of much loved blood.
But revelatory here the prairie-home innocence of this time periods exhibtionism, less the silly artfair painting jest redoubled today as bad paintings joke sold to collectors, than the nostalgic young Krebber and friends having a time in the country. The famous “digging into the mirror” photo's context reveal much less conceptually prescient images of Krebber for instance with a boot dangling from his ass. Similar to Capa’s filmrolls revealing his famous shot soldier really hadn’t been captured midst ballistic trauma, but rather tripping over his own feet.
Affiliated: Krebber at Daniel Buchloz