Review: Ian Kiaer, Alison Jacques Gallery
Mark Prince, Art in America
March 2013

There is a painterly esthetic of the abject—it might be called pathetic formalism—which emerged at the end of the 1990s. Artists such as Michael Krebber, Sergej Jensen, Gedi Sibony and MichaÅ? Budny have converted the weakness of damaged objects and disposable gestures into a strength by claiming it as grit in the cogs of art production. A failure, or unwillingness, to provide a conventional degree of finish is presented as a subversion of a win-win culture. When this art began to rake in the cash, it inevitably began to seem a little disingenuous. What could be more chic than the asymmetrical vintage look? […]