Charline von heyl biography of barack
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When I look at Charline von Heyl’s superb paintings, on show at the Institute of Contemporary Art in Boston, I feel caught up in the midst of an experience that’s yet to end. Is it a celebration? A séance? A secret experiment? I can’t say. All I can say is that I am in a place where the dust is yet to settle.
Von Heyl was born in in what was then West Germany and, since , has lived in New York. She can paint. From the very start, her show gives off a sense of painting as an extension of life - at once carnival and laboratory, private struggle and public blurt.
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The show is made up of 13 large abstract paintings. There are also two series of smaller works on paper, each of which hangs in a grid. The exhibition has come to Boston from Philadelphia’s Institute of Contemporary Art. It was organized there by Jenelle Porter who is now, serendipitously, a curator at Boston’s ICA.
The only pity of the Boston display is that it has four fewer paintings, and is short one series of works on paper. The difference isn’t huge, but the result feels less like a museum show than a display in an ample commercial gallery.
Painting is, and has always been, about space. To appl
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Art review: Charline von Heyl at PE
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Seven new paintings by German-born, New York-based Charline von Heyl tread familiar ground between gestural abstraction and Pop representation, all while managing a distinctive and very appealing sense of independent identity. At her best, Von Heyl makes paintings that bristle with quiet yet potent pictorial energy.
Her second solo show at PE opens with a suite of 22 mixed-media works on paper that seem integral to what one will encounter in the paintings upstairs. (The drawings were all made in ; the paintings date from this year.) Intimations of graffiti mix with vague suggestions of landscape, urban and not, while specific natural elements -- trees, a butterfly or moth, animal tracks -- sometimes turn up. Bright color inflects a preponderance of black.
In the paintings, Von Heyl draws with color. Shapes that appear to overlap are, on closer inspection, made from deepening the color’s value or carefully abutting different colored shapes. Only sometimes is the painting tool a brush, and gravity is a regular contributor to composing the image. Pigments are dragged across the surface with a squeegee, poured
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