Joanne Mattera blogs about a recent exhibition of paintings by Charline von Heyl at the Institute of Contemporary Art, Boston, MA.
Mattera writes that von Heyl "plies color against black and white, and she uses a variety of picture-making materials in her paintings. Some are rich and drippy; others, rendered more minimally with charcoal and a light wash, look to be scrubbed almost clean in parts; others still are scraped and painted over. Von Heyl's paintings are energetic, restless, explosive."
John Bunker reflects on the work of Charline Von Heyl on view at Tate Liverpool through May 27, 2012.
Bunker writes that "Some might see abstraction as a safe haven, 'an escape from it all'. But what if we reverse this idea and look at it as a way of analysing, even critiquing the ever evolving visual realms of late Capitalism? Charline Von Heyl’s work might go some way to answering this question..."
Separately, he notes that Von Heyl's paintings "instantly reveal the act of seeing as an embodied experience. This creates a great physical counterweight to the jarring and startling juxtapositions of painterly techniques and imagery within the work."
Von Heyl remarks: "What I want to do with the painting is establish this relationship of now… that you are actually in the moment in front of a painting and something happens. What I want to happen is that the space between the painting and the viewer gets activated, and it activates the viewer to form a relationship, so the painting almost hovers in front of itself, between the viewer and the canvas."
Christopher Bedford speaks to five contemporary painters, Tomma Abts, Tauba Auerbach, Matt Connors, Charline von Heyl and Bernd Ribbeck, about the role of abstraction in contemporary painting.
Beford writes that "There is a dissonance between the directness of their work and the fuzzier set of interests and objectives – high-minded, metaphysical and historical – that 'abstraction' suggests. None of these painters seem interested in spirituality as a social idea or abstraction as a historical category, but they share a real belief in the metaphysical properties of work, materials, process and practice, a kind of secular faith in the possibilities of non-objective image-making. Their desire is not for transcendence through abstraction, but for a greater embeddedness in the world through materials and work."
Christopher Knight reviews an exhibition of new work by painter Charline von Heyl on view through June 18, 2011 at 1301PE Gallery, Los Angeles. The exhibition includes drawings and paintings. Knight writes that in von Heyl's work "Mediums... get mixed -- usually oil, acrylic and charcoal, which don't blend but do bleed, clot and scumble, creating tactile surface variations. One result is a surprising visual tension between spontaneity and calculation, wild abandon and thoughtful deliberation, the raw and the cooked."
Sharon Butler reviews Untitled (Painting) "an excellent exhibition on view at Luhring Augustine... features large abstract paintings that are engagingly conceptual but, at the same time, uniquely process driven." The exhibition runs through February 5, 2011.
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.