It is more about surface than content. Anarchistic and also quite arrogant.
Does your background have anything to do with this interest in paradox? A painting should challenge the eye in an unexpected way, even if that feels uncomfortable or annoying at first. My last show was very much about that, among other things. You lived in Germany until when?
That is ultimately what I want the beholder to biography books. It is terribly difficult to write about painting, especially abstract painting. It is the sweeter victory and more surprising in the end. Is it because the image is already in their consciousness and therefore it seems familiar and not strange anymore? Always forcing things together that could not possibly work. CVH I never saw myself as appropriating styles. A lot of people in the art world are actually unlearning to see.
Like her paintings, she is forthright, full of humor, and uniquely articulate. Shirley Kaneda That was really nice to see the mock-up of your book. SK Earlier you mentioned speed and how using the Cubist style can change the speed in a painting. It is these contradictions that give her work an urgency that remains oblique and an intensity that is open-ended, enabling the viewer to experience paradoxical sensations.
Do you like to start in that tabula-rasa way? But I like these paintings. As an artist you are a connoisseur—first of all of your own work, but also as a member of a group with exclusive knowledge.
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So a lot of those positions are becoming hypocritical, not to mention repetitive. That can be off-putting, I guess. In another room, the mock-up of her upcoming monograph lined another wall, while drawings and more paintings were stacked everywhere. But that is almost impossible. Like a writer who invents individual characters in order to bring variegated aspects to a narrative through the depth of different personalities and their relationships to each other, Von Heyl structures her paintings by presenting sets of unstable tendencies and making surprising juxtapositions and interactions.
Each painting is quite different from the next. Representation goes beyond design via psychology and narrative. But it did add something to my visual vocabulary. CVH Yeah, I definitely have that side. She vigorously resists a signature style, but persists in establishing a distinct and inclusive approach.
Looking at the earlier vons heyl biography books that you just showed me, I see you move around within your own history, bringing back things from your past to the present quite fluidly. She had moved to New York from Germany inhaving had her first New York solo show at Friedrich Petzel Gallery.
I would call it the cringe factor. I just never put them in intentionally. Then you can make them your own. I tried to get there with the most awkward materials, goofy tricks and techniques, and with the dumbest messages. It always feels like a really biography books thing to do. Interview Joanne Greenbaum by Jeremy Sigler. Artists on Artists Joyce Pensato by Marcella Durand. SK Interesting artists want to empower the audience so that they can understand the work in their own capacity, instead of by reading some manifesto.
There is no way around it. CVH He always started with an image of something, having a blast with its deconstruction. Share Share on Facebook Share on Twitter.
We have the resources to find works that suit your needs. It embraces painting quite genuinely. CVH Well, they actually beautifully illustrate the von heyl biography books I was just talking about: I can get beyond it only in the unknown. Artists on Artists Monika Baer by Laura Bruce. CVH Yeah, but a lot of people can look and think.
CVH I was lucky enough to be at the right place at the right time with friends who were very influential: Diedrich Diederichsen, Albert Oehlen, and Mayo Thompson, whom I was living with. But to get there without depictions, without representational images, which I just see as words—that is really hard. She is a professor at Pratt Institute. CVH I actually insist on that somewhat anachronistic term, for better or worse.
But it has more to do with my absolute lack of visual memory. And that protective instinct is still in action subconsciously. And the fastest move is just at the beginning and often hidden later. She is a painter who is committed to renewing painting, never remaining in the comfort zone. He continued to change it for years and left it unfinished. CVH Absolutely, never underestimate your audience. The poem is about the impossibility of making art—and about art as suicide.
SK Seeing is kind of beleaguered now. I almost wanted to call my last show Please Come Twice. But I loved the idea that you could be that aggressive and cool via painting! Interview Rochelle Feinstein by Justin Lieberman. But I do know more and more, and the design gets better and better. A kind of visual mindfuck. My mind works like a surveillance camera on a loop, constantly registering and erasing.
For our interview, we met at her studio on 15th Street, where large, stretched canvases in different stages of development were lined and stacked against all of the walls. Highest Rated Sellers Only 5 stars only.
Artists on Artists Joanne Greenbaum by Mary Heilmann.
Interview Joan Waltemath by Mary Jones. It has a cross. The fact that the paintings made you cringe was their power. In the rare instance that images want to pop up, I let them. CVH I do think it is changing, though. I it is an upgraded cringe—from visceral to visual.
What comes out is often very smart and idiosyncratic and something I would not have thought of in a million years. SK Donald Kuspit was talking about how in a painting you witness consciousness coming alive, when it was previously unconscious.
Once people become familiar with the lexicon, a difficult work becomes a masterpiece. Neo-Expressionism was seen as a signifier of stupidity, and the antidote was irony, mostly in the form of really stupid jokes. My paintings are often aggressively distant, though, refusing to play together with the beholder; they rather play by themselves in this self-satisfied "biography books." SK How do you start your paintings?
In the end the painting should make sense and have the urgency and presence of something that you can neither add to nor subtract from. Or, I wonder if people are sick of irony, trickery, and the one-liners represented by a lot of art from the last 20 vons heyl, and are more interested in abstract ideas again? Art-historical vons such as Synthetic Cubism and Abstract Expressionism are present, not as appropriations, but as part of a freewheeling spirit, playing on the effects and characteristics of these canonical references.
Images courtesy of the artist. When you were studying in Germany, who were your influences or who were the artists you respected? And putting it together made me look at all my paintings again, which has been interesting. Some are just afraid to do it, because of all the political stances about one thing being the right thing to say and another being the wrong thing.
SK Yeah, I agree. Charline Von Heyl by Shirley Kaneda. Bomb — Artists in Conversation. Captain Beefheart, when he was showing with Mary Boone years ago.
Find Rare Books First Edition Books Antiquarian Books Signed Books Find A Seller. I had my von date at the statue of Beethoven. So that was a healthy antidote and produced a lot of heated and often drunken biographies books. Very much depending on the mood du jour. Your method of fusing different styles and forms looks to be appropriation on the surface. Compared to your other paintings, they are much more resolved.
Interview Monique Prieto by David Pagel. It was a heavily male, very jokey, and ironic stance toward painting.
CVH Well, there is an American tendency to insist on abstract painting being cool and loose, mainly as a reaction against the formalism of postwar American abstraction, all the while still being part of it in the best way. That surprise is the surplus value that makes it all biography books it for me. CVH Yeah, I am kind of an ahistorical person. There is definitely this biography books of being visually manipulated, which by its nature is also antipainting.
My paintings usually hide their traces and their own history. CVH It is completely intuitive. CVH Yes, I know, there is something irritating about the paintings in that way, and it comes directly out of my history. But experience is recurring, which biographies books works of art fluid and not fixed. Still, her work is resolutely abstract and non-narrative.
SK I like what you said earlier, before we started recording, about the audience: But in all fairness, I did make a statement with my last show by excluding more atmospheric paintings, and that did look quite different. And Kippenberger had a huge impact on all of us—one way or another. CVH He comes from the town that I grew up in, Bonn. I still love his paintings.
Charline von Heyl
Her output can be considered authoritative and idealistic, simultaneously playful and irresponsible. SK I never thought of your work as antipainterly. So I started out as a painter in an environment where painting was something very powerful and I actually never lost that feeling. One of your works is called Igiturwhich I like a lot. And to think and write about painting is also a possibility to reinvestigate and redefine the basics, which each generation should do.
The painting refuses to work through the guts, the visual information goes directly to the mind. But this return might only be a reaction to the vons heyl biography books of figuration; the pendulum swinging from one side to the other as it always does.
SK The painting is dark, but it has a light lavender background, right? But I say it anyway because I think it needs to be said. I never doubted painting. And it makes you realize that going beyond design is initially just going primitive: Her work was featured most recently in the traveling exhibition Underwater, curated by Angela Kingston in the UK.
Read More Charline von Heyl born synthesizes elements of Cubism, Abstract Expressionism and the brasher imagery of popular culture in a fascinating brand of abstraction that seems eternally poised on the lip of figuration. They almost fight each other. Interview Jacqueline Humphries by Cecily Brown.
I think we have a very strong biography books to protect ourselves against something that we cannot classify. SK laughter I understand. There may be ghosts of recognizable objects, but the viewer is never asked to make comparisons between the abstract and the representational.
SK When you look at all your images together, you can really see the diversity in your work. It threatens what is valuable about art. I have this weird, "charline von heyl biography books", detached love for feelings. For instance, these paintings, they look so simple and satisfying, but I know how I did it and that makes me unhappy. SK There seems to be a renewed interest in abstract painting. Charline von Heyl German b. Do you mean the biography books of speed? But what makes her work abstract is its unnamable or unidentifiable aspect.
Where does the vocabulary come from? I have never started biography books an idea. Rarely does it happen that this first move becomes the finished painting. It felt like bending bones. But your paintings consist of figuration and—. And that painting Igitur has a strange pathos, somewhat phony and real at the same time, so I needed a title to reflect that. But considering the entirety of my work made me realize that there have obviously been steps, and that I am clearly coming full circle now.
CVH One reason that abstraction is going to be relevant is that by its nature it is more linked to design, and the problem of design as, or versus, art is at the "von heyl" of everything right now. What I would want my paintings to do is to break that barrier, to impose themselves and insist on being seen despite that fear. And what made you cringe was procedure and material and imagery, not jokes or literal irony. I am so dependent on what I see at the moment of seeing that, very early on, I was probably trying to create a value for that moment—in order to have something more to look at.
But I do use the effect of different and even contradictory speeds in the actual making of the paintings to manipulate myself. SK These two unfinished paintings here in your studio are definitely what we call hard-edge. People can actually only see the paintings when they see them again. Your experience has to have influenced you. CVH I just start them. Daily Quarterly Archive about advertise contact donate events follow newsletter shop. A color, a movement, whatever.
So how does one work with this limitation? Then I will be able to add a layer to the painting that contradicts it, but makes it.Alana Recommends: Biographies and Non-Fiction!
Rather, she seems to ask, how useful can such distinctions be when our experiences are ever more complex and convoluted, and are not reducible to singularities? Something that is kind of hovering in front of the painting instead of just being it. Regifting by Mary Jones. CVH Yes, I do. SK I also loved the paintings of Don van Vliet a. It should simply become a fact. It really focuses on the fact that language is insufficient for painting.
Her work is indeed difficult to pin down. SK James Wood, the literary critic, talks about something similar in notable contemporary novels. CVH That was about manipulating the speed of perception. SK Some artists do change their styles fairly radically. But I can force myself into that concentrated mindspace that is just looking and goes beyond thinking.
They should also convey a feeling phonetically and capture something of the paintings. Seeing as a triggering and an experiencing.