First monograph: Charline von Heyl's paintings chronologically presented, each vis-à-vis a detail view manipulated by the artist, with four texts that shed light on the evolution of her work and contextualize her practice regarding the question of the renewal of contemporary painting.
For this book, Charline von Heyl has assembled paintings made on the old and the new continent: in Germany at the beginning of the 1990s and in New York since 1996.
The book of lined up paintings, spread just about chronologically, is the first to really hold forth since it observes the paintings from a dual point of view: the rather objective colour reproduction with margins vis-à-vis the more determining and selective extract (far more than a detail) which is magnified, in black and white, and manipulated by the artist revealing the graphic structure of the paintings.
What happens when colours fall off the next page and a large starkly black and white surface only reveals a perfectly cropped extract? Suddendly the paintings are stripped to the bones, in uncomfortable close-ups, they unveil their structure. This becomes inevitably graphic but as it is followed through systematically throughout the entire body of work, it creates a syntax which highlights the process (without removing the pleasure) of the face to face confrontation with the actual painting.
Edited by Charline von Heyl and Franck Gautherot.
Texts by Franck Gautherot, Mark von Schlegell, Diedrich Diederichsen, Allison Katz. Les presses du réel
20 x 26 cm (hardcover)
272 (139 color & 84 b/w ill.)