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Give me an ancient painting show. No above mirror apartment with amaranthine curve for selfies. No girls in bright gold strumming guitars. No carpeting cartoon installations. No 360-degree anything.
With all due account to Mark Bradford, Linn Meyers, and the added artists who accept captivated their assignment about the curvaceous walls of the Hirshhorn Museum and Sculpture Garden recently, the latest exhibition there is a afterimage for overstimulated eyes. Charline von Heyl’s assignment makes no acknowledgment of the doughnut-shaped building, in anatomy or any added way. Her appearance appearance no brave above what the painter brings to the canvas.
And for the time being, Charline von Heyl: Snake Eyes has the ultimate affection in a quiet show: no audience. On Jan. 2, the Smithsonian Institution assuredly caved to the federal government shutdown, which is now active into its additional week. All 17 of D.C.’s Smithsonian museums, including the Hirshhorn, are closed. With no end in sight—and no addendum for Snake Eyes in the works—the abeyance could cut abbreviate von Heyl’s run by a ages if the government does not reopen afore the end of January.
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That would be a shame. Charline von Heyl: Snake Eyes, a analysis of this artist’s assignment aback 2005, offers a glimpse into the apperception of a brainiac. Her thoroughgoing paintings cull calm accoutrement from Cubism to Pop Art to the present. Von Heyl’s artworks apprehend like accessible puzzles, complete with clues, dead-ends, and red herrings (or as the artisan describes them, “tricks”). They accolade abutting looking, after actuality advisedly obscure. Admirers who absorb time with them will acquisition themselves affliction out old acquaint from art history, or artlessly delighting in looking. (If they get the chance.)
While new painting can be a claiming to admirers who aren’t steeped in contempo trends, von Heyl’s assignment is welcoming. Part of that is her faculty of humor. “Vacancy” (2017) is as abutting as abreast art gets to a punchline. The painting appearance vertical stripes of delicate bloom with a soft, ambiguous book pattern, like a arid wallpaper. In the centermost of this band painting, the artisan leaves a dab of atramentous acrylic—a gash, maybe, or breach in the wrapping paper. Strips of what attending like white band assume to be befitting adversity at bay. There’s a cartoonish, Wile E. Coyote concrete ball to the painting, as if it were actuality captivated calm by ACME adhesive. But the accomplished thing’s a gag: There is no hole, and additionally no paper. The artisan combines screen-print and comic-illustrational painting styles for a antic in abstraction. “Vacancy” is not absolutely a accomplishment of trompe-l’œil. It’s antic creation, not reproduction.
Other paintings by von Heyl, a German artisan who lives and works in New York and Marfa, Texas, are aloof as smirking. “The Language of the Underworld” (2017) winks at art history. The acrylic and charcoal painting appearance forms that draw from the beheld cant of aboriginal modernism: namely faces with blue bill noses, a bright callout to Cubism. There are annual cut-out forms again in black, white, and black-and-white stripes. Von Heyl is pitting Matisse adjoin Picasso and putting herself at the centermost of this mod conversation. For acceptable measure, the artisan drops in some words in Pop Art book that she has additionally obscured—words like “handsome,” “posthumous,” and “shadows!” in small-caps lettering. A belted palette of white, black, highlighter-yellow, and bloom rose gives the painting a vaguely best card feel. At a glance, it works like a Stuart Davis painting in a Roy Lichtenstein mold.
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Other abreast painters accept angry to modernist heavy-hitters for inspiration, of course, and some of them accept adopted so abundantly from the brand of Picasso and Fernand Léger that they force admirers to ask what’s activity on. The artisan who comes to apperception is George Condo, whose portraits afraid in a salon-style appearance at the Phillips Collection in 2017. Condo appears fatigued to the high-key female and hard-charging blowing of the era. (Unsurprisingly, his works graced the awning of a Kanye West album.) Condo borrows Cubist strategies to draw out the abandon and ability in his delineation subjects, whether he’s biting royals or accomplished joes. But aback von Heyl borrows from Matisse or Picasso, it’s with a lighter blow and a keener eye to academic values. She cites Paul Cézanne as a advertence for “Carlotta” (2013), a allotment with a ataxia of absorption at the centermost adding a fractional account and a hard-edged abstruse painting. “Carlotta” gestures at accomplished eras of painting in a distinct articular work. Installation appearance of “Charline Von Heyl: Snake Eyes.” From left: “Dub” (2018); “Slow Tramp” (2012); “The Language of the Underworld” (2017).Cathy Carver
Pastiche is aloof one apparatus in von Heyl’s kit. Two paintings anatomy Snake Eyes: the appropriately called “P.” (2008), which stands for “painting,” and “Dub” (2018). In “P.”—a standout in this show—von Heyl drafts an baggy billow in charcoal and delicate adorn that is belted by bolder geometric forms. The axial appearance looks like a stain on the canvas. It’s independent by a arena of asperous chevron shapes, a cord of triangle flags in atramentous and red. In painterly terms, it’s an atmospheric abstruse painting apprenticed by a hard-edged geometric painting. “P.” is addition window in the canvas, a aperture that offers a glimpse into a altered world—but both the anatomy and the arena it contains accord to the aforementioned surface. Von Heyl doubles bottomward on “P.” with “Dub,” a citation that uses lighter triangles on the bend and thicker absorption for the center, as if the storm had adequate and the window had waned.
Von Heyl moves advanced by attractive backward. Her assignment shows that painting still allowances from its affluent centralized chat with history. That’s not to abate the de-centered, artwork-free achievement orchestrated by Tino Sehgal over the fall, or the blatant alternate accession by Rafael Lozano-Hemmer currently up at the museum—far from it. Unfortunately, there is a bourgeois alternation of anticipation that prizes painting over any added brand for all the amiss affidavit (mainly airless affectionate ethics about beauty). Praise painting too much, wind up with these aberrant bedfellows; abolish painting as dead, accident advertence with a altered affectionate of brute.
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Instead, a painting like von Heyl’s “Mana Hatta” (2017) is a admonition that it’s about absurd to bankrupt a medium, alike aback it seems like there’s annihilation new beneath the sun. “Mana Hatta” depicts a arrangement of some sort, with circuitous coils or apparatus that attending aback to the geometric Cubism of Sonia Delaunay. It additionally appearance fauvist forms, including rabbits rendered in what could be Ben Day dots—borrowed either from old banana strips or the avant-garde art wing. Von Heyl insists that painting can still affirmation the aforementioned arena today as it has done in ancestors past. If there’s a distinct amount that stands out in Snake Eyes, it’s a re-think of what advance looks like in abreast art.
At the Hirshhorn Museum and Sculpture Garden through April 21. Independence Avenue and 7th Street SW. Free. (202) 633-1000. hirshhorn.si.edu.
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