This week’s Modern Art Notes Podcast features artist Charline von Heyl. To download the program, click here. To subscribe to the MAN Podcast RSS feed, click here. To download/subscribe via iTunes, click here. You can stream the podcast via the player below.
In our conversation von Heyl discusses:
- Why she came to the United States 15 years ago — and why she stayed;
- Her three-martini theory about different kinds of artists;
- She breaks down two of her works, the mural she made for the Worcester Art Museum (a detail of which is featuerd in this week’s banner) and It’s Vot’s Behind Me That I Am (Krazy Kat) (2010); and
- How and why von Heyl’s painted surfaces are so mysterious.
Von Heyl is having a break-through year. Her first museum survey is on view at the Institute of Contemporary Art Philadelphia through February 19. It will then travel to the ICA Boston. (The show was organized by Jenelle Porter when she was working in Philly.) Next year the Tate Liverpool will launch the first European survey of von Heyl’s work. That exhibition opens on February 24.
Last year von Heyl completed a major commission for the Worcester Art museum’s Wall at WAM program. Inspired by the museum’s 1963 Ellsworth Kelly (see below), the mural remains on view. Von Heyl’s next mural project will be for a museum in Dijon, France.
Because our conversation included a discussion the Worcester mural, the program’s second segment is an outtake from last week’s conversation with Baltimore Museum of Art curator Kristen Hileman about museums and large-scale commissions. We discuss why they usually go to men.
For images of the artworks von Heyl discusses and some images from the ICA Philadelphia exhibition, please click-through to the jump.
The Modern Art Notes Podcast is independently produced by Tyler Green.
Charline von Heyl, It’s Vot’s Behind Me That I Am (Krazy Kat), 2010.
Ellsworth Kelly, Orange White, 1963. Collection of the Worcester Art Museum.