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It was important that within the slurry of Post-war abstraction's melting of representation remained the church-like atmosphere from which western painting stemmed: devotional painting still. If von Heyl's is different it's because the paintings trade this devotional for the more transactional address of advertorial cymbal crashing, of images striking, with attack, no slurry but legibility, recognition, even if recognition is nonsense, abstraction, just that you see its information.
see too: Charline von Heyl at Gisela Capitain
