2012
Karole Armitage, United States
Frank Benson, United States
Karl Haendel, United States
Ester Partegas, Spain
Amy Sillman, United States
Dirk Stewen, Germany

2011
Rob Fischer, United States
David Fenster, United States
Justin Almquist, United States
Nick Herman, United States
Bill Morrison, United States
Erin Shirreff, British Columbia

2010
Ellen Altfest, United States
Jean-Baptiste Bernadet, France/Belgium
Marc Ganzglass, United States
Steve Roden, United States
Bill Saylor, United States
Melanie Schiff, United States

2009
Rita Ackermann, United States
Adam Davies, United States
Folke Köbberling & Martin Kaltwasser, Germany
Mischa Kuball, Germany
Sarah McEneaney, United States
Alex Schweder, United States

2008
Mark Flood, United States
Erik Göngrich, Germany
Monika Grzymala, Germany
Charline von Heyl, United States
Jason Tomme, United States
Jeff Zilm, United States

2007
Joanne Greenbaum, United States
Adam Helms, United States
Claudia Hinsch, Germany
Annette Kisling, Germany
Michael Krumenacker, United States
Paul Lee, United States
Daniel Sturgis, United Kingdom

2006
Oliver Croy, Austria
Mikael Levin, United States
Brian Kirk Nelms, United States
Jesus Palomino, Spain
Petra Trenkel, Germany
Christopher Wool, United States

2005
Mai Braun, Finland
Shane Huffman, United States
Maureen Gallace, United States
Isa Melsheimer, Germany
Wilhelm Sasnal, Poland

2004
Gail Peter Borden, United States
Christian Freudenberger, Germany
Matthew Day Jackson, United States
Corinna Schnitt, Germany
Monique van Genderen, United States
Heike Weber, Germany
Michael Yoder, United States

2003
Ariane Epars, Switzerland
Lies Kraal, The Netherlands
Thomas Müller, Germany
Avery Preesman, The Netherlands
Erwin Redl, Austria
Judi Werthein, Argentina

2002
Gudrun Flach, Germany
Jaroslaw Flicinski, Poland
Hlynur Hallsson, Iceland
Graciela Hasper, Argentina
Nestor Kruger, Canada
Albrecht Kunkel, Germany
Katherine Merz, United States

2001
Susan Chorpenning, United States
Julian Dashper, New Zealand
Howard Goldkrand, United States
Christina Hejtmanek, United States
Emi Winter, Mexico

2000
Margrét Haraldsdóttir Blöndal, Iceland
Andrea Claire, United States
Katharina Hinsberg, Austria
Michael Meredith, United States
Andreas Schmid, Germany

1999
Alexander Braun, Germany
Katharina Grosse, Germany
Ann-Michele Morales, United States
Makato Sasaki, Japan
Claudia Schmacke, Germany
Richard Wearn, New Zealand

1998
Degenhard Andrulat, Germany
Igor Antic, France
John Beech, United States
Jeff Elrod, United States
Kumiko Kurachi, Japan
Valérie Mréjen, France

1997
Bernhard Härtter, Germany
Leonard Kemp, United States
Ulrike Kessl, Germany
Kathranne Knight, United States
Polly Lanning Sparrow, United States
Jennifer Siegal, United States
Daniela Steinfeld Rau, Germany
Karien Vandekerkhove, Belgium

1996
Angela Ferreira, Portugal
Jutta Glöckner, Great Britain
Mary Ellen Latas, United States
Sigrun Paulsen, Germany
Kate Shepherd, United States
Jurek Wybraniec, Australia

1995
Jim Malone, United States
Elizabeth McBride, United States
Carina Plath, Germany
Richard Schwartzwald, United States
Gwendolyn Smolka, Germany

1994
Rupert Deese, United States
Anders Kruger, Denmark
Joost van Oss, The Netherlands
Regina Stralka, Germany
Karen and Jörg Berg, Germany

1993
Stephan Baumkötter, Germany
Daniel Göttin, Switzerland
Andreas Karl Schulze, Germany
Sonny Thorbjirnsdottir, Iceland

1992
Ingólfur Arnarsson, Iceland
Nadja Nanopoulos, Greece

1991
Brian Wendleman, Sweden

1990
Ragna Hermannsdóttir, Iceland

1989
John Wesley, United States

Charline von Heyl

Charline von Heyl is a German-born artist, New York-based for many years, who makes paintings and works on paper which are wildly different each from the next. Uninterested in developing a consistent "style," she's instead made a kind of syncretism or polymorphousness her modus operandi. In a von Heyl painting, the "looks" of different styles and eras of art blend and bounce off one another. Cohesion is there—the paintings assert themselves immediately as presences, as verifiable things-in-the-world. But there's an uneasiness or unruliness built into the cohesion. Things don't add up—or rather they do, but they shouldn't. Wrong moves count for as much as the right ones. The paintings exist in the world as palimpsests, containing and subsisting on other incarnations and previous selves.

At the Ice Plant, von Heyl showed a group of nine paintings made over the course of her residency. The paintings were mostly large, 7 by 7 feet or so, with two smaller works intermingled. The paintings were propped on blocks and leaned against girders or the wall, giving the exhibit an improvisational feel. A quick scan of the room suggested a bunch of different painters squaring off and wrestling for space, often within the confines of a single painting. In one painting, for example, a nebulous grey vacuum or void—roughly triangular in shape, face-like in a vague sort of way—was set against a blank white background. Jutting off the perimeter of the "void" were black triangles edged in brilliant red. The triangles were like pennants, or cartoony emanations of energy. They made the void a presence-gave it glamour, made it a star. Wreathed in pointers, absence asserted itself, took a turn in the limelight. Von Heyl's paintings thrive on this kind of paradox. They tell complicates stories, rife with contradictions and reversals. They aim to be themselves, not the image of themselves—not the cover of the novel but the novel itself.

Charline von Heyl was born in Mainz, Germany in 1960. She studied painting with Jörg Immendorff in Hamburg and Fritz Schwegler in Düsseldorf. She has had many solo exhibitions at Friedrich Petzel Gallery in New York, Galerie Gisela Capitain in Cologne, and Galerie Baerbel Graesslin in Frankfurt, as well as other venues, including the Dallas Museum of Art in 2005 and the Vienna Secession in 2004. She has participated in numerous group shows, including the traveling exhibition Make Your Own Life: Artists In and Out of Cologne. In fall 2008 her artist's book Sabotage was published by Xn Editions and Christophe Daviet-Thery in Paris. The book was previewed, with an introductory note by the artist, in the October 2008 Artforum.