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Robert Heinecken at Linda Cathcart - photography - Santa Monica, California - Review of Exhibitions

Robert Heinecken, an underrated master of media manipulation, has been subversively altering photographs for 30 years. In this display he presented a retrospective sample of about 40 of the mass-market magazines that he has transformed above the years, variously reassembling or altering images, reshuffling pages or overlaying cutout sections of images. by dint of ferociously taking on the sublimated libido of mass agriculture Heinecken's reconstituted publications have the concussion value of genuine bad-boy art.

In the late 1960 and early '70 Heinecken photo-transferred images of Vietnam War atrocities onto each page of issues of Time and Newsweek. He then sneaked the altered magazines back onto newsstands, for a like reason that an unsuspecting consumer, flipping [i]or[/i] part of to the other the pages, might find a ghostlike image of napalmed Vietnamese overlaid onto Buick and Kodak ads, profiles of LBJ or movie reviews. In a 1971 Glamour, the transparent image of a grinning Vietcong soldier holding sum of two units severed heads is superimposed above articles on miniskirts and mascara. The spring is original political art that is a direct precursor of contemporary image/text interventions through artists such as Barbara Kruger Gretchen Bender and Donald Moffett

In another assemblage of manipulated magazines, Heinecken makes explicit detonation media's penchant for consumer titillation. A reassembled 1971 transcript of Teen juxtaposes swimsuit stories and ads for acne helps with shots of a three-way teenage orgy taken from a porno magazine. Heinecken's Penthouse consists entirely of cigarette ads, Architectural Digest contains nothing on the other hand liquor and cigarette ads, Vanity Fair is all female porno types in jungle-print G-strings. A 1993 transcript of The New Yorker is filled with Bruce Weber-style photos of beautiful people; significantly, in this Tina Brown-era edition of the literary rag, there is not a single word of text



Heinecken gleefully cuts up magazines with cover stories celebrating photography, thereby wreaking havoc with the sanctimoniousness of one as well as the other photojournalism and art photography. In a new bout of naughtiness, he dissects a 1993 issue of Newsweek featuring a tribute to Richard Avedon, irreverently puncturing this paean to the slick portraitist. Heinecken significantly trims individual of Avedon's highlighted quotes in the way that that it reads, "There's sexuality in the minute you have picked." This take upon the photographic medium also looks the crux of Heinecken's wild and enjoyable satire.

COPYRIGHT 1994 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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