| Names: | Born: Robert Friedli Heinecken
Other: Robert F. Heinecken
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| | Dates: | 1931, 29 October - 2006, 19 May | | Born: | US, CO, Denver | | Died: | US, NM, Albuquerque | | Active: | US |
American photographer and printmaker who used appropriated images from magazines and television to create new art forms that attack the banality of the media.Preparing biographies
Biography provided by Focal Press
Leader of the American photographic avant-garde during the 1960s through the 1970s, extending the expressive possibilities of what we call photography by using collage, lithography, photocopies, artists’ books, altered magazines, and three-dimensional objects. A "photographist" — a photographer who doesn’t use a camera — Heinecken appropriated and manipulated images from the mass media to fabricate droll and often controversial images often concerned with the erotica, the female body, and violence.
(Author: Robert Hirsch - Independent scholar and writer)
Michael Peres (Editor-in-Chief), 2007, Focal Encyclopedia of Photography, 4th edition, (Focal Press) [ISBN-10: 0240807405, ISBN-13: 978-0240807409]
(Used with permission)
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Family history
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Visual indexes for this photographer are available for subscribers.There is so much more to explore when you subscribe.
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| Getty Research, Los Angeles, USA has an ULAN (Union List of Artists Names Online) entry for this photographer. This is useful for checking names and they frequently provide a brief biography. | | Go to website | Grove Art Online (www.groveart.com) has a biography of this artist.
[NOTE: This is a subscription service and you will need to pay an annual fee to access the content.] | | Go to website |
Heinecken in Retrospect
https://www.heinecken.org
A tribute site to Robert Heinecken who died in May 2006. The contributors to the site, Carl Chiarenza, Darryl Curran, Ellen Brooks, Eileen Cowin, Robert Fichter, Jo Ann Callis, Jerry Uelsmann, Phil Savenick and Victor Landweber all offer shared memories of a remarkable talent.
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The following books are useful starting points to obtain brief biographies but they are not substitutes for the monographs on individual photographers. |
• Auer, Michele & Michel 1985 Encyclopedie Internationale Des Photographes de 1839 a Nos Jours / Photographers Encylopaedia International 1839 to the present (Hermance, Editions Camera Obscura) 2 volumes [A classic reference work for biographical information on photographers.]
• Capa, Cornell (ed.) 1984 The International Center of Photography: Encyclopedia of Photography (New York, Crown Publishers, Inc. - A Pound Press Book) p.243
• Evans, Martin Marix (Executive ed.) 1995 Contemporary Photographers [Third Edition] (St. James Press - An International Thomson Publishing Company) [Expensive reference work but highly informative.]
• Hoy, Anne H. 1987 Fabrications: Staged, Altered and Appropriated Photographs (New York: Abbeville) p.184-185
• International Center of Photography 1999 Reflections in a Glass Eye: Works from the International Center of Photography Collection (New York: A Bulfinch Press Book) p.218 [Includes a well written short biography on Robert Heinecken with example plate(s) earlier in book.]
• Lenman, Robin (ed.) 2005 The Oxford Companion to the Photograph (Oxford: Oxford University Press) [Includes a short biography on Robert Heinecken.]
• Witkin, Lee D. and Barbara London 1979 The Photograph Collector’s Guide (London: Secker and Warburg) p.160 [Long out of print but an essential reference work - the good news is that a new edition is in preparation.]
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If there is an analysis of a single photograph or a useful self portrait I will highlight it here. |
• Sobieszek, Robert A. and Deborah Irmas 1994 the camera i: Photographic Self-Portraits (Los Angeles: LACMA - Los Angeles County Museum of Art) p.220, Plate 120 [When the Audrey and Sydney Irmas collection was donated to LACMA - Los Angeles County Museum of Art in 1992 the museum gained a remarkable collection of self portraits of notable photographers. If you need a portrait of Robert Heinecken this is a useful starting point.]
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| "Many pictures turn out to be limp translations of the known world instead of vital objects which create an intrinsic world of their own. There is a vast difference between taking a picture and making a photograph." |
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