{"title":"Robert Heinecken","description":"","products":[{"product_id":"mansmag-homage-to-werkman-and-cavalcade","title":"Mansmag: Homage to Werkman and Cavalcade","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s exceptionally rare artist’s books is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing an important body of work that explored the mechanisms of appropriation. In a gesture of critical infiltration and détournement, he sometimes returned his altered magazines to newsstands, allowing them to circulate unsuspectedly and disrupt readers' expectations. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken created \"\u003c\/span\u003e\u003cspan\u003eMANSMAG: Homage to Werkman and Cavalcade\"\u003c\/span\u003e\u003cspan\u003e by converting every page of the men's erotic magazine \"\u003c\/span\u003e\u003cspan\u003eCavalcade\"\u003c\/span\u003e\u003cspan\u003e into a negative and then reassembling the pages in random order. Using a newly acquired small offset press, he produced 120 unique copies in his studio, each distinguished by different rainbow-coloured inks that frequently rendered the images and text partially illegible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work pays tribute to the experimental printing techniques of the Dutch avant-garde artist Hendrik Nicolaas Werkman, who established a clandestine printing house during the Nazi occupation and was executed by the Gestapo in the closing days of the Second World War. In his homage, Heinecken subtly revisits the unsettling conjunction of eroticism and violence, a recurring theme throughout his broader \u003c\/span\u003e\u003cspan\u003ePeriodicals\u003c\/span\u003e\u003cspan\u003e series.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801284567379,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Mansmag_a69e4e5b-1949-4e91-823d-39764daacbc8.png?v=1789196808"},{"product_id":"mansmag-homage-to-werkman-and-cavalcade-1","title":"Mansmag: Homage to Werkman and Cavalcade","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s exceptionally rare artist’s books is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing an important body of work that explored the mechanisms of appropriation. In a gesture of critical infiltration and détournement, he sometimes returned his altered magazines to newsstands, allowing them to circulate unsuspectedly and disrupt readers' expectations. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken created \"\u003c\/span\u003e\u003cspan\u003eMANSMAG: Homage to Werkman and Cavalcade\"\u003c\/span\u003e\u003cspan\u003e by converting every page of the men's erotic magazine \"\u003c\/span\u003e\u003cspan\u003eCavalcade\"\u003c\/span\u003e\u003cspan\u003e into a negative and then reassembling the pages in random order. Using a newly acquired small offset press, he produced 120 unique copies in his own studio, each distinguished by different rainbow-coloured inks that frequently rendered the images and text partially illegible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work pays tribute to the experimental printing techniques of the Dutch avant-garde artist Hendrik Nicolaas Werkman, who established a clandestine printing house during the Nazi occupation and was executed by the Gestapo in the closing days of the Second World War. In doing so, Heinecken subtly revisits the unsettling conjunction of eroticism and violence, a recurring theme throughout his broader \u003c\/span\u003e\u003cspan\u003ePeriodicals\u003c\/span\u003e\u003cspan\u003e series.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055472988499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Mansmag2.png?v=1782024445"},{"product_id":"periodical-5","title":"Periodical #5","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis loose lithograph on a found magazine page, featuring a portrait of a very young Cybill Shepherd, was likely torn from \u003c\/span\u003e\u003cspan\u003ePeriodical #5\u003c\/span\u003e\u003cspan\u003e, in which Robert Heinecken shuffled pages drawn from popular magazines and lithographed over them with atrocious images of American soldiers in Vietnam. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s rare printed matter is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing a major body of work that explored contemporary imagery. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they operated as acts of infiltration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken’s interventions into mass media can be placed in dialogue with Martha Rosler’s seminal photomontage series \u003c\/span\u003e\u003cspan\u003eBringing the War Home\u003c\/span\u003e\u003cspan\u003e (1967–72) as both reveal the ideological mechanisms through which violence is mediated and consumed.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54402495414611,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Heinecken_periodical5.png?v=1784982355"},{"product_id":"time-1st-group-the-democrats-after-chicago","title":"Time. 1st Group (The Democrats After Chicago) [14\/16]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn\u003cem\u003e Time\u003c\/em\u003e, Heinecken cut pages from the notorious periodical, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory order. The resulting juxtapositions of erotic imagery with social, political, and cultural journalism unsettle the manipulative logic of mass media, shifting attention from the consumption of information to the necessity of scrutinizing how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis variation of \u003c\/span\u003e\u003cspan\u003eTime\u003c\/span\u003e\u003cspan\u003e was made using the September 6, 1968 issue. Heinecken retained the original cover, titled “The Democrats after Chicago”, featuring stylized portraits of Hubert Humphrey and Edmund Muskie in the aftermath of the 1968 Democratic National Convention. Each work in the series is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 14 of 16.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638855717203,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4499_07bef564-eab0-49c1-b663-004c16614fa3.png?v=1789311052"},{"product_id":"time-1st-group-raquel-welch","title":"Time. 1st Group (Raquel Welch) [12\/16]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn \u003cem\u003eTime\u003c\/em\u003e, Heinecken cut pages from the notorious periodical, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory order. The resulting juxtapositions of erotic imagery with social, political, and cultural journalism unsettle the manipulative logic of mass media, shifting attention from the consumption of information to the necessity of scrutinizing how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation for her role as Myra Breckinridge, the transgender protagonist of the film adaptation of Gore Vidal’s eponymous novel. Each variation is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 12 of 16.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638887469395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4503_38d7d798-3802-46ed-96d0-066ec8761703.png?v=1789310920"},{"product_id":"time-1st-group-raquel-welch-4-16","title":"Time. 1st Group (Raquel Welch) [4\/16]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn \u003cem\u003eTime\u003c\/em\u003e, Heinecken cut pages from the notorious periodical, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory order. The resulting juxtapositions of erotic imagery with social, political, and cultural journalism unsettle the manipulative logic of mass media, shifting attention from the consumption of information to the necessity of scrutinizing how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation for her role as Myra Breckinridge, the transgender protagonist of the film adaptation of Gore Vidal’s eponymous novel. Each variation is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 4 of 16.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638924923219,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4501_fec371b7-d1f2-4a88-b7f5-ee29b8dd1e3c.png?v=1789310881"},{"product_id":"periodical-pain","title":"Periodical Pain","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eUnlike his other Periodicals (\u003c\/span\u003e\u003cem\u003eTime\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eGlamour\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eMademoiselle\u003c\/em\u003e\u003cspan\u003e), this volume brings together a carefully curated selection of articles drawn from various winter 1969 magazine issues. The compilation spans an eclectic mix of titles, including \u003cem\u003eEvergreen Review\u003c\/em\u003e, \u003cem\u003eGlamour\u003c\/em\u003e, \u003cem\u003eGolf Digest\u003c\/em\u003e, \u003cem\u003eGood Housekeeping\u003c\/em\u003e, \u003cem\u003eGuns \u0026amp; Ammo\u003c\/em\u003e, \u003cem\u003eMadames\u003c\/em\u003e, \u003cem\u003eMademoiselle\u003c\/em\u003e, \u003cem\u003eModern Male\u003c\/em\u003e, \u003cem\u003ePopular Photography\u003c\/em\u003e, \u003cem\u003ePlayboy\u003c\/em\u003e, \u003cem\u003eSports Illustrated\u003c\/em\u003e, \u003cem\u003eTrue Confessions\u003c\/em\u003e, \u003cem\u003eTrue Detective\u003c\/em\u003e, \u003cem\u003eTrue Experiences\u003c\/em\u003e, and \u003cem\u003eWoman’s Day\u003c\/em\u003e. From “The Little Girl That Santa Forgot” and “Food and Trimmings to Make Parties Fun for the Hostess Too” to “How to Measure Your Sexual Quotient” and “Why Must Gun Laws Protect Criminals”, the selected pages expose violence, expectations, and dysfunctions within American society. \u003c\/span\u003e\u003cspan\u003eThrough skillful editing and juxtaposition, the artist brings disparate fragments of popular culture into dialogue, transforming them into a charged critique of the mechanisms of mass-media manipulation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken produced only 19 copies of “Periodical Pain”\u003c\/span\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cspan\u003e each handmade and unique.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54639307424083,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4490.png?v=1787232364"},{"product_id":"periodical-6-2nd-group-glamour","title":"Periodical #6. 2nd Group (Glamour)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn this second group of\u003cem\u003e Periodicals\u003c\/em\u003e, Heinecken cut pages from Glamour magazine, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory sequence. The resulting juxtapositions of erotic imagery with beauty, fashion, and popular-culture journalism unsettle the conventions through which mass media constructs and circulates images of femininity. By superimposing anonymous erotic silhouettes onto the magazine’s representations of beauty and glamour, Heinecken exposes the objectification of the female body and shifts attention from the consumption of images to the mechanisms through which they are produced and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis variation was made using the July 1969 issue of Glamour (US edition). Heinecken retained the original cover, featuring actress Cybill Shepherd, who would be cast two years later by Peter Bogdanovich in \u003cem\u003eThe Last Picture Show\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e \u003c\/em\u003e\u003cspan\u003e(1971), and seven years later by Martin Scorsese in \u003cem\u003eTaxi Driver \u003c\/em\u003e(1976). Each Periodical is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 4 of 9.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54649778045267,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4497_4d446aad-4786-4c3f-8ead-25e097407d45.png?v=1789311182"},{"product_id":"1984-a-case-study-in-finding-an-appropriate-tv-newswoman-a-cbs-docudrama-in-words-and-pictures","title":"1984: A Case Study in Finding an Appropriate TV Newswoman (A CBS Docudrama in Words and Pictures)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA precursor to the appropriationist artists of the Picture Generation, Robert Heinecken dedicated his work to shifting attention away from the passive consumption of information toward an understanding of how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn the late 1960s, Heinecken started to dismantle and reconfigure magazines, developing a major body of work that interrogated mass media through strategies of appropriation. Deeply political, his practice conceived of the artist’s book not as a static object but as a performative field in which existing systems of communication could be disrupted and exposed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis later publication from the 1980s continues this line of inquiry through a fictional documentary investigation in which Heinecken assumes the role of an independent consultant for CBS News, tasked with searching for a new network newswoman. Drawing upon the evident gender disparities of the period, he constructs his investigation from screen captures of correspondents and permutations of video composites that combine contemporary CBS male news anchors such as Tom Brokaw, Bryant Gumbel, David Hartman, Bill Kurtis, and Steve Baskerville with female broadcast journalists including Diane Sawyer, Jane Pauley, Joan Lunden, Susan Spencer, Jane Wallace, Connie Chung, Maria Shriver, Meredith Vieira, Vanessa Williams, Carol Martin, Pat Collins, and Phyllis George.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken’s investigation interrogates media notions such as network logic, subliminal visual registers, and physiognomic determinism. The result is a kind of “soap opera” built around the mysterious logic through which information and its transmission are manipulated and recombined to serve and protect specific interests.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn the cover appears one of the publication’s most memorable gender-fluid superimpositions: a composite portrait combining the faces of Connie Chung and Bill Kurtis. In 2013, Marc Selwyn Fine Art presented the photographic corpus resulting from this mockumentary investigation in a major solo exhibition titled \u003cem\u003eNewswomen Corresponding\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54668796100947,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4462.png?v=1787489339"}],"url":"https:\/\/metabooks.art\/collections\/robert-heinecken.oembed","provider":"Metabooks","version":"1.0","type":"link"}