Periodical #5
Robert Heinecken
1971
Periodical #5
This loose lithograph on a found magazine page, featuring a portrait of a very young Cybill Shepherd, was likely torn from Periodical #5, in which Robert Heinecken shuffled pages drawn from popular magazines and lithographed ...
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Periodical #5
Robert Heinecken
1971
Los Angeles: Self-published
Photomechanical print (offset lithography on found magazine page)
28 × 20 cm
Unique

This loose lithograph on a found magazine page, featuring a portrait of a very young Cybill Shepherd, was likely torn from Periodical #5, in which Robert Heinecken shuffled pages drawn from popular magazines and lithographed over them with atrocious images of American soldiers in Vietnam. 


 


The 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.


 


Heinecken’s interventions into mass media can be placed in dialogue with Martha Rosler’s seminal photomontage series Bringing the War Home (1967–72), as both reveal the ideological mechanisms through which violence is mediated and consumed.

Los Angeles: Self-published
Photomechanical print (offset lithography on found magazine page)
28 × 20 cm
Unique

This loose lithograph on a found magazine page, featuring a portrait of a very young Cybill Shepherd, was likely torn from Periodical #5, in which Robert Heinecken shuffled pages drawn from popular magazines and lithographed over them with atrocious images of American soldiers in Vietnam. 

 

The 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.

 

Heinecken’s interventions into mass media can be placed in dialogue with Martha Rosler’s seminal photomontage series Bringing the War Home (1967–72), as both reveal the ideological mechanisms through which violence is mediated and consumed.

DESCRIPTION

This loose lithograph on a found magazine page, featuring a portrait of a very young Cybill Shepherd, was likely torn from Periodical #5, in which Robert Heinecken shuffled pages drawn from popular magazines and lithographed over them with atrocious images of American soldiers in Vietnam. 

 

The 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.

 

Heinecken’s interventions into mass media can be placed in dialogue with Martha Rosler’s seminal photomontage series Bringing the War Home (1967–72), as both reveal the ideological mechanisms through which violence is mediated and consumed.

Los Angeles: Self-published
Photomechanical print (offset lithography on found magazine page)
28 × 20 cm
Unique

This loose lithograph on a found magazine page, featuring a portrait of a very young Cybill Shepherd, was likely torn from Periodical #5, in which Robert Heinecken shuffled pages drawn from popular magazines and lithographed over them with atrocious images of American soldiers in Vietnam. 

 

The 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.

 

Heinecken’s interventions into mass media can be placed in dialogue with Martha Rosler’s seminal photomontage series Bringing the War Home (1967–72), as both reveal the ideological mechanisms through which violence is mediated and consumed.

MORE BOOKS

This loose lithograph on a found magazine page, featuring a portrait of a very young Cybill Shepherd, was likely torn from Periodical #5, in which Robert Heinecken shuffled pages drawn from popular magazines and lithographed over them with atrocious images of American soldiers in Vietnam. 

 

The 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.

 

Heinecken’s interventions into mass media can be placed in dialogue with Martha Rosler’s seminal photomontage series Bringing the War Home (1967–72), as both reveal the ideological mechanisms through which violence is mediated and consumed.

MORE BOOKS