Periodical #6. 2nd Group (Glamour)
Robert Heinecken
1971
Periodical #6. 2nd Group (Glamour)
Periodical #6. 2nd Group (Glamour)
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The 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 ...
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Periodical #6. 2nd Group (Glamour)
Robert Heinecken
1971
Los Angeles: Self-published
Unpaginated [58 pages]
28 × 20.5 cm
Edition of 9, each unique; signed and numbered 4/9

The 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.


 


In this second group of “Periodicals”, 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.


 


This 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 “The Last Picture Show” (1971), and seven years later by Martin Scorsese in “Taxi Driver” (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.

Los Angeles: Self-published
Unpaginated [58 pages]
28 × 20.5 cm
Edition of 9, each unique; signed and numbered 4/9

The 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.

 

In this second group of “Periodicals”, 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.

 

This 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 “The Last Picture Show” (1971), and seven years later by Martin Scorsese in “Taxi Driver” (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.

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The 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.

 

In this second group of “Periodicals”, 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.

 

This 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 “The Last Picture Show” (1971), and seven years later by Martin Scorsese in “Taxi Driver” (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.

Los Angeles: Self-published
Unpaginated [58 pages]
28 × 20.5 cm
Edition of 9, each unique; signed and numbered 4/9

The 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.

 

In this second group of “Periodicals”, 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.

 

This 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 “The Last Picture Show” (1971), and seven years later by Martin Scorsese in “Taxi Driver” (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.

MORE BOOKS

The 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.

 

In this second group of “Periodicals”, 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.

 

This 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 “The Last Picture Show” (1971), and seven years later by Martin Scorsese in “Taxi Driver” (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.

MORE BOOKS