Time. 1st Group (Raquel Welch) [12/16]
Robert Heinecken
1969
Time. 1st Group (Raquel Welch) [12/16]
Time. 1st Group (Raquel Welch) [12/16]
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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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Time. 1st Group (Raquel Welch) [12/16]
Robert Heinecken
1969
Los Angeles: Self-published
Unpaginated [46 pages]
28 × 21 cm
Edition of 16, each unique; signed and numbered 12/16

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 “Time”, 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.


 


This Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation of 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.

Los Angeles: Self-published
Unpaginated [46 pages]
28 × 21 cm
Edition of 16, each unique; signed and numbered 12/16

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 “Time”, 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.

 

This Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation of 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.

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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 “Time”, 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.

 

This Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation of 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.

Los Angeles: Self-published
Unpaginated [46 pages]
28 × 21 cm
Edition of 16, each unique; signed and numbered 12/16

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 “Time”, 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.

 

This Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation of 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.

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 “Time”, 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.

 

This Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation of 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.

MORE BOOKS