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Robert Heinecken, Different Strokes

Robert Heinecken

Different Strokes


Photographic emulsion on canvas

40 x 120 inches

101.6 x 304.8 cm

Robert Heinecken, Daytime Color TV Fantasy/ET-CA

Robert Heinecken

Daytime Color TV Fantasy/ET-CA


3M color-in-dye sublimation print

19 x 22 3/4 inches

48.3 x 57.8 cm

Signed Daytime Color TV Fantasy/ET-CA B.A.T. Heinecken 1976 recto

Robert Heinecken, Socio/Fashion Lingerie

Robert Heinecken

Socio/Fashion Lingerie


SX-70 Polaroids and lithographic text


15 x 20 inches

38.1 x 50.8 cm

Edition 4/12

Signed 4/12 Heinecken 1982

Robert Heinecken, Socio-Duo-Habliment Studies #1

Robert Heinecken

Socio-Duo-Habliment Studies #1

Socio-Duo-Habliment Studies #2

Socio-Duo-Habliment Studies #3


SX-70 Polaroids and lithographic text; triptych


15 x 20 inches

38.1 x 50.8 cm

3 panels, each panel dimensions listed above

Edition 15/20

Signed Heinecken October 1981

Robert Heinecken, TV Newswomen Corresponding (Faith Daniels and Barbara Walters)

Robert Heinecken

TV Newswomen Corresponding (Faith Daniels and Barbara Walters)


Eight silver dye bleach prints, offset lithographs

55 x 40 15/16 inches (framed)

139.7 x 104 cm (framed)

Robert Heinecken, "PP/Groups - 3 Faces - H"

Robert Heinecken

"PP/Groups - 3 Faces - H"


Dye bleach print photogram from magazine page

14 x 11 inches

35.6 x 27.9 cm

Edition 2/3

Signed "PP/Groups - 3 Faces - H" 2/3 Heinecken '87 in pencil verso

Robert Heinecken, "Man With Rose In Teeth"

Robert Heinecken

"Man With Rose In Teeth"


Dye bleach print on foamcore

67 3/8 x 14 inches

171.1 x 35.6 cm

Edition 1/10

Signed "Man With Rose In Teeth" 1/10 Heinecken '92 ('91) verso in metallic ink

Robert Heinecken, Double Ultima

Robert Heinecken

Double Ultima


Cibachrome print

16 x 20 inches

40.6 x 50.8 cm

Robert Heinecken, You have very exquisite tastes in lingerie...

Robert Heinecken

You have very exquisite tastes in lingerie...


Color Polaroid mounted on board, with hand applied text

15 x 20 inches

38.1 x 50.8 cm

signed "Heinecken #1" and dated recto in pencil

Robert Heinecken, Lessons in Posing Subjects/Lingerie (Erogenous Zones)

Robert Heinecken

Lessons in Posing Subjects/Lingerie (Erogenous Zones)


8 unique SX-70 Polaroid prints mounted in Rives BFK paper, letterpress title and text

15 x 20 inches

38.1 x 50.8 cm


Framed: 19 x 25 x 1.5 inches

Edition 8/10

signed "Heinecken 1981" on front


How are we to assess Heinecken’s work, with its complexity and its incredible profusion of operations (superimposition, compositing, decontextualizing, transposition, inversion, displacement, and random permutation)? Part of the answer may lie in what for many is the most confounding aspect of his art, its near-obsessive return to sex. It is libidinousness, perhaps, that characterizes not only Heinecken’s iconography but also his intense engagement with his mediums, the promiscuity of his practice and its messiness... in Heinecken’s work we confront sex, violence, and the body and its fragmentation and estrangements from itself.

.Matthew Biro, “Reality Effects: Matthew Biro on the Art of Robert Heinecken,” Artforum, October 2011

Robert Heinecken -  - Viewing Room - Petzel Gallery

Harold Jones/X-Tra.

Robert Heinecken (b. 1931, Denver, CO) began his education at Riverside Junior College in Riverside, California (1949-1951), was a fighter pilot in the U.S. Marine Corp from 1953-1957, and went on to study art at the University of California, Los Angeles, earning a BA in 1959, and an MA in 1960. In 1964 he founded the graduate program for photography at UCLA, and retired from the institution in 1991. He was a member of the Board of Trustees of The Friends of Photography, and a chairman of the Society for Photographic Education. He received a Guggenheim Fellowship (1976), a National Endowment for the Arts Individual Artists Grant (1977, 1981, 1986), and Polaroid Corporation grants to use 20×24 and 40×80 cameras (1984, 1985, 1988). He died on May 18, 2006.

Robert Heinecken, who is perhaps best known for his assemblages of found images from torn magazine pages and for photographs containing familiar media iconography, often redefining the role of the photographer and our perceptions of the medium. Trained in design, drawing, and printmaking, Heinecken’s signature work incorporates public images (from magazines, newspapers, and television) and his own darkroom activity, which alters the original interpretation of the images. Though Heinecken is rarely behind the lens of a camera, his process is faithfully photographic. Yet he is often discussed less in terms of photography and more in terms of conceptual art.

Since 1964, Heinecken has had over sixty solo shows internationally including: the WIELS Contemporary Art Centre, Brussels, Belgium (2014); the Museum of Modern Art, New York (2014); the Hammer Museum, Los Angeles (2014); the Center for Creative Photography, University of Arizona, Tucson, and a 35-year retrospective exhibition at the Museum of Contemporary Art, Chicago in 1998. His work is in the collections of the Museum of Contemporary Art, Chicago; the Whitney Museum of American Art, New York; the George Eastman House, Rochester; and the Mills College Art Museum, Oakland, CA.