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The first comprehensive study of the artist Robert Heinecken and
his critical views on the culture of mass media This is the first
book-length study dedicated to the artist Robert Heinecken, whose
innovative photographic practices sought to interrogate how mass
media imagery facilitated the construction of individual and
collective identities. Appropriating, rephotographing, and layering
pictures culled from newspapers, advertisements, pornography, and
television, Heinecken recombined and transformed the ubiquitous
images of mass culture to encourage viewers to critically reflect
on their sense of self. From the 1960s through the late 1990s,
Heinecken's controversial art continually challenged inherited
ideas around consumerism, the facticity of reportage, and visual
culture's relationship to gender and identity politics. Embodying
the evolution of contemporary art toward increasingly hybrid and
conceptual approaches, his oeuvre includes examples of painting,
sculpture, photomontage, performance, installation, time-based
media, and artist's books, all of which collectively exploit
photography's reproducibility to subvert society's dominant
ideologies and stereotypical modes of representation. Author
Matthew Biro presents an exhaustive look at Heinecken's life and
art, locating him within a lineage that encompasses the activities
of the early twentieth-century avant-gardes and the postmodern
strategies of the Pictures Generation artists. Assessing his career
within the specific political and historical contexts from which he
gleaned his material, and illustrated throughout with vibrant
full-color reproductions of his art, this in-depth examination
demonstrates Robert Heinecken's significance as a key figure of
twentieth-century art and an incisive commentator on modern life in
America.
This collection, spanning nearly a decade of artistic activity,
features selections of writings that trace the intellectual
influences and track the development of one of the more formidable
and productive minds in the contemporary art world. The writings
comprise Enrique Martinez Celaya's public lectures; essays;
interviews; correspondence with artists, critics, and scholars;
artist statements; blog posts; and journal entries. These texts
were written during Martinez Celaya's appointment as Visiting
Presidential Professor at the University of Nebraska; Roth
Distinguished Visiting Scholar at Dartmouth College; and, most
recently, as the first Provost Professor of Humanities and Arts at
the University of Southern California. Marked by Martinez Celaya's
encyclopedic curiosity and considerable knowledge about the world,
these writings and interviews explore the role of art in life,
evaluate texts by other modern and contemporary artists and
thinkers, and reveal the artist's deep engagement with artistic,
philosophical, and literary lines of inquiry.
The first comprehensive study of the artist Robert Heinecken and
his critical views on the culture of mass media This is the first
book-length study dedicated to the artist Robert Heinecken, whose
innovative photographic practices sought to interrogate how mass
media imagery facilitated the construction of individual and
collective identities. Appropriating, rephotographing, and layering
pictures culled from newspapers, advertisements, pornography, and
television, Heinecken recombined and transformed the ubiquitous
images of mass culture to encourage viewers to critically reflect
on their sense of self. From the 1960s through the late
1990s, Heinecken’s controversial art continually challenged
inherited ideas around consumerism, the facticity of reportage, and
visual culture’s relationship to gender and identity politics.
Embodying the evolution of contemporary art toward increasingly
hybrid and conceptual approaches, his oeuvre includes examples of
painting, sculpture, photomontage, performance, installation,
time-based media, and artist’s books, all of which collectively
exploit photography’s reproducibility to subvert society’s
dominant ideologies and stereotypical modes of representation.
Author Matthew Biro presents an exhaustive look at Heinecken’s
life and art, locating him within a lineage that encompasses the
activities of the early twentieth-century avant-gardes and the
postmodern strategies of the Pictures Generation artists. Assessing
his career within the specific political and historical contexts
from which he gleaned his material, and illustrated throughout with
vibrant full-color reproductions of his art, this in-depth
examination demonstrates Robert Heinecken’s significance as a key
figure of twentieth-century art and an incisive commentator on
modern life in America.Â
In an era when technology, biology, and culture are becoming ever
more closely connected, The Dada Cyborg explains how the cyborg as
we know it today actually developed between 1918 and 1933 when
German artists gave visual form to their utopian hopes and
fantasies in a fearful response to World War I. In what could be
termed a prehistory of the posthuman, Matthew Biro shows the ways
in which new forms of human existence were imagined in Germany
between the two world wars through depictions of cyborgs. Examining
the work of Hannah Hoech, Raoul Hausmann, George Grosz, John
Heartfield, Otto Dix, and Rudolf Schlichter, he reveals an
innovative interpretation of the cyborg as a representative of
hybrid identity, as well as a locus of new modes of awareness
created by the impact of technology on human perception. Tracing
the prevalence of cyborgs in German avant-garde art, Biro
demonstrates how vision, hearing, touch, and embodiment were
beginning to be reconceived during the Weimar Republic. Biro's
unique and interdisciplinary analysis offers a substantially new
account of the Berlin Dada movement, one that integrates the
group's poetic, theoretical, and performative practices with its
famous visual strategies of photomontage, assemblage, and
mixed-media painting to reveal radical images of a "new human."
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