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Heinecken and The Photography of Max Yavno

Heinecken, edited by James Enyeart, Friends of Photography in association with Light Gallery, 1980, 158 pages.

IN HIS INTRODUCTORY STATEMENT to this volume, Robert Heinecken acknowledges that reproductions of his work can only function as “bare diagrams of already esoteric ideas or, at best, oblique reflections of the actual items.” Recognizing this limitation, Heinecken and his publishers have attempted to fashion something more visceral: sequences of “rich, non-linear sensations.”

Heinecken surveys a little over a decade of work—the years between 1963 and 1976—in which the artist established himself, to use one of his favorite terms, as a self-styled “guerrilla.” Though the female form exists as a central motif in his art, Heinecken’s oeuvre developed in a pluralistic manner, catapulting from small ink transfers and magazine collages to hanging film transparencies, from installation and

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